The definitive book on a creative force who continues to influence sculpture and installation art.

Jessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours. This revised, updated edition spotlights the extraordinary evolution of her career, and examines the pivotal role she has played in shaping some of the most fundamental ideas around which contemporary sculpture and painting revolve today.

This lavishly illustrated volume showcases lettering and typographic work from some of the world's most exciting, innovative and talented designers. As well as featuring full-page examples of their best work, Lettering: Tips for Creation is divided into two parts; in the first half each artist has selected examples of their work and discussed their influences and early career, while in the second half each of them provides a new piece of work, talking us through the creative and production process, step by step, from the initial idea and sketch, explaining how the dimensions were worked out and the letters combined to ultimately form a harmonious message.

Malileh Afnan's work appears 'as a relic of an older civilization or an archaeological excavation into the collective psyche. The delicacy of Persian miniatures and manuscripts, which she remembers from childhood, is mirrored in her love for intimate scale and the refined beauty of muted colour'. Calligraphy plays an important role: images appear that suggest the written word. Works on paper and tablets of painted plaster are reminiscent of ancient, almost obliterated texts, and like palimpsests, retain only some vestige of literal meaning and an impression of human contact. Afnan has absorbed both Middle Eastern and Western influences. She has looked towards such artists as Pollock, Rothko, Dubuffet and Klee, and shares an affinity with the American artist Mark Tobey, who helped arrange the first European exhibition of her work in 1971.

Library is a collection of paintings by two of Canada s most influential contemporary artists, Michael Dumontier and Neil Farber. From the simple premise of the book title comes a series of images that are laugh-out-loud funny. A collection of book covers adorned with titles painted in simple handwritten fonts are displayed on brightly coloured hardboard. Each book forms part of an ongoing series Dumontier and Farber started in 2009. In Dumontier and Farber s Library, titles like I Lost the Human Race, Change Your Relationship to Your Unchangeable Past, and I Have a Medical Condition That Makes It So I Don t Have to Talk to You offer surprising and astute observations, all in the duo s characteristic deadpan style. The simplicity of the shapes and text evokes an immediate but lasting profundity, with each piece causing one to wonder about the thoughts that roam their consciousness, and the books that take up residence on their and our shelves. Dumontier and Farber are founding members of the influential art collective the Royal Art Lodge, and have been collaborating on art projects for more than fifteen years, exhibiting internationally. Library is playful and insightful as it pokes and prods at the human condition.

The story of New York's west side no longer stars the Sharks and the Jets. Instead it's a story of urban transformation, cultural shifts, and an expanding contemporary art scene. The Chelsea Gallery District has become New York's most dominant neighborhood for contemporary art, and the streets of the west side are filled with gallery owners, art collectors, and tourists. Developments like the High Line, historical preservation projects like the Gansevoort Market, the Chelsea galleries, and plans for megaprojects like the Hudson Yards Development have redefined what is now being called the "Far West Side" of Manhattan. David Halle and Elisabeth Tiso offer a deep analysis of the transforming district in New York's New Edge, and the result is a new understanding of how we perceive and interpret culture and the city in New York's gallery district. From individual interviews with gallery owners to the behind-the-scenes politics of preservation initiatives and megaprojects, the book provides an in-depth account of the developments, obstacles, successes, and failures of the area and the factors that have contributed to them.

The recent work of Belgian abstract artist Yves Zurstrassen is explored in depth in this handsome volume, designed in close collaboration with the artist himself The decade of work produced between 2010 and 2019 by Belgian abstract painter Yves Zurstrassen (b. 1956) is the focus of this beautifully designed and illustrated book. Although he originally studied graphic art, Zurstrassen was inspired by Abstract Expressionists such as Jackson Pollock and Willem de Kooning to pursue painting. The book's essays delve into the artist's process and offer a critical analysis of the work. Also included are a detailed biography and insightful, informal conversations with the artist. Featuring full-page illustrations of Zurstrassen's recent work, the book situates the artist both within abstract art and the broader context of contemporary painting. Distributed for Mercatorfonds Exhibition Schedule: Centre for Fine Arts, Brussels (September 1-December 31, 2019)

Art produced outside hegemonic centers is often seen as a form of derivation or relegated to a provisional status. Forming Abstraction turns this narrative on its head. In the first book-length study of postwar Brazilian art and culture, Adele Nelson highlights the importance of exhibitionary and pedagogical institutions in the development of abstract art in Brazil. By focusing on the formation of the Sao Paulo Biennial in 1951; the early activities of artists Geraldo de Barros, Lygia Clark, Waldemar Cordeiro, Helio Oiticica, Lygia Pape, and Ivan Serpa; and the ideas of critics like Mario Pedrosa, Nelson illuminates the complex, strategic processes of citation and adaption of both local and international forms. The book ultimately demonstrates that Brazilian art institutions and abstract artistic groups-and their exhibitions of abstract art in particular-served as crucial loci for the articulation of societal identities in a newly democratic nation at the onset of the Cold War.

The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier's remarkable text forcibly asserts the originality and importance of Black artists' work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies. Artists featured: Larry Achiampong Hurvin Anderson Benny Andrews Rasheed Araeen Jean-Michel Basquiat Zarina Bhimji Sutapa Biswas Frank Bowling Sonia Boyce Vanley Burke Chila Kumari Burman Eddie Chambers Thornton Dial Godfried Donkor Kimathi Donkor Sokari Douglas Camp Melvin Edwards Mary Evans Nicola Frimpong Joy Gregory Bessiey Harvey Mona Hatoum Lubaina Himid Lonnie Holley Gavin Jantjes Claudette Johnson Tam Joseph Roshini Kempadoo Juginder Lamba Hew Locke Steve McQueen Chris Ofili Keith Piper Ingrid Pollard Thomas J. Price Noah Purifoy Faith Ringgold Donald Rodney Betye Saar Joyce J. Scott Yinka Shonibare Gurminder Sikand Marlene Smith Maud Sulter Barbara Walker Kara Walker Carrie Mae Weems Deborah Willis Hank Willis Thomas Lynette Yiadom-Boakye

Alex Katz is a towering figure in contemporary painting, a key New York-based artist since the early 1960s. Katz is best known for his distinct portraits of sophisticated, irresistible women, masterfully painted using precise, broad areas of colour.

Hong Seung-Hye has garnered a unique position in the Seoul art scene with her bravado in defying conventional borders. She sees no restraints in crisscrossing the border between the abstract and the figurative, the plane and the three-dimensional. Nor does she shy away from employing public spaces just as freely as she experiments inside a white cube. This first monograph on Hong traces the trajectory of her prolific oeuvre. It features four essays written by distinguished Korean critics, curators and educators who have closely witnessed and worked alongside Hong throughout the past two decades. Originally written in context with solo exhibitions, each of which marking a milestone in her career, they offer individual starting points to delve into and read Hong's art. Ranging from her earliest paper collages to the most recent videos reinterpreting Snoopy from iconic comic strip The Peanuts, this book illustrated with some 200 colour plates provides a comprehensive survey of Hong's versatility.

FAUXLOSOPHY by Ron English, is a compelling collection of the artist's sayings with his accompanying iconic images. It is a light read with indelible images bringing to life wit and wisdom to live by through art, humor and ironic inspiration. Ron English is one of the most prolific and recognisable American artists alive today. Considered the Godfather of Street Art, he has appeared in movies such as Exit through the Gift Shop and Supersize Me and as a character of himself in the Simpsons. One of the most prolific and recognizable artists alive today, Ron English has bombed the global landscape with unforgettable images, on the street, in museums, in movies, books and television. English coined the term POPaganda to describe his signature mash-up of high and low cultural touchstones.

An indispensable guide for art-world neophytes and seasoned professionals alike, the best-selling ArtSpeak returns in a revised and expanded third edition, illustrated in full colour. Nearly 150 alphabetical entries - 30 of them new to this edition - explain the who, what, where, and when of postwar and contemporary art. These concise mini-essays on the key terms of the art world are written with wit and common sense by veteran critic Robert Atkins. More than 80 images, most in colour, illustrate key works of the art movements discussed, making ArtSpeak a visual reference, as well as a textual one. A timeline traces world and art-world events from 1945 to the present day, and a single-page ArtChart provides a handy overview of the major art movements in that period.

Born in New York in 1941, Joel Shapiro is one of the most significant artists of his generation. Since the first public showing of his work in 1969 as part of the landmark Anti-Illusion: Procedures/Materials exhibiton at the Whitney Museum of American Art, he has been the subject of numerous solo exhibitions in galleries and museums around the world. Most renowned for having developed in the 1980s and '90s a distinctive language of dynamic sculpture that blurs the lines between abstraction and figuration, Shapiro became known through his earliest 1970s New York shows for introducing common forms of often diminutive size. Since then he has continued to push the material and conceptual boundaries of sculpture by working in a number of materials and employing various working methods. Joel Shapiro: Sculpture and Works on Paper 1969-2019 is the first book in over twenty years to survey the artist's entire working career. In an extensive essay, art historian Richard Shiff provides a fresh and incisive examination of Shapiro's oeuvre and working process. With more than two hundred striking full-colour illustrations, this is a long-anticipated and much-needed survey of this vital and essential American artist.

In this book, contributors identify and explore a range of iconic works - "Mistress-Pieces" - that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d'etre, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance. Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known - those by Natalia LL, Tanja Ostojic, Swoon, Clara Meneres, Diane Victor, Usha Seejarim, Ilse Fuskova, Phaptawan Suwannakudt and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender. The book will be of interest to scholars working in art history, visual studies and gender studies.

In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag-dragging past aesthetics into the present and reworking them while pulling their work away from direct representation-these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Muller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.

In 2018 the National Portrait Gallery, the National Gallery and the Royal Academy of Arts will host major exhibitions of the work of Tacita Dean. Each will provide a different encounter with her art. This book brings together new and existing works from all three exhibitions - LANDSCAPE, PORTRAIT, STILL LIFE - with texts offering a unique insight into Dean's work by leading writers including Alexandra Harris, Alan Hollinghurst and Ali Smith. Published at a particularly prolific period for Dean, this book provides a new and authoritative view of a hugely influential artist who has been at the forefront of British art for over twenty years. The volume is published with three different covers.

Transnational Perspecives on Feminism and Art, 1960-1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book's central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.

This volume is dedicated to the international artist Kata Legrady's graphic work, through a selection of drawings, sketches and preparatory studies published on the occasion of the exhibition at Fondazione Mudima in Milan. Through the graphic work gathered in this volume, we discover her creative praxis which, according to Arturo Schwarz, "is determined, to a great extent, by her unconscious; the work has a playful dimension; she observes the world with a gaze that has conserved the innocence, curiosity and inventiveness of childhood". Finally, an essay by Bazon Brock brings a deep insight on the importance of drawing in the practice of contemporary art.

Published in 2006 following Damien Hirst's first major print exhibition at the Paul Stolper Gallery in London in 2005, New Religion explores Hirst's central themes: "I was thinking that there are four important things in life: religion, love, art and science... Of them all, science seems to be the right one now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end." With full colour reproductions of this entire series of Hirst silkscreen prints produced for the 'New Religion' exhibition, such as 'The Apostles', 'The Wound of Christ', 'The Last Supper' and 'The Stations of the Cross', as well as editioned sculptures and multiples such as 'The Fate of Man' and the 'box/cabinet' called 'New Religion', this hardback publication is a modern day biblical picture-book exploring combinations between science and religion. And the ideas about Hirst's science/religion dichotomy are further explored through an intriguing interview with Sean O'Hagan that moves effortlessly from the macro to the micro, and back again, "I just can't help thinking that science is the new religion for many people. It's as simple and as complicated as that really." Hardback with 6 gatefolds.

Experimental artists and musicians thrived in New York, Los Angeles, and other creative hotspots in the 1960s, and those who would become major figures in the visual arts often worked closely with those who became the most recognized composers and performers of late-twentieth-century music. Yet, surprisingly little attention has been given to these connections, especially considering that such collaborations helped to shape subsequent histories of both fields. In and Out of Phase is the first sustained look at the creative interactions between artists and musicians of this era, looking at four pairs of creators who used process-oriented ideas and techniques in their music and art: Dan Flavin and La Monte Young; Sol LeWitt and Milton Babbitt; Richard Serra and Steve Reich; and Bruce Nauman and Meredith Monk. Maizels uncovers not just the social and intellectual connections between these two groups of creators, but illuminates how the focus on repetitive actions, pattern and process, and an emphasis on "surface" created mutual influence-and stylistic change-between music and art during this period. The book's concluding chapter briefly addresses the enduring influence of the innovations of the 1960s on more recent works.

A revised and expanded edition of one the most popular titles in the Contemporary Artists Series Born in Lebanon, Palestinian artist Mona Hatoum was exiled to London, where she has lived and worked since the mid-1970s. Through performance, video, sculpture, and installation, she creates architectonic spaces that relate to the body, language, and the condition of exile as well as transforming everyday, domestic objects into things foreign, threatening, and dangerous. Often exquisitely beautiful, Hatoum's works combine states of emotion and longing with the formal simplicity of Minimalism, creating powerful evocations of displacement, denial, and otherness.