"I lived in a haunted apartment." Davisson opens this definitive work on Japan's ghosts, or yurei, with a personal tale about the spirit world. Shifting from anecdotes to deep research to translation of ancient ghost stories, he explores the persistence of yurei in modern Japan and their continued popularity throughout the West. Color images of yurei appear throughout the book.

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

An easy-to-follow, yet comprehensive beginner's guide to drawing. In The Complete Guide to Drawing for Beginners, experienced art instructor Yoshiko Ogura explains the basics of pencil drawing through a series of lessons that provide insights on artistic composition, simulating highlights and shadows, depicting realistic forms, rendering texture and creating a sense of depth in your artwork. At the beginning of the book, she provides you with all the information you need to get started--what materials to buy, how to prepare your work surface, pencils and erasers--even how to sit correctly when drawing. Once you know these, Ogura provides a series of easy and clear step-by-step lessons showing you how to draw simple objects while gaining an understanding of the essential concepts of perspective, how to convey hard and soft surfaces and textures, composition and balance. From here, you progress to more complex shapes and objects including landscapes and portraits of people and animals, as she explains all the additional concepts needed to draw these realistically. This book teaches you how to draw the following interesting subjects: Simple forms (an apple, a milk carton, an egg, a mug) Hard & soft surfaces (fabric, a loaf of bread, a stone, a book) Transparent objects (water droplets, a glass) Complex objects (a piece of squash with seeds and pulp, a sunflower) Human anatomical features (hands, faces) Landscape elements (trees, buildings) Animals (a cat, a parakeet) Still life (fruit, flowers) Plus, many other inspirational examples and ideas! By the end, all your drawings will begin to look impressively polished and realistic! As you work through the lessons, you'll master all the skills and knowledge that seasoned artists demonstrate in their work.

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.

Evidence of Being opens on a grim scene: Washington DC's gay black community in the 1980s, ravaged by AIDS, the crack epidemic, and a series of unsolved murders, seemingly abandoned by the government and mainstream culture. Yet in this darkest of moments, a new vision of community and hope managed to emerge. Darius Bost's account of the media, poetry, and performance of this time and place reveals a stunning confluence of activism and the arts. In Washington and New York during the 1980s and '90s, gay black men banded together, using creative expression as a tool to challenge the widespread views that marked them as unworthy of grief. They created art that enriched and reimagined their lives in the face of pain and neglect, while at the same time forging a path toward bold new modes of existence. At once a corrective to the predominantly white male accounts of the AIDS crisis and an openhearted depiction of the possibilities of black gay life, Evidence of Being above all insists on the primacy of community over loneliness, and hope over despair.

Ley lines mark alignments of sacred sites such as ridgetops and ancient megaliths and create pathways between them. This book too marks alignments and creates pathways, but its sacred sites are not monuments, they're artworks and poems. Its various forms of exchange between writers and artists offer unique access to contemporary art, poetry, and the creative process. In this unique anthology, working poets respond to questions about their recent books, painters and other artists offer statements about their work, and writers respond to artworks. These offerings and exchanges are juxtaposed so as to speak to one another in a capacious, resonant dialogue. The result is a broad-minded and inclusive poetics, a vision of creative work as a constituent of personal and civic life. Anyone who nurtures the creative impulse will enjoy Ley Lines and return to it again and again. Writing students, art students, and any reader engaged in artistic practice will find in Ley Lines not a how-to manual or step-by-step instruction but an inexhaustible vein of instructive reflection on imaginative work and the creative life.

Sketches of poetic and absolute power that are as extraordinary as their creators. This is t he first ‐ ever publication of the entirety of EVA & ADELE’s floral sketchbook. The drawings of flowers, which are uncompromising and executed in a small number of unfalteringly precise graphite lines, surprise the viewer with the radical aesthetics of their abstraction. Accompanied by a Gertrude Stein text, the unique sketches of flowers by EVA & ADELE are reproduced in this book ‐ lover’s treasure trove in close adherence to the original artists’ book. Based on photographs of the flowers in the artists’ studi o, they in turn are the basis of the highest level of the monumental palimpsest compositions of the group of works entitled ADSILA. The lifelong performance of the always smiling, internationally successful artist ‐ duo is one of the most radical pieces of c ontemporary art. Their work has already been exhibited in numerous solo shows from New York to Helsinki, and it has been acquired by the most important collections in the world, including the Tate Gallery in London and the Musée d'Art Moderne de la Ville d e Paris

Hungarian-born French artist Nicolas Schoeffer (1912-1992), though relatively unknown today, was during his lifetime a significant presence in the art world. His 1956 piece CYSP 1 is considered the first cybernetic sculpture, making use of motors, microphones, and photo-electric cells to create a work based on feedback loops and responsiveness to its environment. For Schoeffer, cybernetics enabled a crucial artistic exploration of the boundary between the living and the technological. This important reevaluation of Schoeffer's work features sculptures, paintings, and drawings, including unpublished pieces from the artist's studio and archive, as well as documentation of his interdisciplinary and experimental collaborations with architects, musicians, choreographers, scientists, and industrialists. Particular attention is paid to the innovative work he created between 1945 and 1975, which takes on particular resonance in our current, digitally saturated world. Distributed for Mercatorfonds Exhibition Schedule: Lille Metropole Museum of Modern, Contemporary and Outsider Art (02/23/18-05/20/18)

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorisations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily re-activates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late twentieth-century poetry of Denise Riley who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon who has collaborated with photographers and artists, as well as ventriloquising nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

The provocative and often comic Belgian art duo Jos de Gruyter and Harald Thys present in book form their collaborative contribution to the 2019 Venice Biennale The Belgian artists Jos de Gruyter (b. 1965) and Harald Thys (b. 1966) have collaborated for more than two decades on artworks in a variety of media, including film, photography, drawing, painting, and sculpture; they are known for thought-provoking works, often imbued with an antic sense of humor. The pair was selected to represent Belgium at the 2019 Venice Biennale, and this book accompanies and documents their exhibit, also titled Mondo Cane. The book is composed of a series of original, illustrated texts, written alternately in English, French, German, Dutch, and Italian. The texts are intended to evoke a variety of human conditions in an environment reminiscent of present-day Europe. Its title refers to a 1962 Italian film that documented-in a style intended to provoke Western audiences-cultural practices from around the world. Lavishly illustrated and designed by the artists themselves, this book both reflects de Gruyter and Thys's contribution to the Venice Biennale and is a work of art in its own right. Distributed for Mercatorfonds Exhibition Schedule: Belgian Pavilion of the 58th Venice Biennale (May 8-November 24, 2019) Centre for Fine Arts, Brussels (Spring 2020)

A beautiful book on the famed Chinati Foundation in Marfa, Texas The Chinati Foundation, a world-famous destination for large-scale contemporary art, was founded by Donald Judd (1928-1994) to preserve and present a select number of permanent installations that were inextricably linked to the surrounding landscape in Marfa, Texas. This handsome publication, first published in 2010 and now available with a new chapter devoted to the permanent installation by Robert Irwin that was inaugurated in 2016 and a new foreword by Jenny Moore, director of the Chinati Foundation, describes how Judd developed his ideas of the role of art and museums from the early 1960s onward, culminating in the creation of Chinati. The individual installations featured here include work by John Chamberlain, Dan Flavin, David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Ingolfur Arnarsson, Carl Andre, Claes Oldenburg and Coosje Van Bruggen, and John Wesley, as well as by Judd himself. The book also features a complete catalogue of the collection and writings by Judd relating to Chinati and Marfa. Published in association with the Chinati Foundation/La Fundacion Chinati

Berlin was shaped by the events of the twentieth century in a process of "automatic urbanism." More than any other metropolis, the city absorbed the forces of that epoch - modernity, fascism, two world wars, Stalinism, socialism, the Cold War, revolt, capitalism - and gave them form. This book shows how even today, opposed ideological, political, economic, and military forces continue to produce unplanned structures and activities and urban phenomena beyond the categories of urban design and architecture that conceal rich potential. Berlin reveals particularly clearly phenomena that have shaped urban development in the twentieth century in other places as well: conglomeration, collision of borders, destruction, void, mass, metabolism, and simulation. The present book, which caused a sensation when first published in German twenty years ago, is now being published in English for the first time. Its surprising and informative analysis of Berlin as a prototype of the modern city destroys the ideologies of heroic modernity as well as the new nationalisms and shows how the modern city "as found" can become the point of departure for new forms of context-specific architecture and urban planning. Taking Berlin as a prototype, Philipp Oswalt's lucid analysis describes how much the built environment of cities is influenced by the unintended side-effects of political, economic, and technological processes. This "automatic urbanism" reveals modernist master-planning and national building traditions as being a myth. Instead, the book offers a both socially and ecologically more sensitive, more responsible approach to develop cities "as found." Saskia Sassen, Columbia University New York This English edition of Philipp Oswalt's now-classic study could not be more timely. Every effort to understand the modern city must contend with Berlin, the twentieth century's anti-capital. Its lessons, presented here with singular insight and authority, remain necessary to anyone thinking about what that word - "city" - might still mean today. Reinhold Martin, Columbia University New York Berlin has never only been a theatre in the battle between ideas and ideologies. Rather, it has always been the material means by which these ideas clash against each other. If the struggle for our futures must take place in Berlin, as our historical moment seems to demand, there is no better guide than Philipp Oswalt's now classic Berlin: City Without Form. His scholarly ingenuity and perceptive architect's eye are only matched by a commitment to the future of his city. Eyal Weizman, Goldsmiths/University of London

Energy Overlays provides a glimpse into our post - carbon future where energy infrastructure is seamlessly woven into the fabric of our cities as works of public art. Fifty designs use a variety of renewable energy technologies to arrive at innovative site - specific solutions. Power plants of the future will be the perfect place to have a picnic! On the foreshore of St Kilda with the skyline of Melbourne as a backdrop rises a new kind of power plant - one that merges renewable energy production with leisure , recreation, and education. Energy Overlays provides a roadmap to our sustainable future with essays about the energy transition and beautiful renderings and diagrams of more than fifty designs. The result is a city where the infrastructures that power our world are designed to be reflections of culture, where public parks provide clean electricity to the city grid, and where the art that makes our lives more vibrant and interesting is also part of the solution to climate change.

The hidden soul of a group of creative individuals which, since the beginning, has always expressed itself in images. As I told you before, Ideas not Airships is a 500-page table book celebrating the 30th anniversary of the Hangar Design Group, one of the first independent and multidisciplinary creative design groups in Italy. The book is a narrative in pictures representing an attempt to discover an underlying theme in the intricate creative process of a group that is unique from the point of view both of its degree of expertise and its creative practices. Through works and experiences the book illustrates the life of the studio, tracing a decidedly unconventional figurative path made up of suggestions, inspirations, memories, faces and places - not only those of the Hangar Design Group itself but of anyone who undertakes to give form to an idea. The book illustrates the network's modus operandi. It begins from the birth of the first embryonic concepts and follows through to the finished product. As I told you before, Ideas not Airships is the enthusiastic narration of a gripping story, and is dedicated to all those who believe that with creativity we can (even) change the world.

One of the first books to extend the currently burgeoning scholarship on East Germany to the visual arts, revealing that painting, like literature and film, was a space of contestation. East German studies today is thriving. Scholars have shown East Germany to be a complex society where culture played an important, if contested, role in the making of the socialist person. In English-language scholarship, however,the visual arts-and especially painting-have been largely ignored, the result of the misperception that East German art was little more than kitsch or propaganda. This book focuses on one of East Germany's most successful artistsas a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in EastGermany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. April A. Eisman is Associate Professor of Art History at Iowa State University.

For three decades the signature "W. C. Hook" has connoted dynamic design, saturated colour, and muscular brushwork. William Cather Hook's ability to straddle the border between pictorial illustrationsion and pure paint, between traditional yet modern, has won him collectors worldwide. Less well-known about this master of acrylics is the breadth of his subject matter. In this retrospective of paintings dating from the early 1980s to the present Hook guides the reader on a journey that includes the back roads of northern New Mexico, the high country of the colourado Rockies and Sangre de Cristos, California's Pacific coastline and central valley, the reaches of the Sonoran Desert, and historic vistas in England and Italy. Whether depicting crashing surf, aspen forests, or luminous big skies, Hook's vision is inviting, vibrant, and infused with radiant light. Also explored is the artist's biography, from his Kansas roots to his current studios in Santa Fe, New Mexico, and Carmel, California.

This book explores Andy Warhol's creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol's work appropriated images, techniques, and technologies that have long been described as generically "American" or "middle class." Drawing on archival and theoretical research into Warhol's contemporary cultural milieu, Grudin demonstrates that these features of Warhol's work were in fact closely associated with the American working class. The emergent technologies which Warhol conspicuously employed to make his work home projectors, tape recorders, film and still cameras were advertised directly to the working class as new opportunities for cultural participation. What's more, some of Warhol's most iconic subjects Campbell's soup, Brillo pads, Coca-Cola were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands. Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol's work disseminated these promises, while also providing us with a record of their intricate tensions and transformations.

A monumental new work of scholarship on a luminary of twentieth-century art "I'm not sure I have ever seen a catalogue raisonne as beautiful, as magnificent, as the new publication on the oeuvre of the great American sculptor David Smith."-Michael Fried, Bookforum Embracing factory methods of construction, building on the legacy of cubism, and turning his back on European carving and casting traditions, David Smith (1906-1965) transformed postwar sculpture. His body of work, contemporary with the New York School in painting, and his pioneering placement of sculptures in a natural setting are foundational for present-day sculpture and installation art. This three-volume boxed set comprehensively details the entirety of Smith's sculptural oeuvre. It is now the definitive catalogue raisonne and supplants the one constructed by Rosalind E. Krauss in 1977. With Christopher Lyon as editor and Susan J. Cooke as research editor, the volumes also contain a foreword by Rebecca and Candida Smith; essays by Michael Brenson, Sarah Hamill, Marc-Christian Roussel, and Christopher Lyon; and a chronology by Tracee Ng. Reproductions of documents and images, including many photographs, paintings, drawings, and sketches by the artist offer insights into Smith's methods and creative thought. Handsomely designed and illustrated with fine color reproductions, this catalogue raisonne is both a sumptuous object and an essential scholarly resource. Distributed for the Estate of David Smith

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.

Belfast-born British artist Cathy Wilkes will be representing Great Britain at the 58th International Art Exhibition at the Venice Biennale in 2019. Wilkes will present a major new solo exhibition at the British Pavilion between 11 May and 24 November. Renowned for her distinctive and highly personal sculptural installations featuring humanoid figures that highlight the tender intimacy of everyday life, Wilkes' exhibition will feature new paintings and sculptures that will provoke a strong emotional response in viewers, set against the backdrop of the grand architecture of the British Pavilion. Narratives and histories which often evoke interiors and places of loss or solitude are suggested through her evocative objects but never explicitly expressed, and indeed Wilkes resists written descriptions and explanations of her work, intentionally not naming her installations, assemblages and exhibitions in a bid to keep open the viewer's perceptions. This publication, one of the only books

Ayse Gungoer investigates art practices between art and anthropology in Turkey, as well as the implications of contemporary art for those disciplines. She discusses various approaches based on anthropological theories on the forms of relation and theories of artistic practices on socio-political issues. Based on long-term research with contemporary artists such as Nil Yalter, Gulsun Karamustafa, Esra Ersen, Kutlug Ataman, Tayfun Serttas, Koeken Ergun, Dilek Winchester and Artikisler Collective, this book analyzes the objectives of art and anthropology in order to determine new possibilities and divergences arising from this interdisciplinary confluence.