The German-Swedish artist Ann Wolff is a pioneer of the studio glass movement in Europe. Born in Lubeck in 1937, she has achieved international fame for her sculptures which mainly use the material glass, but she has always drawn as well.This volume now presents a collection based on a selection of sixty hitherto unpublished drawings from the 1980s. The works, executed in pencil on paper, focus on a female figure seen in reflections and duplications, sometimes surreal and whimsical in connection with animals and intermediate beings, and sometimes with a man or a child: dream worlds, pictures of the subconscious, often inspired by fairy tales. The pictures unfold their narrative potential as investigations of the female self in the social milieu of an age characterised by feminist movements and discussions regarding the relationship between the sexes.

"Bruce Nauman: The True Artist" by Peter Plagens is the first authorized monograph of the world-famous sculptor, photographer, and video artist. Plagens, a renowned writer, critic, and author who has known Nauman for more than forty years, delivers a personal and authoritative account tracing Nauman's entire career, from his youth in Fort Wayne, Indiana to his graduate work at the University of California, through to the present day.

Plagens first met Bruce Nauman in Pasadena, California, in 1970, where their studios were a block apart and they played basketball together every Sunday. Since then, Plagens has pursued a real understanding of his friend's art. The book chronicles Nauman's process, from the creation of works in his New Mexico studio to the organization, installation, and reception of his exhibitions. Throughout, Plagens is a savvy and engaging guide to the work, using his own attempts to puzzle out the meaning of the pieces, and the artist's conversations about them, to offer readers a vivid and enlightening take on one of the key figures in contemporary art.

The perfect introduction to the city's architectural heritage, Barcelona Sketchbook gives visitors and residents insight into a wealth of sights, both grand and intimate in scale. Many facets of the Catalonia capital and surroundings are recorded here, as Graham Byfield strolls with his sketchpad through the Ramblas, the glories of Antoni Gaudi, the great ceremonial buildings, and cafes and parks full of character. On the way, with a few pencil strokes and splashes of watercolour, he captures scenes of daily life, as well as a plethora of architectural wonders dating from the Middle Ages to the present day. Founded as a Roman city, Barcelona became the capital of the County of Barcelona in the Middle Ages. After merging with the Kingdom of Aragon, it continued to be an important city as an economic and administrative centre and the capital of the Principality of Catalonia. Besieged several times during its history, Barcelona has a rich cultural heritage and is today a major tourist destination being one of the world's most visited cities. Particularly renowned are the architectural works of Antoni Gaudi and Lluis Domenech i Montaner, which have been designated UNESCO World Heritage Sites. The city is also an important port, has hosted two International Exhibitions and is known for its successful Summer Olympics in 1992. Accompanying the paintings and sketches are observations and notes handwritten by the artist, as well as a learned and informative introduction to Barcelona and its various areas by heritage expert Marcus Binney.

A riveting excursion through Warhol's incomparable personal collections, from the bizarre to the illuminating Andy Warhol (1928-1987) remains an icon of the 20th century and a leading figure in the Pop Art movement. He also was an obsessive collector of things large and small, ordinary and quirky. Since 1994, The Andy Warhol Museum has studied and safeguarded the artist's archive encompassing hundreds of thousands of these objects, at turns strange, amusing, and poignant. From this array, many of these items have been researched and described in this book for the first time. Written by Matt Wrbican, the foremost authority on Warhol's personal collection, A is for Archive features curated selections from this collection, shedding light on the artist's work and motivations, as well as on his personality and private life. The volume is organized alphabetically, honoring Warhol's own use of a whimsical alphabetical structure: "A is for Autograph" (a selection of signed objects, many of which influenced his most popular works), "F is for Fashion" (featuring his collections of cowboy boots, neckties, and jackets), "S is for Stamp" (works of art by Warhol and others relating to stamps and mailed items), and "Z is for Zombie" (a grouping of photographs and ephemera of Warhol in various disguises: drag, robot, zombie, clown). The book also features an insightful essay by renowned art critic and Warhol biographer Blake Gopnik. For the myriad fans of Warhol and his quixotic world, this volume is essential and unforgettable.

Shepard Fairey s first comprehensive monograph brought back into print, which chronicles his early art school days, his viral Andre the Giant has a Posse sticker campaign in the 1990s, the creation of his enormously successful OBEY apparel brand, and his longtime role as an activist-street artist.

Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world-its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era-combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School(Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists-among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat-about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century-and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clementine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle

Emigration, being lost in a strange world, the search for a new identityand longing for things and people that have been lost form the central topics in the work of the Albanian artist Adrian Paci. The volume presents his iconic works which have earned him a world reputation. Adrian Paci emigrated from Albania to Italy with his family in the late 1990s. His own experience of flight, of giving up shared communities and his searching for a new identity have left their mark on his artistic work. Over the last 20 years expressive works have been created in the form of videos, photos, painting and sculptures which treat theseexistential experiences. The accompanying essays take up this politically topical subject and examine Paci's oeuvre from various angles. An interview with the artist rounds out the volume.

Historically, women have been depicted as a projection of male fantasies, prejudices, and relationships. However in the 1970s, there was a tectonic change in the way women portray themselves in art. For the first time, female artists began to investigate visual representations of their own selves. They studied their own bodies and created the alternative views of feminine identity. Editor Gabriele Schor explores the Feminist Avant-Garde to emphasise the role that these artists played for the last four decades. The results are provocative, radical, poetic, ironic, angry, cynical, and heartfelt. Most of all they are honest, sharing a collective consciousness that reassessed, and even rejected, what came before by turning to new ways of expression in the fields of photography, performance, film, and video. Included here are works by Cindy Sherman, Ana Mendieta, Nil Yalter, Ketty La Rocca, Birgit Jürgenssen, Renate Bertlmann, Francesca Woodman, and other fearless female artists from around the world. Their work explored the female experience in all its dimensions including pregnancy, childbirth, motherhood, sexuality, partnership, beauty standards, rape, and the female body. Each artist is introduced by an essay and the book also includes fascinating interviews with leading curators in the field of feminist art. This groundbreaking book emphasises the accomplishments of women artists who have made a name for themselves while encouraging and inspiring those who have come after them.

Life in Death is the most comprehensive collection to date of work by artist Rebecca Louise Law. The book documents the evolution of Law's unique artistic practice, the use of flowers as preserved sculptural material. A journey through the earliest experiments, to her best known immersive installations, via a series of beautifully documented photographs. It also provides a unique insight into the life and influences of the artist, including an introduction written by Law. The title culminates with exclusive imagery of Life in Death, Law's forthcoming exhibition showcasing a sculptural installation at the heart of Kew's Shirley Sherwood Gallery, which pays homage to the expertise in preservation presented throughout Kew's collections and represents a symbol of natural durability which is central to Law's practice. Life in Death runs from 7 October 2017 - 11 March 2018 in the Shirley Sherwood Gallery of Botanical Art, Royal Botanic Gardens, Kew.

Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the forty year history of Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine-artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists' aesthetic practice would be transformed."Community Art" examines this process of aesthetic transformation and its rejection of the individualized practice of the gallery artist. The Free Form story calls into question common understandings of the categories of "art," "expertise," and "community," and makes this story relevant beyond late twentieth-century and early twenty-first-century Britain.

At the centre of Rene Myrha's (*1939) expressive oeuvre lie landscapes and rigorous compositional room perspectives which are transformed into stage-like settings. They form the scenery for the choreography of his figures. Myrha examines them through specific media in drawings, oil, acrylic, sculpture and reliefs. Born in Delsberg in Switzerland, the painter encountered the contemporary movements of art and design during the 1960s in Paris and Milan. In the foreground of his activities lie forms and volumes which combine and breakthrough constructed and organically created spaces. In his later works they are animated by a surreal figural universe. The publication shows a representative cross-section of Myrha's oeuvre, from Pop Art to an obsessive preoccupation with a mysterious and dramatic world of figures.

Tinka Pittoors (b. 1977) is a Belgian visual artist, who regularly exhibits her work in Flanders, Wallonia, the Netherlands and France. Anyone who crosses the threshold of her studio will feel as if they've stepped into an artificial secret garden. An explosion of shapes and colours awaits in a place where everything has the potential of becoming an artwork. In her sculptures and objects, Pittoors examines the utopia of a malleable world, often using the nature-culture divide as her starting premise. Each presentation is a moment in time, a snapshot, that is tailored to the venue. Les Voyageurs is published on the occasion of her eponymous exhibition in the gardens of Chateau Seneffe. Many people in Flanders have yet to discover this hidden gem. And yet the castle and gardens of Seneffe are Wallonia's equivalent of Versailles, with fountains, pavilions, pristine nature, and dreamy paths on 22 hectares of land. For this exhibition, Pittoors created a trail that reflects on the various possibilities of travel, displacement and detachment, arriving and leaving, escapes and quests. The introduction was written by Pieter Vermeulen. Other contributors include Marjolaine Hanssens, Veronika Pot, Carine Fol, Isabelle Pouget, Dominique Legrand, Stijn Tormans, Marc Ruyters, Jan Braet and Saskia De Coster. Text in English, French and Dutch.

The Edinburgh Art Book showcases one of the most beautiful cities in the world. Inspired by Edinburgh's unique architecture, over 50 artists have produced a unique collection of contemporary images illustrating all aspects of the city and surrounding area. The city is shown in a new light through a range of media, from screen print and computer aided design to hand-cut collage.

In the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party's propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process. Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics' plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.

Wide-ranging appeal across the realm of Judaic interest, from fans of artists such as Ben Shahn to illustrators like David Levine. A must-have for collectors of Judaica, both art and written works. Also of interest to anyone interested in the conjunction of fine art and historical and religious art. A magnificent gift published in time for high holidays. Mark Podwal is today's premiere artist of the Jewish experience, with a prolific portfolio of work lauded by visionaries ranging from Elie Weisel to Harold Bloom. His paintings and ink-on-paper drawings are not only beautiful but also offer profound and nuanced commentary on Jewish tradition, history, and politics. This unprecedented collection brings together the widest selection of Podwal's work ever published in a single volume in a stunning, lavishly produced, oversized hardcover. With more than 350 works, each beautifully reproduced, Reimagined is a must-have for every Jewish home.

Trevor Paglen is an American artist, geographer, and author. What I want from art," says Paglen, "is to help see the historical moment we live in." His photographs make visible things we're not meant to see; he regards this invisibility as emblematic of that moment. Looking toward the earth, sea, or sky as earlier artists have, Paglen captures the same horizon seen by Turner in the nineteenth century or by Ansel Adams in the twentieth. Only in Paglen's images, a drone or classified communications satellite is also visible. "For me," Paglen observes, "seeing the drone in the twenty-first century is a bit like Turner seeing the train in the nineteenth century." Turner was less interested in the technology than its effects on perception, by its ability to accelerate human motion. Paglen is interested in our evolving perception in space. Standing in the Western landscape where Adams worked, Paglen photographs the drone as it photographs him. His images suggest that our conceptions of space and visuality are undergoing radical change; the physical limits of vision are no longer a reliable measure of what is visible to (often mechanical) others.Trevor Paglen: Sites Unseen is the first major career survey for the artist in the United States. it presents Paglen's key photographic series: Limit Telephotography; Tapped Underwater Cables and Cable Landing Sites; and The Other Night Sky and Untitled (Drones). Other works included are Code Names, NSA Triptych, 89 Landscapes, Trinity Cube, Autonomy Cube, and The Fence. The volume includes an essay by curator John Jacob; an essay by Luke Skrebowski of the University of Manchester; and a conversation between the artist and Wendy Hui Kyong Chun and Katherine Crawford.

Dedicated to art practices that mobilize the model of the archive, this book demonstrates the ways in which such 'archival artworks' probe the possibilities of what art is and what it can do. Through a variety of media, methodologies and perspectives, the artists surveyed here also challenge the principles on which the notions of organization, evidence and documentation are built. The earliest examples of the modern archival artwork were made in the 1930s, but it is since the 1960s that archival principles have increasingly been used by artists to inform, structure and shape their works. This includes practices that consist of archive construction, archaeological investigation, record keeping or the use of archived materials; however, they also interrogate the principles, claims and effects of the archive. Staging the Archive shows how artists read the concept of the archive against the grain, questioning not only what the archive is and can be but what materials, images or ideas can be archived. In this book Ernst van Alphen examines these archival artists and artworks in detail, setting them within their social, political and aesthetic contexts. Exploring the work of Marcel Duchamp, Marcel Broodthaers, Christian Boltanski, Annette Messager, Fiona Tan and Sophie Calle, among others, this book reveals how modern and contemporary artists have used and contested the notion of the archive to establish new relationships to history, information and data.