Developed by a young group of artists from New York, Paris, and Frankfurt in collaboration with the Schirn Kunsthalle Frankfurt, the room-filling installation "En Passant" makes use of unusual lighting, interesting sculptural objects, and sound in order to present a contemporary perspective on surrealism. Included in the installation--and reproduced here in nearly sixty stunning full-page photographs--are a collection of unsettling sculptural works, among them dismembered bodies and severed heads. Together, the artworks draw on common surrealist themes--including money, massacre, and the tense relationship between reason and authority-- and demonstrate surrealism's continued relevance for contemporary art. Closely linked to the surrealist practice of staging art, the installation intentionally straddles the border between exhibition and experience, leaving viewers unsure of whether the artworks are meant to be merely viewed or altered, used, or touched. In addition to the many photographs, this volume also documents the development of "En Passant "and includes interviews with the artists, shedding light on the important influences and art historical references in the work.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The Hasegawa Reader is an open access companion to the bilingual catalogue copublished with The Noguchi Museum to accompany an international touring exhibition, Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan. The exhibition features the work of two artists who were friends and contemporaries: Isamu Noguchi and Saburo Hasegawa. This volume is intended to give scholars and general readers access to a wealth of archival material and writings by and about Saburo Hasegawa. While Noguchi's reputation as a preeminent American sculptor of the twentieth century only grows stronger, Saburo Hasegawa is less well known, despite being considered the most literate artist in Japan during his lifetime (1906-1957). Hasegawa is credited with introducing abstraction in Japan in the mid 1930s, and he worked as an artist in diverse media including oil and ink painting, photography, and printmaking. He was also a theorist and widely published essayist, curator, teacher, and multilingual conversationalist. This valuable trove of Hasegawa material includes the entire manuscript for a 1957 Hasegawa memorial volume, with its beautiful essays by philosopher Alan Watts, Oakland Museum Director Paul Mills, and Japan Times art writer Elise Grilli, as well as various unpublished writings by Hasegawa. The ebook edition will also include a dozen essays by Hasegawa from the postwar period, and one prewar essay, professionally translated for this publication to give a sense of Hasegawa's voice. This resource will be an invaluable tool for scholars and students interested in midcentury East Asian and American art and tracing the emergence of contemporary issues of hybridity, transnationalism, and notions of a "global Asia."

DHC/ART LIBRE tells the story of a contemporary art foundation unlike any other. Situated in the cosmopolitan city of Montreal, DHC/ART - as well as this publication - is dedicated to bringing impactful experiences with contemporary art to the public with a mission of accessibility on multiple levels. The critically-acclaimed program includes major artists from around the world, like Christian Marclay, Joan Jonas and Yinka Shonibare MBE. The publication chronicles the evolution of DHC/ART - since its launch in 2007 by Phoebe Greenberg - and through its story provides a platform for critical essays that open up larger questions about the potential for innovative institutional models to develop contemporary art audiences for the future. Amongst the contributors are Sarah Thornton and Jan Verwoert. The DHC/ART Education department provides an account of their critical pedagogy while the book is rounded out with a questionnaire on the use-value of Installation View photography with contributions from Simon Starling, Barbara Clausen, JiaJia Fei, Brian Droitcour, Vincent Bonin and Richard-Max Tremblay.

Contributes to the debate on the care of the most recent cultural heritage - modern and contemporary art. A new understanding is required, which takes into account the care and conservation of both the tangible and intangible aspects of visual art. The paradox of current conservation practice has been that despite adopting the new concept of heritage, the aims and methods of conservation have remained the same, evolving very slowly by following some changes in the history of ideas, human experience and techniques of conservation. The authors of this book relate complex conservation practices to an awareness of the need for a multidimensional approach to the care of modern and contemporary art. Maintaining a dialogue with history, they boldly confront the typical patterns and accepted evolution of the theory of conservation by looking at the wider perspective including the most recent history of any work of art.

An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time."Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring." -The New York TimesKusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama's subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, which is arguably still one of the most comprehensive studies on her work to date, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto's thinking-posthistory and the end of aesthetics-provocative notions that to this day shape questions about the meaning and future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto's ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto's thinking, emphasizing where the two disagree as well as what they learned from each other.

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto's thinking-posthistory and the end of aesthetics-provocative notions that to this day shape questions about the meaning and future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto's ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto's thinking, emphasizing where the two disagree as well as what they learned from each other.

"You need this Millennial Loteria for your next game night." -Latina Magazine "Loteria cards got a genius millennial makeover." -The Chicago Tribune OMG, can you even? Millennial Loteria is a hilarious and insightful parody of the classic "Mexican Bingo" game called Loteria, but this time, it's like way more millennial. Born from the viral Instagram account @MillennialLoteria, this game reimagines La Dama as La Feminist, El Catrin as El Hipster, and Las Jaras as La Hashtag. Filled with nostalgia and ironic humor, it's guaranteed to make your next fiesta be lit AF. So grab your bitcoins, get a couple of your fave followers together, and prepare to yell "Yaaaaasssssssssss, Millennial Loteria!" Each set includes: - 46 cards - 10 boards - 80 bitcoin tokens - and a collectible Millennial Loteria pin!

The Swiss artist Otto Kunzli has revolutionised modern art jewellery. In the 45-odd years in which he has been addressing the topic of jewellery, Kunzli has carved out for himself a unique position of far-reaching international influence, not only as an artist and a pioneer but also as an author and mentor. Otto Kunzli's works are based on complex reflection, conceptual and visual imagination. The result: objects with a clear, minimalist appearance, captivatingly crafted to perfection and highly visible - jewellery that adorns and at the same time possesses an autonomous aesthetic status of its own. The publication presents for the first time Otto Kunzli's highly diverse oeuvre. It includes hundreds of jewellery objects as well as interdisciplinary conceptual works from the artist's various creative phases. An extraordinary artist's book designed in close collaboration with Otto Kunzli and Die Neue Sammlung - The International Design Museum Munich. Otto Kunzli was born in 1948 in Zurich, Switzerland. Since 1991 Kunzli has held the Chair of Art Jewellery at the Academy of Fine Arts in Munich - as the successor of Prof. Hermann Junger. Otto Kunzli's work is represented in numerous international museums and collections. Alongside numerous awards, in 2010 Otto Kunzli was awarded the Swiss Grand Prix Design, and in 2011 the Goldener Ehrenring der Gesellschaft fur Goldschmiedekunst, the golden ring of honour conferred by the German Association for Goldsmiths' Art.

Renowned American textile artist and sculptor Gyoengy Laky (b. 1944) was once described as a 'wood whisperer'. Her highly individual, puzzle-like assemblages of timber and textiles helped to significantly propel the growth of the contemporary fiber-arts movement. Laky's art traverses an extraordinary personal story: Born amid the bombings of World War II, she escaped from post-war, Soviet-dominated Hungary; was sponsored by a family in Ohio, went to grade school in Oklahoma, and went on to study at the University of California, Berkeley. She followed this by founding the Fiberworks Center for Textile Arts in the 1970s and fostering innovations as a professor at the University of California, Davis. This book provides insight into her studio practice, activism, and teaching philosophy, which champions sustainable art and design, original thinking, and the value of the unexpected.

THE ART OF ANDY GOLDSWORTHY

This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. The book has been completely rewritten and brought up to date for this new edition.

Andy Goldsworthy makes land or earth art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth.

Fully illustrated, with a revised text. Bibliography and notes. 348pp. ISBN 9781861714398. www.crmoon.com

EXTRACT FROM THE CHAPTER ON GOLDSWORTHY'S LEAFWORKS

It is the leafworks that are the most colourful of Andy Goldsworthy's sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another. Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy.

REVIEW ON AMAZON

A happily received gift. It's worth the price for one who wants a scholarly while earthy (sorry, couldn't help it) approach to the work. There's a quirkiness about the writing style that is engaging and honest. I'm glad I have the book and will reread it as I purchase other books on Goldsworthy where the work is shown via great photography.

REVIEW ON AMAZON

This is a chatty informational book. It has stories of many artists that have been associated with Andy Goldsworthy in his long career as a contemporary nature sculptor. If you are looking for a personal history this is a book for you.

REVIEW ON AMAZON

I'm no expert on visual art, nor would I claim to be, but I found this to be a useful book, and the only one I've been able to find about the work of Andy Goldsworthy. The author has taken the time to round up a large amount of varied source material which makes this book well worth seeking out.

Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art. Sabotage Art reveals how contemporary Latin American artists have resorted to sabotage strategies as a means to bridge the gap between aesthetics and politics. The global status of and market for Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialization within current academic historiographies and art-world curatorial initiatives.

THE NATIONAL BESTSELLER A sensational compilation of the most striking images taken from the Morphia series has been gathered together in a celebration of Kerby Rosanes's talent. Colormorphia is a selection of Kerby Rosanes's most remarkable artwork, featuring a stunning, full-color sixteen-page section at the beginning of the book that displays some of the most accomplished completed artworks produced by Kerby's fans. These demonstrate the range of approaches colorists can experiment with when coloring. Kerby comments on the styles and the results, describing why they work so well. The artwork displayed in the color section are included in the black-and-white section of the book, too, giving the reader the opportunity to duplicate the approach should they wish. In addition, there are a variety of images to color featuring the very best from Kerby's Morphia portfolio. These include show-stopping spreads, such as the tiger from Animorphia and the camel from Imagimorphia, among others.

This new publication is dedicated to the Baranger Motion Displays of the R. F. Collection housed at the Vitra Design Museum. Motion Displays were conceived as eye-catching and novel moving objects, which - primarily in the US - were used in jewellers' shop-window displays to attract customers. The Baranger Motion Displays were produced by Baranger Studios in Pasadena, CA between 1937 and 1957 and were lent to thousands of jewellers' shops over the years. Primarily during the 1990s, Rolf Fehlbaum, Vitra Chairman Emeritus and founder of the Vitra Design Museum, worked to assemble a carefully selected a comprehensive collection of these objects in Weil am Rhein. With large-scale illustrations of the different Motion Displays and an atmospheric photo essay featuring black-and-white details of the objects, the book provides an unprecedented and in-depth view into this collection. In an accompanying essay, Bill Shaffer traces the success story of the displays and sheds light on the significance of the red cases in which they were delivered to the jewellers. Along with Robots 1:1 and Space Fantasies 1:1, Baranger Motion Displays is the third publication to focus on the R. F. Collection. Visitors can view the collection of Motion Displays at the Vitra Campus in Weil am Rhein as part of the "Wunderkammer" (cabinet of curiosities), which also presents other parts of Rolf Fehlbaum's wide-ranging collection. In order for readers to be able to experience the wonders of these moving objects for themselves, each Motion Display has been given a QR Code in the book which links to an entertaining video clip of the display in action.

In line with the works on decorators of the 1940s, '50s, '60s, and '70s, this book plunges us into the world of '80s and '90s. These have witnessed unprecedented experiments in the world of design and architecture. Composed of a rich introduction which gives a synoptic vision and 38 monographs that describe its many faces, this book makes and exceptionally creative period intelligible, and reveals through an abundant iconography, often unpublished, its formidable aesthetic richness. A new generation of designers stands out; among them Shiro Kuramata, Philippe Starck, Ron Arad, Bob Wilson, Elizabeth Garouste and Mattia Bonetti. All regenerate creation by refusing the elitism of their predecessors and by favouring the use of new materials. Some turn to recovery, such as the Creative Salvage group, and offer inventive and provocative furniture thanks to welding and assembly. Others, gathered in Italy around Ettore Sottsass and Memphis, combine unexpected colours and patterns to the playful use of plastic laminate. Sliding until the end of the '90s, the achievements presented in this book mark the desire for a dialogue between artistic references with a new relationship to the industrial aspect, at the dawn of the 21st century and its technological innovations. Text in English and French.

Painting, ceramics, sculpture, textile works, immersive installations, performances: the third exhibition at MOCO Hotel des collections is an ode to the Amazon Basin seen through the art and the ecological, economic and political stakes that characterise it. This exhibition catalogue showcases more than a hundred works coming from Catherine Petitgas's collection, based in London. Artists: Sol Calero, Anna Bella Geiger, Teresa Margolles, Beatriz Milhazes, Ernesto Neto, Helio Oiticica, Ivan Serpa, Luiz Zerbini. Text in English and French.

The post-1989 period has seen artists in Central and Eastern Europe embrace socially engaged practices. Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region. Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest. Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.

"Hassan Massoudy's calligraphies are arranged to loosely follow the seasons, beginning and ending with autumn: sombre, wintry hues at one end, brilliant tones full of vibrant reds at the other."--Venetia Porter

Hassan Massoudy's elegant calligraphy depicts the four seasons of the garden. From the icy palettes of winter and the fading hues of autumn to delicate spring growth and the dazzling sunshine and blooms of summer, he captures in calligraphy what countless poets have wrought with words.

Massoudy draws his seasonal inspirations from writers and artists, including Kahlil Gibran, Henri Matisse, Lao Tzu, William Blake, and Victor Hugo, as well as from Hungarian, Spanish, Turkish, and Japanese proverbs.

Hassan Massoudy was born in Najaf, Iraq. He moved to France in 1969, where he studied at L'Ecole des Beaux-Arts. His work has been exhibited throughout Europe, North Africa, and the Middle East, and is in the permanent collections of the British Museum and the Jordan National Gallery of Fine Arts, among others. Nineteen books of his calligraphy have been published in France, along with his autobiography, "Si loin de l'Euphrate: Une jeunesse d'artiste en Irak."

What do new technologies taste like? A growing number of contemporary artists are working with food, live materials and scientific processes, in order to explore and challenge the ways in which manipulation of biological materials informs our cooking and eating. 'Bioart', or biological art, uses biotech methods to manipulate living systems, from tissues to ecologies. While most critiques of bioart emphasise the influences of new media, digital media and genetics, this book takes a bold, alternative approach. Bioart Kitchen explores a wide spectrum of seemingly unconnected subjects, which, when brought together, offer a more inclusive, expansive history of bioart, namely: home economics; the feminist art of the 1970s; tissue culture methodologies; domestic computing; and contemporary artistic engagements with biotechnology.

In Drifting Studio Practice, artists Lonnie van Brummelen and Siebren de Haan discuss their participatory documentaries Episode of the Sea (2014) and Stones Have Laws (2018), which they made in collaboration with the Dutch fishing community of Urk and with the Saamaka and Okanisi maroons of Suriname, a former Dutch colony in the Amazon. The artists outline how they experimented with collective script writing and performative storytelling, including both human and other-than-human actors. Starting from their earlier artwork Monument of Sugar (2007), the account develops into a practice-driven exploration of co-authorship and (non)human rights as strategies to cope with the plantationocene. Languages: Dutch and English

This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.

Newly revised and updated, this authoritative book presents the exciting, ironic, and often subversive work of Yinka Shonibare MBE, one of the stars of the international art scene. Born in London and raised in Nigeria, Shonibare employs a diverse range of media--from sculpture, painting, and installation to photography and film--to probe matters of race, class, cultural identity, and history. He is perhaps best known for his signature use of a colorful "African" batik fabric that actually originated in Indonesia and was introduced to Africa in the19th century by British and Dutch colonizers. Incorporated into Victorian costumes, covering sculptures of extraterrestrials, or stretched like canvas for paintings, these vibrant textiles cleverly challenge issues of origin and authenticity. This book--the most comprehensive resource available on Shonibare--presents the best work of the London-based artist's career, including his high-profile project for the Fourth Plinth in London's Trafalgar Square and other innovative public sculptures. Whether lampooning Victorian propriety or commenting on what it means to be an "alien," Shonibare makes art that challenges straightforward interpretations.

A timely reassessment of some of the most daring projects of abstraction from South America Emphasizing the open-ended and self-critical nature of the projects of abstraction in South America from the 1930s through the mid-1960s, this important new volume focuses on the artistic practices of Joaquin Torres-Garcia, Tomas Maldonado, Alejandro Otero, and Lygia Clark. Megan A. Sullivan positions the adoption of modernist abstraction by South American artists as part of a larger critique of the economic and social transformations caused by Latin America's state-led programs of rapid industrialization. Sullivan thoughtfully explores the diverse ways this skepticism of modernization and social and political change was expressed. Ultimately, the book makes it clear that abstraction in South America was understood not as an artistic style to be followed but as a means to imagine a universalist mode of art, a catalyst for individual and collective agency, and a way to express a vision of a better future for South American society.

This new title celebrates 50 years of the creative force of nature that is the artistic partnership of Gilbert & George. Published in cooperation with the LUMA Foundation in Arles, France, on the occasion of their retrospective exhibition on show from 2 July to 23 September 2018. The book will feature five interviews with Gilbert & George by Hans Ulrich Obrist and Daniel Birnbaum, one for each decade of their practice. This title will be heavily illustrated with examples of Gilbert & George's artworks from their early years to their most recent series. Designed by Gilbert & George themselves, The Great Exhibition will feature their trademark style and panache. Introduced by a text co-authored by Obrist and Birnbaum, this publication will also feature several extracts from Michael Bracewell's 2017 publication What is Gilbert & George?. All text will be presented in both French and English.