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.

Pioneer of chaos mathematics, Edward Lorenz posited in his 1988 paper Unventions what the hell? the now accepted theory that unventions were a necessary reaction to humans getting all uppity with their big ideas. So what is an unvention? Some say unventions are simply everyday objects that are familiar to all. They are correct. But they are also wrong. Unventions tell new stories about the things around you releasing them from the mundane trudge of daily routine to take on epic new roles. When you begin to see them you are set free, and soon you will discover your own. Your mind has been in chains for too long! Unventionswill change your world forever.* *Largely in utterly useless ways

Caroline Broadhead (b. 1950) is a highly versatile artist who started in jewellery in the late 1970s. Since then she has extended her practice from "wearable objects" and textile works to dance collaborations and installations in historic buildings. Broadhead's work is concerned with the boundaries of an individual and the interface of inside and outside, public and private, including a sense of territory and personal space, presence and absence and a balance between substance and image. It has explored outer extents of the body as seen through light, shadows, reflections and movement. Published to accompany the Exhibition at CODA Museum Apeldoorn (NL), 4 February - 15 April 2018 and the Exhibition at Lethaby Gallery, Central Saint Martins, London, 11 January - 2 February 2019.

Shedding fresh light on modern art beyond the West, this text introduces readers to artists, art movements, debates and theoretical positions of the modern era that continue to shape contemporary art worldwide. Area histories of modern art are repositioned and interconnected towards a global art historiography. * Provides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey * Brings together a selection of major essays and historical documents from a wide range of sources * Section introductions, critical essays, and documents provide the relevant contextual and historiographical material, link the selections together, and guide the reader through the key theoretical positions and debates * Offers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms * Includes many contrasting voices in its documents and essays, encouraging reader response and lively classroom discussion * Includes a selection of major essays and historical documents addressing not only painting and sculpture but photography, film and architecture as well.

In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of "craftivism" the politics and social practices associated with handmaking Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuna, the small hand-sewn tapestries depicting Pinochet's torture, and the NAMES Project AIDS Memorial Quilt are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much "in the fray" of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles high and low, untrained and highly skilled, conformist and disobedient, craft and art.

"Patience, patience, because the great movements of history have always begun in those small parenthesis that we call 'in the meantime.'" --John Berger The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Sel uk Demirel, and has an introduction by Maria Nadotti. What Time Is It? is a profound and playful meditation on the illusory nature of time. Berger, the great art critic and Man Booker Prize-winning author, reflects on what time has come to mean to us in modern life. Our perception of time assumes a uniform and ceaseless passing of time, yet time is turbulent. It expands and contracts according to the intensity of the lived moment. We talk of time "saved" in a hundred household appliances; time, like money, is exchanged for the content it lacks. Berger posits the idea that time can lengthen lifetimes once we seize the present moment. "What-is-to-come, what-is-to-be-gained empties what-is."

Joachim Capdevila (b. 1944) is a master of the art of goldsmithing, whose understanding of how to meld traditional handcraft with contemporary avant-garde jewellery is second to none. At the same time, his roots, which lie in painting, are unmistakable. Yet Capdevila does not just paint metal; his one-off jewellery pieces are rather the materialisation of a creative process in which metal and colour combine to become a completely new entity. The Barcelona-based jewellery artist has created a unique oeuvre in some fifty years, which is now being presented in a 175-piece-strong review for the very first time. In addition, Pilar Velez explores Capdevila's artistic development and his role as a pioneer and a major proponent of New Jewellery in Europe. Joaquim Capdevila is represented in numerous museums, including the Schmuckmuseum Pforzheim (DE), Museum fur Kunst und Gewerbe Hamburg (DE), MAK Museum of Applied Arts / Contemporary Art, Vienna (AT), Musee Olympique, Lausanne (CH), Royal Museums of Scotland, Edinburgh (GB), Collection de la Ville de Cagnes-sur-Mer (FR), Col.- leccio d Art de l Avui, Barcelona (ES), Museu de Montserrat (ES), Museu del Disseny de Barcelona (ES), Dallas Museum of Art, Rose-Asenbaum Collection (US).

Bioart, art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice, now receives enormous media attention. Yet despite this attention, bioart is frequently misunderstood. Bioart and the Vitality of Media is the first comprehensive theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory.--Mitchell begins by sketching a brief history of bioart in the twentieth and twenty-first centuries, describing the artistic, scientific, and social preconditions that made it conceptually and technologically possible. He illustrates how bioartists employ technologies and practices from the medical and life sciences in an effort to transform relationships among science, medicine, corporate interests, and the public. By illustrating the ways in which bioart links a biological understanding of media-that is, "media" understood as the elements of an environment that facilitate the growth and development of living entities-with communicational media, Bioart and the Vitality of Media demonstrates how art and biotechnology together change our conceptions and practices of mediation. Reading bioart through a range of resources-from Immanuel Kant's discussion of disgust to Gilles Deleuze's theory of affect to Gilbert Simondon's concept of "individuation"-provides readers with a new theoretical approach for understanding bioart and its relationships to both new media and scientific institutions.--Bioart and the Vitality of Media is a precise and rigorous exploration of the conceptual underpinnings of an art form that has at times been both troubling and controversial. It will appeal to art historians, artists, media theorists, and readers interested in new media, the cultural study of biology, and the philosophy of technology.--Robert Mitchell is associate professor English at Duke University. He is the author, with Catherine Waldby, of Tissue Economies: Blood, Organs, and Cell Lines in Late Capitalism and, with Phillip Thurtle, Data Made Flesh: Embodying Information and Semiotic Flesh: Information and the Human Body.--"A sustained meditation on bioart as an art practice that stitches together concepts of life and concepts of affect, concepts of vitalism, and concepts of mediation." -Eugene Thacker, author of After Life--"Well-written, lucid, unpretentious, and admirably concise in format and presentation, this book is an original and innovative contribution to the fields of comparative media studies and science and culture studies." -Cary Wolfe, Rice University-

Offering a major contribution to the field of American culture and aesthetics in an interdisciplinary frame, this collection assembles the cutting-edge research of renowned and emerging scholars in literature and the visual arts, with a foreword by Miles Orvell. The volume represents the first of its kind: an intervention in current interdisciplinary approaches to the intersections of the written word and the visual image that moves beyond standard theoretical approaches to consider the written and visual artwork in embodied, cognitive and experiential terms. Tracing a strong lineage of pragmatism, romanticism, surrealism and dada in American intermedial works through the nineteenth century to the present day, the editors and authors of this volume chart a new and vital methodology for the study and appreciation of the correspondences between visual and verbal practices. -- .

With insightful essays and interviews, this volume examines how artists have experimented with the medium of video across different regions of Latin America since the 1960s. The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When it was first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was--and still is--closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists' practices. This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections--Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives--the book's essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.

It has been more than fifty years since John Waters filmed his first short on the roof of his parents' Baltimore home. Over the following decades, Waters has developed a reputation as an uncompromising cultural force not only in cinema, but also in visual art, writing, and performance. This major retrospective examines the artist's influential career through more than 160 photographs, sculptures, soundworks, and videos he has made since the early 1990s. These works deploy Waters's renegade humor to reveal the ways that mass media and celebrity embody cultural attitudes, moral codes, and shared tragedy. Waters has broadened our understanding of American individualism, particularly as it relates to queer identity, racial equality, and freedom of expression. In bringing "bad taste" to the walls of galleries and museums, he tugs at the curtain of exclusivity that can divide art from human experience. Waters freely manipulates an image bank of less-than-sacred, low-brow references-Elizabeth Taylor's hairstyles, his own self-portraits, and pictures of individuals brought into the limelight through his films, including his counterculture muse Divine-to entice viewers to engage with his astute and provocative observations about society. This richly illustrated book explores themes including the artist's childhood and identity; Pop culture and the movie business; Waters's satirical take on the contemporary art world; and the transgressive power of images. The catalogue features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; critic, curator, and artist Robert Storr; as well as an interview with Waters by photographer Wolfgang Tillmans. Published in association with the Baltimore Museum of Art. Exhibition dates: The Baltimore Museum of Art: October 7, 2018-January 6, 2019 Wexner Center for the Arts: February 2-April 28, 2019

The American Fraternity is a mysterious photo and ritual book that lifts the veil on America's oldest and most influential male tradition. The text comes from a decaying ritual manual from a prominent college fraternity. Seventy-five percent of modern U.S. presidents, senators, justices, and executives have taken arcane oaths of allegiance like the ones it contains. Six decades of red ceremonial wax stain it like blood. It is filled with dark power.

Shio Kusaka’s ceramic vessels articulate poetic connections, creating a cohesive and unique installation. ---------- “It’s a striking effect—some pieces are bowl-shaped, others are cylindrical, a few have slim, sloping necks. Their linear arrangement suggests some kind of progression through time and space.” — Document Journal ----------- While pulling inspiration and techniques from ancient Japanese ceramics as well as from popular culture and everyday life, Kusaka carves new language into her artwork. Employing various types of clay and firing methods, she experiments with line, color, and size to bring fresh life to the medium. This harmonious presentation is created from individual pieces and thematic groupings, resulting in an extraordinary, unified installation to be experienced in the round. Created in close collaboration with the artist and with many detail images, this book provides a deep dive into Kusaka’s incredible work one light year. Published after Kusaka’s hugely successful exhibition at David Zwirner, New York, in 2022, this catalogue studies her singular installation from all angles. A text by Kusaka illuminates her working process and provides unique insight into this particular work.

This is our first collaboration with Fitzcarraldo Editions, a UK publishing house that will be bringing Dan's book out just before the US edition. They're known for doing beautiful work, and should generate good buzz to jumpstart the conversation here. Pretentiousness fits in well with our other recent forays into essay, especially Sidewalks and Cats. The trim size will be small, and the book will have french flaps, making it an appealing object, and, we hope, cash register impulse purchase. The title (emphasized in the design) is intentionally provocative. Dan has a tremendous platform with Frieze, so there should be no lack of coverage and interest in the art world. The book is conversational and never jargon-y-this isn't writing for an academic audience-and it should have crossover appeal Dan's background in journalism means he's well-versed in pitching, excerpting-the gamut of publicity tools-and he'll be a pro at deploying them. The book should appeal to the same readers who bought On Bullshit

The Jablonka Collection is regarded as one of the highest-profile repositories of American and German art of the 1980s. In this catalogue the art dealer, gallerist and curator Rafael Jablonka (*1951) provides for the first time an insight into his wide-ranging collection, which is dedicated primarily to artists of his own generation. Rafael Jablonka has collected art for decades according to the basic principle of assembling multiple works from the different creative phases of artists. With some 120 works -paintings, works on paper, sculpture and installations -the catalogue introduces the oeuvres in question and shows a representative cross-section of the extensive Jablonka Collection, which was presented to the Albertina on permanent loan in 2019.

The Iconic House features over 100 of the most important and influential houses designed and built since 1900. International in scope and wide-ranging in style, the houses share a remarkable sensitivity to site and context, appreciation of local materials and building traditions, and careful understanding of clients' needs. Each, however, has a unique approach that makes it groundbreaking and radical for its time. Concise, informative texts and fresh, vibrant illustrations, including specially commissioned photographs, floor plans and drawings, offer detailed documentation, while a bibliography, gazetteer and list of houses by type provide further information. Whether Arts and Crafts or Art Nouveau, Modernist or Minimalist, High-Tech or new vernacular, these unforgettable buildings from around the world will inspire and delight students and professionals, design aficionados and anyone who dreams of building a house of their own.