Accompanying the solo exhibition of Barabasi Lab at the Ludwig Museum Budapest and the ZKM in Karlsruhe, this book will be more than exhibition catalogue: it comes with a range of voices and viewpoints that give readers a sweeping view of the work Barabasi has done over the last twenty years and how it connects to art, science, and our general outlook on the world today. The Center for Complex Network Research (CCNR) at Northeastern University was founded 20 years ago and the lab is dedicated to a deeper thinking about networks—how they emerge and evolve, what they look like, and how they impact our understanding of complex systems. The backbone of this book are the extraordinary visualisations, in 2-D and 3-D, that Barabasi’s lab has evolved, and which are unique not only to his practice but to the world of network theory and science at large. A series of essays and statements by scientists and artists alike will be followed by a long, beautiful array of breathtaking plates. Given the current state of the world, the book will also explain how Barabasi’s work relates to Covid-19 and how understanding networks helps us predict and understand the spread of diseases.

The first monograph on young Swiss artist Denis Savary (born 1981), this book spans a wide range of media, from drawing to video, performing arts to sculpture. Savary's fantastical works fictionalize fragments of art and literature, from Oskar Kokoschka to Lautreamont.

Visual artist, choreographer, writer and director, Jan Fabre has been one of the most influential figures on the European scene for over twenty years. His provocative forays into all different art forms are aimed at breaking down the artistic and moral barriers of his times. Published on the occasion of the exhibition of Fabre's works at the MAXXI in Rome, the monograph brings together, for the first time, the action art and performances of the Belgian artist from the 70s to the present: drawings, "thinking models", collages, films, photos and other documentation that lay the groundwork for a rediscovery of dozens of Fabre's performances and interventions, both public and private, held in Belgium and abroad. The extreme, even brazen exploration of the human body, which frequently scandalizes viewers, is linked to the idea of metamorphosis, which Fabre may have derived from that passion for the sciences he inherited from his great-grandfather, the esteemed entomologist Jean-Henri Fabre. Jan Fabre has devoted much of his career to studying the human body and its transfiguration, central themes in his work; the artist considers performance art a "per-for-a(c)tion" of the body with respect to the outer world: a way to explore its limits, actions and reactions, both inside and out.

Why would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock's drip painting "No. 5, 1948 "sell for $140 million?

Intriguing and entertaining, "The $12 Million Stuffed Shark" is a "Freakonomics" approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored.

This book is the first to look at the economics and the marketing strategies that enable the modern art market to generate such astronomical prices. Drawing on interviews with past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a journey of discovery through the peculiar world of modern art. Surprising, passionate, gossipy, revelatory, "The $12 Million Stuffed Shark" reveals a great deal that even experienced auction purchasers do not know.

"I've never made my art because I want to make money. I make it because I believe that my paintings . . . can change the world." Meet C215, a master street artist with a mission. C215 is the pseudonym chosen by Christian Gu my ("The French Banksy"), one of the world's most important masters of contemporary street art. He became famous in 2008 when Banksy invited him to collaborate on some projects, and today, even though he has the talent to work for galleries or museums, he continues producing his art on the street. See his amazing creations, and get to know him through a series of interviews conducted by Alessandra Mattanza, an expert in international street art. Known for drawing, painting, spray-painting, and personally photographing his works, C215 himself has in fact taken many of the images shown in this eye-opening volume. These photos enrich this intimate portrait of the artist, presenting his vision and his experience on the street. Readers can grasp the essence of his philosophy, and discover his most important works in the cities of Paris, London, Los Angeles, New York, Rome, Istanbul, New Delhi, and Fez as well as in Brazil, Poland, Israel, and Morocco.

The present studies on Brazilian modern art seek to specify some of the dominant contradictions of capitalism's combined but uneven development as these appear from the global periphery. The grand project of Brasilia is the main theme of the first two chapters, which treat the 'ideal city' as a case study in the ways in which creative talent in Brazil has been made to serve in the reproduction of social iniquities. Further chapters scrutinise the socio-historical basis of Brazilian art, and develop, against the grain of the most prominent art historical approaches to modern Brazilian culture.

This book examines a range of visual expressions of Black Power across American art and popular culture from 1965 through 1972. It begins with case studies of artist groups, including Spiral, OBAC and AfriCOBRA, who began questioning Western aesthetic traditions and created work that honored leaders, affirmed African American culture, and embraced an African lineage. Also showcased is an Oakland Museum exhibition of 1968 called "New Perspectives in Black Art," as a way to consider if Black Panther Party activities in the neighborhood might have impacted local artists' work. The concluding chapters concentrate on the relationship between selected Black Panther Party members and visual culture, focusing on how they were covered by the mainstream press, and how they self-represented to promote Party doctrine and agendas.

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.

Bouncing Bodies

Fernando Botero's fulsome and frolicking forms

Fernando Botero is an artist with his own style. For more than six decades, the Colombian's "Boterismo" technique has captured collectors, institutions, and public spaces worldwide with a unique, fleshy, overblown approach to the human body. Through these corpulent creations, Botero has become one of the most recognized artists from Latin America, his artworks displayed in prominent places around the globe, including Park Avenue in New York City and the Champs-Elysees in Paris.

This TASCHEN Basic Art edition offers an essential introduction to this leading figure of figures in contemporary art. Tracing Botero's oeuvre from his earliest caricatures of animals through to recent large-scale bronze sculptures, the book examines the artist's diverse array of influences, from Paolo Uccello to Abstract Expressionism, and celebrates the wit, irony, insight, and critical acumen that round out his compositions, however absurd the proportions.

The career of Y. G. Srimati - classical singer, musician, dancer and painter - represents a continuum in which each of these skills and experiences merged, influencing and pollinating each other. Born in Mysore in 1926, Srimati was part of the generation much influenced by the rediscovery of a classical Sanskrit legacy devoted to the visual arts. Soon swept up in the nationalist movement for an independent India, she was deeply moved by the time she spent with Gandhi. For the young Srimati, the explicit referencing of the past and of religious subjects came together in an unparalleled way, driven by the explosive atmosphere of an India in the final push to independence. This experience gave form and meaning to her art, and largely defined her style. As John Guy demonstrates in this sumptuous volume, as a painter of the mid- and later 20th century, Y. G. Srimati embodied a traditionalist position, steadfast in her vision of an Indian style, one which resonated with those who knew India best.

Piero Gilardi (born 1942) looms large in the annals of the European postwar avant-garde. A pioneer of Arte Povera and a promoter of Richard Long and Jan Dibbets, who also introduced American artists such as Bruce Nauman or Eva Hesse to a European audience, Gilardi is also a political activist. This retrospective monograph surveys his many activities.

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.

A fantastic, single-sided adult coloring book from Kerby Rosanes, the internationally bestselling artist behind Mythomorphia, Animorphia, and Imagimorphia. The perfect stocking stuffer gift for anyone who loves a coloring book challenge! A coloring book like you've never seen before-perfect for colored pencils, crayons, or markers! Fantomorphia is artist Kerby Rosanes's first single-sided coloring book, an amazing adult coloring book challenge featuring his trademark strange and super-detailed images, and perfect for coloring then posting on the wall or framing. Kerby works in intricately detailed black-and-white lines to create creatures, characters, patterns, and tiny elements to form massive compositions of mind-boggling complexity. The book invites readers to complete the drawings and find hidden treasures and creatures scattered throughout its pages. Bring your creativity to complete the breath-taking drawings and find hidden treasures and creatures scattered throughout the pages of Animorphia. Fantomorphia contains 19 intricate images of stunning fantastical creatures morphing and shapeshifting into Kerby's signature, breath-taking scenes. The world that he imagines will excite and transport drawers, as he brings this beautiful fantasyscape and its creatures to life.

The first title of the Skira Contemporary Arab Artists series, directed by Brahim Alaoui, previous director of the Museum of the Institute of the Arab World in Paris. Bahraini-born Saudi national Faisal Samra graduated from the Ecole Nationale Superieure des Beaux-Arts in Paris. He worked as an art and graphic design consultant for the Institut du Monde Arabe (Paris), and later a stage designer for Saudi television. In 2004 he taught in the Fine Arts department of the Amman University in Jordan and obtained his first artist residency in Paris, at the Cite International des Arts, in 2005, which he continues to be a part of today. Faisal Samra has taken part in numerous group shows, including "Word Into Art" at the British Museum (London and Dubai), "Languages of the Desert: Contemporary Arab Art from the Gulf States" (Abu Dhabi, Paris and Kunstmuseum, Bonn), and "Traversee", (Paris, Cairo, Rabat). He has had solo exhibitions in Middle-Eastern and European institutions alike, and is in the collections of The British Museum (London) National Museum (Mexico City), Modern Art Museum (Cairo), Enrico Navarra (Paris), Saeb Eigner (London), Sheikha Paula Al Sabah (Kuwait), among others.

Irvin argues that rules are the key to understanding what's going on in contemporary art. Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based media art, and participatory art. Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means.

Art + Science Now is a groundbreaking overview of the art being made at the cutting edge of scientific research. The first illustrated book in its field, it shows how some of the world's most dynamic art is being produced not in museums, galleries and studios but in the laboratory, where artists probe cultural, philosophical and social questions connected with scientific and technological advances. Featuring the work of around 250 artists from the UK, Germany, France, the Netherlands, the USA, Japan and elsewhere, it presents a broad range of projects, from body art to bioengineering of plants and insects, from music, dance and computer-controlled video performances to large-scale visual and sound installations. This comprehensive guide to contemporary art inspired or driven by scientific innovation points to intriguing new directions for the visual arts and traces a key strand in 21st-century aesthetics.

Martin's work is characterised by a unique freedom, expressed through the possibilities of her chosen canvas - a piece of paper or textile, a sculptural surface, wall or screen. She interrogates 'who we are at the core, as people', and since her beginnings with live performance drawing in the mega clubs of Tokyo she has navigated creative worlds to interrogate and play with the role of artist and viewer. This monograph charts her career and includes early pieces, larg-scale murals and commissions, and collaborations with museums, technical institutes, museums and fashion brands.

Alex Katz has found his audience. It s not the first time. Over seven decades, the artist has developed his vision with determination as the tides of avant-garde and academic fashion ebbed and flowed. His first audience was other painters (including de Kooning and Philip Guston), and today, still, he is perhaps best understood by other artists: those who appreciate how difficult it is to make something so simple, so well. Working in a representational style while his classmates celebrated Abstract Expressionism, eschewing slick surfaces for a pared-down view while his peers went glossy with Pop, Katz cleaved to one vision, a few locations, and subjects. Katz s endurance and commitment to developing an original American style is explored in depth, from his boyhood influences to an artistic circle that included John Ashbery, Ted Berrigan, Lois Dodd, Kenneth Koch, Frank O Hara, Fairfield Porter, Yvonne Rainer, Larry Rivers, and Paul Taylor. Sketches, works on paper, and archival material selected by the artist s son, the poet Vincent Katz, give a fuller picture of the painter and his world. The more than 250 paintings reproduced at an unprecedented scale will be the most comprehensive collection available in a single publication.

Published to accompany the first time the Luigi and Peppino Agrati Collection will be revealed to the public; the collection can be viewed between May and August 2018. During the Festival of Nouveau Realisme (New Realism) in Milan in November 1970, Christo removed the white cloth in which he had wrapped the Monument to Vittorio Emanuele II in the Piazza del Duomo and placed it over the Monument to Leonardo da Vinci in the Piazza della Scala. This is viewed today as a key event in the contemporary art scene in Milan, a moment that Luigi and Peppino Agrati experienced live. They immediately contacted the artist and commissioned him to create works for the garden of their villa. Wealthy entrepreneurs, the Agrati brothers shared subtle and sensitive insights into art that fostered a deep understanding of the images that shaped their era. This show is the first time their collection is being revealed to the public, through a representative selection of Italian and American works of art donated with generosity and foresight by Luigi Agrati to the Intesa Sanpaolo. From a nucleus of sculptures by Melotti to masterpieces by Fontana, Burri, and Klein, the exhibition provides an in-depth examination of Italian 'Nuova Figurazione' painting ('New Figurative Painting'), working its way to the roots of the new 'Arte Povera' ('Poor Art'). The discovery of American art coincides with the Agratis' acquisition of works by the principal exponents of Pop Art - including the iconic Andy Warhol and his monumental Triple Elvis - and by the Minimalists, of which Dan Flavin's large neon work dedicated to Peppino Agrati is emblematic. In a kind of multiple constellation side by side with examples of Italian art, the collection reveals extraordinary works by Robert Rauschenberg (acquired in large numbers from the end of the 1960s to the 1980s), Cy Twombly (the original mediator between American and Italian art), and conceptual artists like Bruce Nauman and Joseph Kosuth, whose experiments with language are displayed in a dialogue with those by Alighiero Boetti and Vincenzo Agnetti.

Mass housing in Germany, Russia, and Ukraine represents an enormous volume of housing today and therefore a huge resource for the future development of cities. But transformation of these districts is needed due to the functional, societal, and technical problems and challenges they face. How can sustainable, socially compatible, ecological responsible, and economically efficient development be achieved? The book summarises the results of a three-year research project. Based on the selected case studies, it points out the qualities and values as well as the problems and potentials involved in spatially transforming prefabricated housing estates from the 1960s and 1970s. The specific features and characteristics of the socialist city are evaluated with respect to their potentials and difficulties, and with regard to the requirements placed on future district planning and development. Hence this book contributes to the on-going discussion and serves as a valuable basis for developing planning strategies.

Chunghi Choo (b. 1938 in South Korea) is a world-renowned metalsmith and jewellery artist who is best known for her works that incorporate such techniques as electroforming and electro-applique. Choo's artwork is represented in major museums around the world, including the Metropolitan Museum of Art (US), the Victoria and Albert Museum (UK) and the Musee des Arts decoratifs (FR). In addition, she is professor emeritus of the University of Iowa (US), where she established a metals programme, which she brought to international prominence during her more than thirty years of service. Many of her students have since become critically acclaimed artists in the fields of fine arts, jewellery, textiles, metalsmithing and sculpture. This volume reviews Choo's remarkable career, showing selected pieces from the last six decades of extraordinary craftsmanship that earned her status as Elected Fellow of the American Craft Council. Works by thirty former students reveal Choo's influence on a subsequent generation.

The works of young American artists Cory Arcangel, Shana Moulton, Jessica Ciocci & Jacob Ciocci of Paper Rad, and Ryan Trecartin & Lizzie Fitch are all characterized by an overwhelming color-charged aesthetic, unhinged narratives and a deluge of content that pitches itself against the excesses of consumer culture. Brought together for this publication, their works define a new idiom of energetic critique.