Marci Washington's artwork subverts Victorian gothic imagery into a contemporary visual language all its own. Flat washes of gouache and watercolor make up grotesque faces and distorted bodily forms that stare off the page into another dimension. With a muted palette of somber dark green, black, cream, blood red, and brown and gold hues, dismembered bloody hands and heads float suspended in negative space, while livid male and female figures in full gowns and uniforms collapse within rooms of floral wallpaper and glistening chandeliers. Marci Washington's imagery creates a world of hidden stories, bloody handwritten letters, ghosts, forest threats, poisoned drinks, haunted manors, barren winters and betrayal - and this dark world draws you in completely. For Forever I'll Be Here is an oversize monograph of recent work by this Oakland, California based artist - including a collection of paintings exhibited at Leeds College of Art in 2011.

A hall of art surrounded by nature, supported by 121 individually designed pillars created by famous artists from all over the world: Bernd Zimmer has been pursuing this idea and its realization for over 30 years. The volume is lavishly illustrated and documents its creation, showing all the artists’ pillars in detailed individual photos. It was back in 1990 on a journey through South India that, inspired by the pillared porticoes of the Hindu temples, the painter Bernd Zimmer had the idea of a project which has now been realised as STOA169, a permanent art installation in Polling, Bavaria. Artists from all continents were invited to design pillars which together support a roof. Together the pillars forms an art universe which stands for solidarity, international understanding and respect for nature.

For over five decades, Dorothy Iannone has been making exuberantly sexual and joyfully transgressive image-text works. Karen Rosenberg wrote of her in "The New York Times" "High priestess, matriarch, sex goddess: the self-taught American artist Dorothy Iannone has been called all these things and more. Since the early 1960s she has been making paintings, sculptures and artist's books that advocate 'ecstatic unity, ' most often achieved through lovemaking." Beginning with the famous "An Icelandic Saga," in which Iannone narrates her journey to Iceland (where she meets Dieter Roth and leaves her husband to live with him), this singular volume traces Iannone's search for "ecstatic unity" from its carnal beginnings in her relationships with Roth and other men into its spiritual incarnation as she becomes a practicing Buddhist. Reproducing several previously unpublished or long-out-of-print works in their entirety (such as "Danger in Dusseldorf," "The Whip," "An Explosive Interlude"), as well as longer excerpts from rarely-seen works like "A Cookbook" and "Berlin Beauties," this volume gives readers the chance to read her work with sustained attention, and enjoy the sophistication of the stories she tells and the visual-textual embellishments that make them so irresistible.
Associated with Fluxus through her close friendships with Emmett Williams, Robert Filliou and Ben Vautier, as well as most well-known for her relationship with Dieter Roth, Dorothy Iannone (born 1933) nevertheless has her own distinct aesthetic style and substantive concerns. Her first major museum show in the U.S. came when she was 75 in 2008 at the New Museum, shortly after her "orgasm box" titled "I Was Thinking of You" was included in the Whitney Biennial in 2006, and she has recently attained more recognition with solo shows at the Camden Arts Centre, Palais de Tokyo and the Berlinischer Galerie.

The project, chosen to represent Mexico at the 55th Venice Biennial, is examined in this bilingual (Spanish/English) edition in an introductory essay by curator Itala Schmelz and texts by Osvaldo Sanchez, Karla Jasso, Maria Paz Amaro, and Ariel Guzik himself. Also included in the volume is a wealth of unpublished material (diagrams, sketches, and notes) that allow us to explore the artist's creative process. The contents are further enriched by numerous images showing Guzik and his team at work on the complex production process of his sound machines. This volume constitutes a detailed logbook of more than three decades of unremitting activity.

Master cartoonist, Jack Davis, teams up with compiler, Hank Harrison and reveals a great deal of unpublished artwork and rare gems from his personal archives. Included here are some of Jack's spontaneous creations, some in the pencil stages as well as finished pieces. The subject matter runs the gamut from advertising to celebrity illustrations. Davis is a legend in cartooning, not only with Mad Magazine where he was one of the founding contributors but also in comics and many other magazines and his artwork is often found in advertising, magazines, film posters, and more.

Born in 1965 about 100 kilometres from the former imperial porcelain factories of Jingdezhen in China, Bai Ming is a multi-facetted visual artist. A professor and lecturer, he is director of the Department of Ceramics at the Academy of Art and Design of Qinghua University in Beijing, and of the Shangyu Celadon International Art Centre of Contemporary Ceramics. He also heads two workshops, where he boldly mixes ancestral techniques, traditions and practices with those of international contemporary art. The delicacy of his technique in ceramics, painting and lacquer has revitalised Chinese porcelain, freeing it from its archaic forms. His creations have won major Chinese awards and are recognised by collectors around the world. Christine Shimizu, curator of the exhibition devoted to the artist at the Keramis Centre in Belgium, brings together various authors in this book: Mael Bellec, Antoinette Fay-Halle, Jean-Francois Fouilhoux, Catherine Noppe and Ludovic Recchia. All testify, each in their own way, to their perception of Bai Ming's multifaceted work. The book follows an exhibition that will take place at Keramis from 16 November 2019 to 15 March 2020. Text in English and French.

The artist Kubra Khademi (b. 1989) lives in Paris and focuses in her work on her life as a woman and a person with direct experience as a refugee. This makes it both political and highly topical. Multi-faceted themes pervade her art, including her function as mouthpiece and as an element in the fight for the fundamental rights of women, as well as artistic work in exile and in a Muslim society. In paintings and more recently with the use of photographic techniques and embroidery, Khademi presents tranquil nude female figures that – depending on the angle – can nonetheless be interpreted as provocative. They are juxtaposed with impressive performances that draw on the artist’s own physical experiences as a subject. Khademi focuses her attention on the male-dominated society in countries like her native Afghanistan and the socio-political situation there, linking together motifs from mythology, art history and politics. Kubra Khademi has received many awards for her work, and this overview publication presents her oeuvre in all its complexity.

Mike Kelley, Paul McCarthy, and Raymond Pettibon - these Southern California artists formed a "bad boy" trifecta. Early purveyors of abject art, the trio produced work ranging from sculptures of feces to copulating stuffed animals, and gained notoriety from being perverse. Showing how their work rethinks transgressive art practices in the wake of the 1960s, "Pay for Your Pleasures" argues that their collaborations as well as their individual enterprises make them among the most compelling artists in the Los Angeles area in recent years. Cary Levine focuses on Kelley's, McCarthy's, and Pettibon's work from the 1970s through the 1990s, plotting the circuitous routes they took in their artistic development. Drawing on extensive interviews with each artist, he identifies the diverse forces that had a crucial bearing on their development - such as McCarthy's experiences at the University of Utah, Kelley's interest in the Detroit-based White Panther movement, Pettibon's study of economics, and how all three participated in burgeoning subcultural music scenes. Levine discovers a common political strategy underlying their art that critiques both nostalgia for the 1960s counterculture and Reagan-era conservatism. He shows how this strategy led each artist to create strange and unseemly images that test the limits of not only art but also gender roles, sex, acceptable behavior, poor taste, and even the gag reflex that separates pleasure from disgust. As a result, their work places viewers in uncomfortable situations that challenge them to reassess their own values. The first substantial analysis of Kelley, McCarthy, and Pettibon, "Pay for Your Pleasures" shines new light on three artists whose work continues to resonate in the world of art and politics.

Philosophical and biographical accounts of Antonin Artaud's late visual work, all reproduced in color. Antonin Artaud (1896-1948)-stage and film actor, director, writer, and visual artist-was a man of rage and genius. Expelled from the Surrealist movement for his refusal to renounce the theatre, he founded the Theater of Cruelty and wrote The Theater and Its Double, one of the key twentieth-century texts on the topic. Artaud spent nine years at the end of his life in asylums, undergoing electroshock treatments. Released to the care of his friends in 1946, he began to draw again.This book presents drawings and portraits from this late resurgence, all in color. Accompanying the images are texts by by Artaud's longtime friend and editor Paule Thevenin and the philosopher Jacques Derrida. "We won't be describing any paintings," Derrida warns the reader. Derrida struggles with Artaud's peculiar language, punctuating his text with agitated footnotes and asides (asking at one point, "How will they translate this?"). Thevenin offers a more straightforward biographical and historical account. (It was on the walls of her apartment that Derrida first saw Artaud's paintings and drawings.) These two texts were previously published by the MIT Press in The Secret Art of Antonin Artaud without the artwork that is their subject. This book brings together art and text for the first time in English.

What does it mean to say that some of the best Chinese contemporary art is made in America, by Americans? Through words and images, this book challenges the artificial and narrowly conceived definitions of Chinese contemporary art that dominate current discussion, revealing the great diversity of Chinese art today and showing just how complex and uncertain the labels "contemporary," "Chinese," and "American" have become.

This volume features contributions from six artists and eight scholars who participated in a 2009 symposium held in conjunction with the Princeton University Art Museum exhibition Outside In: Chinese ? American ? Contemporary Art. These ethnically Chinese and non-Chinese artists work or have worked in America--indeed, all of them are U.S. citizens--but they are steeped in Chinese artistic traditions in terms of style, subject matter, and philosophical outlook. Here they discuss their art and careers with rare depth and candor, addressing diversity, ethnicity, identity, and other issues. The academic contributors bring a variety of perspectives--Chinese and American, art historical and political--to bear on the common, limiting practice of classifying such art and artists as "Chinese," "American," or "Chinese American." Revealing and celebrating the fluidity of who can be considered a Chinese artist and what Chinese art might be, these artists and scholars broaden and enrich our understanding of Chinese contemporary art.

An essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century. Gordon Matta-Clark (1943-1978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark's widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark.

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.

This tapestry of primary sources is an essential primer on sculpture and its makers. Modern Sculpture presents a selection of manifestos, documents, statements, articles, and interviews from more than ninety sculptors, including a diverse selection of contemporary sculptors. With this book, editor Douglas Dreishpoon defers to artists, whose varied points of view illuminate sculpture's transformation-from object to action, concept to phenomenon-over the course of more than a century. Chapters arranged in chronological sequences highlight dominant stylistic, philosophical, and thematic threads uniting kindred groups. The result is an artist-centric history of sculpture as a medium of consequence and character.

Originally delivered as the prestigious Mellon Lectures on the Fine Arts in 1995, After the End of Art remains a classic of art criticism and philosophy, and continues to generate heated debate for contending that art ended in the 1960s. Arthur Danto, one of the best-known art critics of his time, presents radical insights into art's irrevocable deviation from its previous course and the decline of traditional aesthetics. He demonstrates the necessity for a new type of criticism in the face of contemporary art's wide-open possibilities. This Princeton Classics edition includes a new foreword by philosopher Lydia Goehr.

The years since 1989 have seen a complete untethering of what art can be, who makes it and where it can be found, which has been matched by a reassessment of art's appropriate place in society and the financial value that should be attached to it. In this new book in the World of Art series, Kelly Grovier surveys the dynamic developments in art practice worldwide since 1989, going in search of those artists who have undertaken to shape a fresh visual vocabulary and whose work reflects on these turbulent years. The book's ten chapters examine the key themes in contemporary art, from portraiture in the age of face transplants and facial recognition software, to political activism, science and religion. Artists discussed include Jeff Koons, Louise Bourgeois, Damien Hirst, George Condo, Marlene Dumas, Sean Scully, Cindy Sherman, Banksy, Ai Weiwei, Antony Gormley, Christo and Jean-Claude, Jenny Holzer, Chuck Close and Cornelia Parker. The final chapter, a timeline, traces the evolution of art practice in this period by looking closely at one key artwork from each year.

The centerpiece of this catalog is Pfeiffer's sound and video installation "The Saints," a restaging of the legendary 1966 World Cup final between West Germany and England in London's Wembley Stadium. Pfeiffer hired one thousand Filipinos who gathered in a movie theater in Manila, where they cheered in accompaniment to a restaging of the 1966 match, based on original film and sound material.

The first complete survey of the work of the much-loved and collected contemporary Italian multimedia artist Paola Pivi - with more than 250 images, including previously unpublished work. Published in association with Anchorage Museum, Alaska; The Andy Warhol Museum, Pittsburgh; The Bass Museum of Art, Miami Beach; [mac] musee d'art contemporain de Marseille; and MAXXI Museo nazionale delle arti del XXI secolo, Rome. Probably best known for her playful, complex installations of life-sized, brightly-hued, feathered polar bears, Paola Pivi has created work across a range of media - including sculpture, video, photography, performance, and installation - throughout her 27-year career. Often using recognisable objects that are modified to introduce new scale, material, or color, her work challenges viewers to rethink their position. This in-depth monograph, made with the close involvement of the artist, is her most substantial publication to date and features more than 250 images, including previously unpublished work, together with five newly commissioned essays giving insight and perspective on her incredibly diverse body of work.