"The Record" is the full-color catalog accompanying the groundbreaking exhibition "The Record: Contemporary Art and Vinyl," at the Nasher Museum of Art at Duke University from September 2, 2010 through February 6, 2011. The first exhibition to explore the culture of vinyl records in the history of contemporary art, "The Record" features rarely exhibited work and recent and newly commissioned pieces by thirty-three artists from around the world. These artists have taken vinyl records as their subject or medium, producing sound work, sculpture, installation, drawing, painting, photography, video, and performance. Works by well-known artists such as Laurie Anderson, Jasper Johns, Ed Ruscha, and Carrie Mae Weems appear alongside those of other North American artists, and of artists from Africa, Asia, Europe, and Latin America, some of whom have never before exhibited in a U.S. museum. Among the works shown are David Byrne's original Polaroid photomontage used for the cover of the 1978 Talking Heads album "More Songs about Buildings and Food," the fictive soul "album covers" created by the outsider artist Mingering Mike in the late 1960s and early 1970s, and "Wheel of Steel" (2006), an arresting narrative of record-playing told through digital photos by the South African-born and Berlin-based artist Robin Rhode. In addition to the 225 images, 200 of which appear in color, the catalog includes personal reflections and critical analyses. All of the artists in the exhibition contribute personal statements about their work in relation to the vinyl record, and critics and scholars explore the historical impact of the record on art and music and the ways the medium has helped shape individual and collective identities.""

Contributors
Jeff Chang
Vivien Goldman
Jennifer Kabat
Mark Katz
Josh Kun
Barbara London
Mac McCaughan
Carlo McCormick
Charlie McGovern
Mark Anthony Neal
Piotr Orlov
Luc Sante
Trevor Schoonmaker
Dave Tompkins

This landmark monograph is the first comprehensive survey of Walter De Maria's exceptionally diverse and visionary art practice, providing an in-depth look at more than 200 works and presenting the first detailed chronology ever published. Although best known as a creator of seminal works of Land art, Walter De Maria also maintained an extensive and highly original practice as a sculptor, painter, draftsman, writer, filmmaker, and composer. This expansive publication presents more than 200 works created or envisioned by the artist from 1960 until his death in 2013. Each work is fully illustrated and accompanied by detailed text entries written by Elizabeth and Michael Childress, supplemented by archival images, many of which have never been published before. Essays by Michael Govan, Christine Mehring, and Lars Nittve provide detailed overviews and analyses of the early, middle, and later periods of De Maria's production. The monograph also includes an introduction by Donna De Salvo; the first detailed, thoroughly documented, and illustrated chronology of De Maria's life and work, written by Dagny Corcoran; and an exhibition history and bibliography.

A stunning tour through the renowned, wide-ranging collection of contemporary art at Ghent's Municipal Museum for Contemporary Art (S.M.A.K.) The Stedelijk Museum voor Actuele Kunst (translated as the Municipal Museum of Contemporary Art and commonly abbreviated as S.M.A.K.), located in Ghent, Belgium, has quickly established a reputation for both a superlative permanent collection and provocative exhibitions since it opened to the public in 1999. The museum's collection focuses on international developments in art after 1945, including works by artists such as Francis Alys, Francis Bacon, Joseph Beuys, Marcel Broodthaers, Luc Tuymans, and Bruce Nauman. S.M.A.K. Highlights for a Future showcases the full range and exceptional quality of the museum's holdings, illustrating some 200 artworks, from well-known masterpieces to less-familiar, recent acquisitions. Distributed for Mercatorfonds

Monterrey means mountain king, a name befitting its location surrounded by the Sierra Madre in north-eastern Mexico. It was founded in 1596 near the natural springs of Santa Lucia, a luscious oasis in an otherwise arid landscape. Its colonial beginnings are still visible in the architecture of the Barrio Antiguo district in the city centre. In the late 19th century, industrial development transformed the modest town into a flourishing, modern city. Its foundries and breweries reflect its industry, while its skyscrapers, universities, churches, and monuments designed by celebrated Mexican modernist architects like Mario Pani, Enrique de la Mora, Pedro Ramirez Vazquez, and Luis Barragan reflect its modernity. Today, Monterrey is an important cultural, educational, medical, and business metropolis with buildings by Ricardo Legorreta, Nicholas Grimshaw, and Tadao Ando. Its fast growing residential, corporate, and commercial developments feature designs by Norman Foster, Cesar Pelli, Zaha Hadid , and Alejandro Aravena. This book presents the role of architecture in the continuous transformation of this city.

The book contains a review of Patrick Hamilton's artistic career, from his beginnings with the series Project, - covering works of architecture, which began in 1996, two years before graduating from art school - to his most recent works. Driven by a desire to move painting onto another plane, Hamilton has created a body of work along object- and concept-based lines with a foundation in his interest towards cultural, historical and literary research. Using the starting point of Santiago, the city where he has lived and worked until recently, Hamilton has woven together countless works over a time period equivalent to a career that has now lasted nearly twenty years. The visual metaphors, popular myths and historical events in them are given form in an impeccable conceptual and visual presentation, which he uses to look for answers to all of the questions which arise on a daily basis in the society of which he forms a part as a citizen and artist. His work takes place mainly in the field of photography, collage, objects and installations and includes a reflection on the concepts of work, inequality, architecture and history - particularly of Chile post-dictatorship. In this sense it is an aesthetic reflection on the consequences of the 'neoliberal revolution' implanted in Chile during the '80s and its projection in the social and cultural field from then until now. Patrick Hamilton (Leuven, Belgium, 1974) has a degree in Art from the University of Chile. He received a Guggenheim fellowship in 2007. He has had exhibitions at numerous international institutions and has taken part in the Venice Biennale with Chile. He lives and works in Madrid.

While German painting of the postwar period essentially concerned itself with coming to terms with the past and presenting it in gestures ranging from the heroic to the ironic, Daniel Richter focuses on positioning himself in the present. Time and again he devises new ways of being "modern" in a medium that has long been labeled old-fashioned and anachronistic. His pictures constantly challenge the spectator by their painterly and contextually excessive demands, but they do not lecture on moral issues. In five chapters featuring more than 200 examples of his works, the author Eva Meyer-Hermann traces the chronological development of Richter's artistic output for the first time. The turns from abstraction to figuration and back again that until now have been described as abrupt, prove on closer examination to be a logical consequence and a sign of conscious artistic action.

In a contemporary and ever-changing society, 'the visual' has become a dynamic element that traverse all parts of current life all over the world - what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter - a 'flesh' which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice - all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

This catalogue for an exhibition at MAXXI Museum in Rome brings together 50 contemporary artists from ex-Yugoslavia whose work explores the history of the region through the action of contemporary heroes, and reflects on issues of acceptance and peaceful coexistence. In thematic sections (Liberty, Equality, Fraternity, Hope, Risk, the Individual, Otherness, Metamorphosis), the show asks if the legacy of Socialism can help to recover the concept of "common good" in a complex region which has recently endured the tragedy of a civil war and the rise of Nationalism. Text in English and Italian.

South African artist William Kentridge's drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich's The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that "Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos." In this book, Jane Taylor, Kentridge's friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show. Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful and how he works is as important as what he creates. This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge's methods serve his unique mode of expression as a narrative and political artist. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.

The Survey of Public Participation in the Arts (SPPA) is the nation's largest and most reliable survey of how American adults (aged 18 and older) engage with the arts. The study of arts participation patterns is cogent to arts organisations, arts funders, and cultural economists -- who have used prior surveys to inform their understanding about arts audiences or to gauge public demand for specific arts experiences. At a more fundamental level, the SPAA showcases the stunning plurality of art forms, genres, venues, and events and activities that constitute arts participation as a whole. This book discusses the barriers, and motivations of individuals attending arts in the nation.

From bottle gardens, the bachelor pad and Batman to designer gnomes and monogamy spray, this book uses a diverse range of objects to explore the changing significance of kitsch. With its unique approach to its subject, Kitsch! Cultural politics and taste promises to advance debates in cultural studies and sociology around taste, while providing an invaluable introduction for students and interested readers. Kitsch! examines how the idea of kitsch is mobilised - progressively, as bad taste, as camp and as cool - to inform notions of identity and sensibility. Where most studies proceed from the kitsch object, this book takes the moment of aesthetic judgement as its starting point and attempts to identify the ideological work performed by the category itself. The book poses the strongest challenge to those who argue that taste is democratised in contemporary culture, offering ample evidence that judgements of taste have shifted ground rather than relaxed. Above all, the story of kitsch proposed by the authors is intended to disturb kitsch's reputation as the source of a ready-made sensibility and politics. Kitsch has a history and not, as it has been supposed, an essence and is consequently the site of love, hate, joy, exasperation, irony, nausea and all of the twisted possibilities between. -- .

This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century. Wang provides a detailed analysis of artworks and methodologies of art-making from eight contemporary artists who employ a wide range of mediums, including painting, sculpture, photography, installation, video, and performance. She also sheds light on the relationship between these artists and their sociocultural origins, investigating their provocative responses to various processes and problems brought about by Chinese urbanization. With this urbanization comes a fundamental shift of the philosophical and aesthetic foundations in the practice of Chinese art: from a strong affiliation with nature and countryside to one that is complexly associated with the city and the urban world.

- First book to chronicle the life and artwork of June Schwarcz, a pioneer craftsperson in the enamel and decorative arts fieldJune Schwarcz (1918-2015) was among the most innovative artists working in the contemporary enamels field. Best known for her electroplated metal sculpture embellished with rich enamel color, she produced an extensive body of work that, while linked to long-standing vessel-making traditions, defied convention. In a field known for visual opulence, preciousness, and adherence to traditional craft practices, Schwarcz was a renegade. She learned enameling on her own and adopted a highly experimental approach to process, inventing new ways of creating sculptural objects in metal and unorthodox strategies for their embellishment. Believing in the power of opposing principles, she created forms that were at once raw and elemental, elegantly composed, and lushly beautiful. A seminal figure in the American craft field, Schwarcz led enameling workshops across the country and influenced several generations of young and emerging artists. She also played a central role in the craft community of the San Francisco Bay Area, where she lived and worked for more than fifty years. June Schwarcz: Artist in Glass and Metal is the first publication to investigate Schwarcz's work in depth. It explores the rich trajectory of her career along with the sources and influences that helped shape and define her singular vision. It also investigates the themes and subjects that intrigued her as it examines the role she played in advancing enameling in America in the late twentieth century. This lavishly illustrated publication celebrates the extraordinary body of work Schwarcz created over a period of sixty years.

Featuring a wide array of iconic rock posters, period photographs, music memorabilia and light shows, "out-of-this-world" clothing, and avant-garde films, this catalogue celebrates San Francisco's rebellious and colorful counterculture that blossomed in the years surrounding the 1967 Summer of Love. This book explores, through essays and a succession of thematic plates, the visual and material cultures of a generation searching for personal fulfillment and social change. Presenting key cultural artifacts of the time, Summer of Love introduces and explores the events and experiences that today define this dynamic era. With essays by Victoria Binder, Dennis McNally, and Joel Selvin. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young, San Francisco: April 8-August 20, 2017

This is leading British sporting and wildlife artist Rodger McPhail’s retrospective collection of his most accomplished paintings and portraits of the last 20 years. As a keen naturalist who has spent countless hours tracking and observing his wildlife subjects, Rodger has selected these works on the basis that they truly capture his fondness and enthusiasm for the natural world. With an extraordinary versatility, Rodger is equally at home in watercolours as he is in oils — a master of the finest detail, his remarkably fluid and evocative paintings pay homage to his impressive and multifaceted career. This sumptuous, hardbound coffee table book seeks to shed a light on how his genius works, and Rodger has concluded the book with a chapter that addresses the questions he’s most frequently asked, such as how long it takes him to paint an average picture, or whether he can only paint when the mood strikes — featured alongside plenty of other stories about his life and his art. Appreciated and sought after from all corners of the globe, his paintings and portraits are to be found in some of the most important collections worldwide.

Showcasing marbled paper, paste paper, fold-and-dye papers, and more, this book reveals a little-known arts phenomenon from its grass roots in the 1960s to artistic heights in the following decades Pattern and Flow chronicles the flourishing of American decorated paper arts beginning in the 1960s and extending to the 2000s, with an ongoing legacy today. As knowledge and skills were shared across a grass-roots community in the 1960s, decorated paper became increasingly popular, with centers for the study of the book and paper arts emerging across the United States, and artists developing new, innovative styles of paper. The book begins with an introductory essay outlining the history of decorated paper arts in America up to the 1960s, followed by a chronological narrative, which surveys the development of the field and introduces the artists working from the 1960s to the 2000s, and an illustrated reference section with essential biographical and professional information for each artist. Designed to be an immersive experience, Pattern and Flow conveys the vivid visual world of American decorated paper, celebrating the variety and variations that are key features of the art. Stunning illustrations show designs with intricate, tessellated patterns and others that flow with forms and waves that seem liquid; some explore subtle, muted tones, while others are explosive in their use of brilliant colors. Distributed for the Thomas J. Watson Library, The Metropolitan Museum of Art Exhibition Schedule: Grolier Club, New York (January 17-April 8, 2023)

A fully updated edition of the artist's first comprehensive monograph, more than a decade since its original publication

Francis Alÿs examines the patterns of various urban sites before weaving his own fables into their tangled social fabric with wit, sensitivity, and an acutely personal connection to his subject matter.

A scene such as a Volkswagen Beetle struggling up a hill or a man pushing a block of ice can carry a message that resonates far beyond the work's simple parameters. As Alÿs puts it, 'Sometimes doing something poetic can become political, and sometimes doing something political can become poetic.'

Alÿs's work has been included in the world's top international exhibitions, including the Venice Biennale, Documenta, the Carnegie International, and the São Paulo Biennal.

This book features two new essays by renowned anthropologist Michael Taussig as well as new writings by the artist and exhaustive visual presentations of his recent project in Afghanistan and Iraq.

The publication is timed to tie in with Alÿs's first major North American exhibition at the Los Angeles County Museum of Art opening in 2020.

Of all the ground-breaking art movements of the 1950s and 60s, Op Art has received the least amount of attention to date. It has often been discounted as too spectacular and showy and therefore not very profound. This is a misconception – this art sharpens our awareness of the ambiguity of appearances and illustrates the impossibility of grasping ‘reality’.

Vertigo. Op Art and a History of Deception 1520–1970 presents a deceptive game of the senses, unfurling a whole panorama of artistic works that confound the senses, ranging from panel paintings, reliefs and (kinetic) objects to installations and experiential spaces, to film and computer-generated or computer-controlled art.

Works by nearly 100 of today's most prominent artists-including Willie Cole, Mark Dion, Mona Hatoum, Peter Saul, Yinka Shonibare, and Laurie Simmons-raise questions about the many issues that firearms trigger, leaving answers up to the reader. This invigorating survey of contemporary art and guns offers insight into the mixed associations of firearms in our culture. Situating these artworks within the contexts of fire domestication, weapon history, social movements, and art history, the book touches on subjects of power, equality, and access, and the current debates surrounding gun use. What emerges is the inherently dualistic nature of firearms, which are both protective and destructive, empowering and enfeebling, supporting peace and war, life and death. While this central ambivalence can't be captured in statistical data or media sound bites, it thrives within these complex visual works. This collection reveals a striking diversity of viewpoints on guns, highlighting their inescapable duplicity and the compelling role they have come to play within our lives and imaginations.