A captivating chronicle of building in modern-day Charleston, making a case for architecture based on historical precedent, local context, and the ability to delight Charleston, South Carolina, which boasts America's first historic district, is known for its palmetto-lined streets and picturesque houses. The Holy City, named for its profusion of churches, exudes an irresistible charm. Award-winning author and cultural critic Witold Rybczynski unfolds a series of stories about a group of youthful architects, builders, and developers based in Charleston: a self-taught home builder, an Air Force pilot, a fledgling architect, and a bluegrass mandolin player. Beginning in the 1980s, this cast of characters, exercising a kind of amateur mastery, produced an eclectic array of buildings inspired by the past-including a domed Byzantine drawing room, a fanciful medieval castle, a restored freedman's cottage, a miniature Palladian villa, and a contemporary Mediterranean street. In his careful profiles of these protagonists and the challenges they have overcome in realizing their dreams, Rybczynski compellingly emphasizes the importance of architecture and urban design on a local level, how an old city can remake itself by invention as well as replication, and the role that individuals still play in transforming the urban landscapes around them.

A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of "creative Britain" as a national brand-all nurtured and promoted the emergence of London as "a new capital of art." Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art. Distributed for the Paul Mellon Centre for Studies in British Art

A daring reassessment of Louise Nevelson, an icon of twentieth-century art whose innovative procedures relate to gendered, classed, and racialized forms of making In this radical rethinking of the art of Louise Nevelson (1899–1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction—in which she assembled found pieces of wood into elaborate structures, usually painted black—have been little studied. Organized around a series of key operations in Nevelson’s own process (dragging, coloring, joining, and facing), the book comprises four slipcased, individually bound volumes that can be read in any order. Both form and content thus echo Nevelson’s own modular sculptures, the gridded boxes of which the artist herself rearranged. Exploring how Nevelson’s making relates to domesticity, racialized matter, gendered labor, and the environment, Bryan-Wilson offers a sustained examination of the social and political implications of Nevelson’s art. The author also approaches Nevelson’s sculptures from her own embodied subjectivity as a queer feminist scholar. She forges an expansive art history that places Nevelson’s assemblages in dialogue with a wide array of marginalized worldmaking and underlines the artist’s proclamation of allegiance to blackness.

Ronald Lockett (1965-1998) stands out among southern artists in the late twentieth century. Raised in the African American industrial city of Bessemer, Alabama, Lockett explored a range of recurring themes through his art: faith, the endless cycle of life, environmental degradation, historical events, the sweetness of idealized love, mourning, human emotion, and personal struggle. By the time Lockett died at age thirty-two, he had created an estimated four hundred works that document an extraordinary artistic evolution. This book offers the first in-depth critical treatment of Lockett's art, alongside sixty full-color plates of the artist's paintings and assemblages, shedding light on Lockett's career and work. By placing Lockett at its center, contributors contextualize what might be best understood as the Birmingham-Bessemer School of art, which includes Thornton Dial, Joe Minter, and Lonnie Holley, and its turbulent social, economic, and personal contexts. While broadening our understanding of southern contemporary art, Fever Within uncovers how one artist's work has become emblematic of the frustrated, yearning, unredeemed promises, and family and community resilience expressed by a generation of African American artists at the close of the twentieth century. Contributors include Paul Arnett, Sharon Patricia Holland, Katherine L. Jentleson, Thomas J. Lax, and Colin Rhodes.

**THE INSTANT NEW YORK TIMES BESTSELLER** Veteran style journalist Elizabeth Holmes expands her popular Instagram series, So Many Thoughts, into a nuanced look at the fashion and branding of the four most influential members of the British Royal Family: Queen Elizabeth II; Diana, Princess of Wales; Catherine, The Duchess of Cambridge; and Meghan, The Duchess of Sussex. Kate Middleton and Meghan Markle are global style icons, their every fashion choice chronicled and celebrated. With all eyes on them, the duchesses select clothes that send a message about their values, interests, and priorities. Their thoughtful sartorial strategies follow in the footsteps of Queen Elizabeth II and Diana, Princess of Wales, two towering figures known for using their personal style to great acclaim. With one section devoted to each woman, HRH is a celebration of their stories and their style, pairing hundreds of gorgeous photographs with extensive research. A picture emerges of the British monarchy's evolution and the power of royal fashion, showing there's always more than what meets the eye.

The paintings and drawings of Michele Melillo (*1977) enchant the viewer with their lightness and harmonious colours. Accompanied by an explanatory essay by Veit Ziegelmaier, this comprehensive artist monograph reproduces for the first time works from all work cycles by the young German painter and graphic artist.Michele Melillo starts with historicalreferences when developing his works, combining in masterly style motifs from the Baroque and Rococo eras with a modern vocabulary of forms, folkloric ornaments and classical architecture. Fauvist orgies of colour and sprawling lines characterise the recurring subjects of his pictures: the barque as a symbol of the Egyptian sun god Ra, fabulous creatures and unusual animal pictures or portraits of people long believed to be dead. After studying painting with Prof. Axel Kasseboehmer at the Academy of Fine Arts, today Melillo lives and works in Munich. As the monograph impressively proves, hisworks instantly fascinate the viewer and surprise repeatedly with their profound wit.

Heinz Mack (*1931) has been working as a sculptor and painter for more than sixty years. From the ZERO period in around 1960 to the present day he has created a wide-ranging work whose essential aspects, such as the significance of light, structure and colour are portrayed with often surprising perspectives. The authors accompany Mack in his constant search for a new concept of art, thereby discovering little-known connections to Minimal Art, Land Art, Yves Klein and Constantin Brancusi. The journey through Mack's rich oeuvre culminates finally in his passionate plea for the "idea of beauty in the 21st century". Heinz Mack is an artist who has left his mark on our times. He has made a pioneering contribution to the question of a new concept of art, which has been of fundamental importance since the post-war period. This volume offers for the first time a monograph with an overview of Mack's philosophy of art as well as his multi-faceted oeuvre: from ZERO and the legendary Sahara Project to light art and his most recent paintings.

In 2019, the Renaissance Society at the University of Chicago and the Carpenter Center for the Visual Arts, Harvard University co-organized an exhibition of a newly commissioned body of work by the Canadian artist Liz Magor. The accompanying publication, Liz Magor: BLOWOUT, is the artist's first US catalog in ten years, and it features thorough photographic documentation of the new work, commissioned texts by Mitch Speed and Sheila Heti, and a conversation between the artist and curators Dan Byers and Solveig Ovstebo. For more than four decades, Magor's practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as "a collection of tiny and intense narratives." Each written contribution responds in its own way to Magor's new installations, which feature altered stuffed toys, bits of paper, and rat skins--sculptural "agents," in the artist's words--suspended in transparent Mylar box forms, and thirty-two pairs of secondhand shoes, each displayed within its own box amidst elaborate embellishments.

Sam Herman (1936-2020) stands at the very centre of the development of the international Studio Glass Movement. He was not only present for the birth of the Movement in the United States, but was its founding father in Great Britain and Australia. This book is the first to deal directly with the genesis of the Movement and the pioneering work of Herman within it, while also shedding light on his wider practice in sculpture and painting. The son of Polish immigrants, Mexican by birth, and brought up in the tougher New York boroughs, Herman travelled to London in the mid-1960s and went on to head up the Glass Department at the Royal College of Art. From there he inspired a generation of artists, created revolutionary techniques and was instrumental in the development of colour and texture in blown glass. For art historians, collectors and aficionados of glass, this book provides a welcome and comprehensive evaluation of Herman's position within the Studio Glass Movement, the history of glass art, as well as the wider context of modern British art. While discussion of his sculpture and painting reveal further dimensions to Herman's ongoing, and indefatigable, explorations in form, composition and colour.

A hall of art surrounded by nature, supported by 121 individually designed pillars created by famous artists from all over the world: Bernd Zimmer has been pursuing this idea and its realization for over 30 years. The volume is lavishly illustrated and documents its creation, showing all the artists’ pillars in detailed individual photos. It was back in 1990 on a journey through South India that, inspired by the pillared porticoes of the Hindu temples, the painter Bernd Zimmer had the idea of a project which has now been realised as STOA169, a permanent art installation in Polling, Bavaria. Artists from all continents were invited to design pillars which together support a roof. Together the pillars forms an art universe which stands for solidarity, international understanding and respect for nature.

An engaging account of today s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. * Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 * Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways * Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship * International in scope, bringing together over forty of the most important voices in the field, including Sofia Hernandez Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert * A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados

Can You Dig It? Digital—even before this word signified research-based proces-sing, its original meaning referred to the fingers. The same goes for the artists Michael Morris and Vincent Trasov, whose Image Bank, founded in 1969, did not consist of ones and zeros but en-tirely of postal handwork. With the intent of a decentralized and network-based circulation and exchange of images, they antici-pated the structures of today’s image databases on the Internet. Moreover, from sending, receiving, and collecting, a multifaceted and expansive oeuvre formed, whose creator is no longer a single person, but a collective movement. Away from established insti-tutions such as museums and galleries, a utopia of non-hierarchi-cal and free exchange of images first took shape here, which has lost nothing of its topicality even from today’s perspective. Exhibition: KW Institute for Contemporary Art, 22.6.–1.9.2019

The Margulies Collection at the Warehouse is a non-profit institution located in a 45,000 square foot retro-fitted warehouse in the Wynwood Arts District of Miami. The Warehouse presents seasonal exhibitions from the collection of renowned collector Martin Z. Margulies as well as educational programs, special exhibitions and an international loan program. With a stated mission of education in the arts, the Warehouse has welcomed thousands of students and visitors from all over the world. It is operated and funded by the Martin Z. Margulies Foundation, a thirty year resource for the study and enjoyment of the visual arts. The Martin Z. Margulies Collection Vol. 2 includes photography, video and installation works that have been shown at the Warehouse since it opened. The text includes essays by Barbara London, Marvin Heiferman and Mike Danoff. The catalogue is further illustrated with major works by artists from throughout the last century, such as Stephen Shore and William Eggleston, Anselm Kiefer, Doug Aitken, Tony Oursler, Richard Serra, Paola Pivi, Malick Sidibe and many others. Filled with countless insights and treasures, Martin Z. Margulies Collection Vol. 1 and Vol. 2 are a journey through one of the most exceptional collections of art in America.

"Although the street art is generally conveyed in a very natural matter, even his dead animal paintings seem at peace." - Streetartbio.com "Detached from the artist's identity, his detailed, illustrative animal paintings have brought him back to the world. With local species of animals as his main focus, ROA inevitably starts a dialogue about human interaction with nature and the environment, whether it is painting on the walls of a museum or in an abandoned rural factory." - Hi Fructose - The New Contemporary Magazine "One of the most influential acts of street art around the world." - The Huffington Post Fascinated by nature, the anonymous muralist and street artist ROA is inspired by the beauty of its non-human inhabitants. With great attention to detail, ROA draws over-sized black and white creatures of endemic or endangered species on buildings around the world, from Moscow to Mexico City, and from Los Angeles to London. His subjects are frequently survivors; scavengers, rodents, and unusual animals that thrive in their particular milieu.

Blending the reflected cultural climate of his adopted home, Los Angeles, with the multi-layered world of American popular culture, Jim Shaw (b.1952) creates rich, dream-like worlds within distinct bodies of work. Addressing, for the first time, how the artist's oeuvre inter-relates, this substantial monograph argues that the artist's seemingly disparate series actually function together to present a lucid and insightful portrait of America today. Emerging out of the long West-Coast shadows of California Assemblage by way of LA Pop and Conceptualism, Shaw's narrative-driven art marries art history and contemporary existence, as well as literature and comic books, ancient myths and modern movies, science and its variations in popular psychology - not only blurring the boundaries between art and life, but cultivating that confusion to consider the relationship between fact and fiction that seems to define so much of the world we inhabit today. Giving contemporary viewers an effective way to think about art, this publication is an invaluable resource for those interested in painting today and its interaction with modern life.

Speaking Out of Turn is the first monograph dedicated to the forty-year oeuvre of feminist conceptual artist Lorraine O'Grady. Examining O'Grady's use of language, both written and spoken, Stephanie Sparling Williams charts the artist's strategic use of direct address-the dialectic posture her art takes in relationship to its viewers-to trouble the field of vision and claim a voice in the late 1970s through the 1990s, when her voice was seen as "out of turn" in the art world. Speaking Out of Turn situates O'Grady's significant contributions within the history of American conceptualism and performance art while also attending to the work's heightened visibility in the contemporary moment, revealing both the marginalization of O'Grady in the past and an urgent need to revisit her art in the present.

This volume collects over 350 works created by Francesco Jodice - artist, photographer and filmmaker - over 25 years of his career. His entire production is accompanied by texts by 65 critics, curators and artists. Photographs, films, maps and installations bring about a kaleidoscopic fresco of our time. Texts by: Cecilia Andersson, Gabriele Basilico, Marcella Beccaria, Stefano Boeri, Ilaria Bonacossa, Annelie Bortolotti, Silvia Camporesi, Raul Cardenas Osuna, Luca Cerizza, Laura Cherubini, Antonella Crippa, Denis Curti, Catherine David, Anna Dethridge, Giacinto Di Pietrantonio, Sergio Edelsztein, Emiliano Gandolfi, Walter Guadagnini, Anna Maria Guash, Rafael Doctor Roncero, Patrick Henry, Horacio Hernandez, Mimmo Jodice, Filippo Maggia, Rem Koolhaas, Bruno Latour, Amparo Lozano, Gianfranco Maraniello, Thomas Mayr, Massimo Melotti, Marco Meneguzzo, Francesca Alfano Miglietti, Juan Jose Millas, Luca Molinari, Roberto Murgia, Nobuo Nakamura, Franziska Nori, Rosa Olivares, Costanza Paissan, Cristiana Perrella, Saverio Pesapane, Sandro Petraglia, Christopher Phillips, Rafael Pinilla, Andrea Pinkets, Carlo Artuto Quintavalle, Letizia Ragaglia, Cathy Remy, Eleonora Roaro, Carlo Sala, Francesco Sala, Gabriele Sassone, Gabi Scardi, Thomas Seelig, Marta Sese, Angela tecce, The Cool Couple, Roberta Valtorta, Lea vergine, Eugenio Viola, Paul Virilio, Arianna Visani, Francesco Zanot, and Miguel Zugaza.

What happens when over 80 creators from the world's top video game studios join forces without the constraint of committee design? You get Substrata, a hypothetical Triple-A title driven by artists, for artists. Herein lies their widely varied, unbridled visions! Inside you'll find character designs, locations, monsters, items, interface designs, and more, all exploring the spectacular dark fantasy world of Substrata.

Bill Ohrmann only began seriously painting when he retired from ranching in 1996. Since then, the 95-year-old Montana artist has produced hundreds of canvases that explore his blistering criticism of the modern West. His direct, narrative paintings, often inspired by quotations from his favorite poets and environmental writers, are by turns wry, apocalyptic, horrifying and hilarious.

In "Tainted Revelations, ," Joe Ashbrook Nickell maps out the broad landscape of Ohrmann's oeuvre, communing along with the way with the cavemen and future-men, tigers and mice, neighbors and nymphs who speak their truths through the painter's brush. Part biography, part meditation, Nickell's text is coupled with more than 90 color reproductions of Ohrmann's work, eloquently illuminating the artist's singular worldview and impassioned concern for the plight of oppressed souls--human and otherwise--of this earth.

Joe Ashbrook Nickell is a two-time NEA Arts Journalism Institute fellow. He lives in Missoula, Montana.

The artist Kubra Khademi (b. 1989) lives in Paris and focuses in her work on her life as a woman and a person with direct experience as a refugee. This makes it both political and highly topical. Multi-faceted themes pervade her art, including her function as mouthpiece and as an element in the fight for the fundamental rights of women, as well as artistic work in exile and in a Muslim society. In paintings and more recently with the use of photographic techniques and embroidery, Khademi presents tranquil nude female figures that – depending on the angle – can nonetheless be interpreted as provocative. They are juxtaposed with impressive performances that draw on the artist’s own physical experiences as a subject. Khademi focuses her attention on the male-dominated society in countries like her native Afghanistan and the socio-political situation there, linking together motifs from mythology, art history and politics. Kubra Khademi has received many awards for her work, and this overview publication presents her oeuvre in all its complexity.