Thomas Hirschhorn is a leading installation artist whose work is owned and exhibited by modern art museums throughout Europe and the United States. Known for his compelling, often site-specific and activated environments which tackle issues of critical theory, global politics, and consumerism, his work initially engages the viewer through sheer superabundance. Combining found images and texts, bound up in handcrafted constructions of cardboard, foil, and packing tape, they correlate to the intellectual scavenging and sensory overload that characterize our own grapplings with the excess of information in daily life. Christina Braun is the first to compile and systematically analyze the extensive source material on this artist's theoretical principles. Now translated into English, her study sheds light on the complicated yet constitutive relations between Hirschhorn's work and theory, providing a major contribution to the study of contemporary art.

In the summer of 2021, Miriam Cahn's project FREMD das fremde in the southern valley of Bergell in the Swiss canton of Grisons provoked a lasting echo both in the public and the media. The world-renowned contemporary artist, who has lived in the valley for years, set new, unexpected accentuations with her most recent work in the historic Palazzo Castelmur. As part of a multi-layered performance, the publication embraces the theme of being a stranger and advances a deepening of the discourse. The book reflects the conceptual openness of Miriam Cahn's artistically as well as socially arousing project. The works have been captured by internationally acclaimed Swiss photographer Lukas Wassmann, representing their special spatial constellation arranged by the artist herself.

Claudia Wieser's artistic practice draws from history, architecture, and design, often playing with time and space. Influenced by artists who embraced spirituality--such as Hilma af Klint, Wassily Kandinsky, and Paul Klee--she considers abstraction and physiological experience in her installations. The Berlin-based artist's practice includes hand-painted ceramics, carved wooden sculptures, tiled mirrored works, drawings, and site-specific wallpaper with images mined from her vast archive. Claudia Wieser: Generations highlights her first solo exhibition in the United States held at the Bemis Center for Contemporary Arts and the Smart Museum of Art. Alongside images of her work, this publication features essays by curators Rachel Adams and Jennifer Carty and three interviews conducted by Maggie Taft, Igor Siddiqui, and Angelik Vizcarrondo-Laboy.

Glenn Chadbourne makes our nightmares come to life on paper... and then some. For the last thirty years Glenn Chadbourne has become one of the leading artists in the horror and dark fantasy realms. He is also the artist that brought you Stephen King s graphic story collections, SECRETARY OF DREAMS, in two oversized volumes, and the 2013 Stephen King production of THE DARK MAN, which includes over seventy illustrations His work has appeared on book, magazine, and album covers, city murals, and even overgrown Halloween pumpkins Authors he s graced his art with include Edward Lee, Joe Lansdale, Rick Hautala, Rocky Wood, Christopher Golden, Ray Garton, Douglas Clegg, et el. This sampler was offered for his 2013 Artist Guest of Honor appearance at the World Horror Convention in New Orleans and features color and b&w art as well as fiction by the artist with Holly Newstein.Glenn Chadbournes artwork will grab you. His detail from the in-your-face foreground images, to the minute background detail that is no less important, will suck you in. His pen and ink drawings I believe are more involved and engaging then some of his color work. However the pen and ink and the color form are two different sides of Glen Chadbourne and both are presented here for your enjoyment. This reasonably priced and full color sampler is part of his forthcoming, and much larger collection, of ALLs NOT WELL: The Gallery of Glenn Chadbourne

The Central Line Series documents and celebrates a selection of artworks commissioned and presented at a range of sites along the Central Line of the London Underground, intended to enhance the experience of traveling on the Tube. Projects include: Michael Landy, Acts of Kindness, 2011 and the collaborative work A Lock is a Gate, 2011, from Ruth Ewan, composer Kerry Andrew and poet Evlynn Sharp in conjunction with the Laburnum Boat Club, amongst many others.

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.

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement. Distributed for the Menil Collection and the Museum of Contemporary Art, San Diego Exhibition Schedule: Menil Collection, Houston (September 10, 2021-January 23, 2022) Museum of Contemporary Art, San Diego (April 9-July 17, 2022)

This is leading British sporting and wildlife artist Rodger McPhail’s retrospective collection of his most accomplished paintings and portraits of the last 20 years. As a keen naturalist who has spent countless hours tracking and observing his wildlife subjects, Rodger has selected these works on the basis that they truly capture his fondness and enthusiasm for the natural world. With an extraordinary versatility, Rodger is equally at home in watercolours as he is in oils — a master of the finest detail, his remarkably fluid and evocative paintings pay homage to his impressive and multifaceted career. This sumptuous, hardbound coffee table book seeks to shed a light on how his genius works, and Rodger has concluded the book with a chapter that addresses the questions he’s most frequently asked, such as how long it takes him to paint an average picture, or whether he can only paint when the mood strikes — featured alongside plenty of other stories about his life and his art. Appreciated and sought after from all corners of the globe, his paintings and portraits are to be found in some of the most important collections worldwide.

Taking an interdisciplinary approach that looks at film, television, and commercial advertisements as well as more traditional media such as painting, The Tiger in the Smoke provides an unprecedented analysis of the art and culture of post-war Britain. Art historian Lynda Nead presents fascinating insights into how the Great Fogs of the 1950s influenced the newfound fashion for atmospheric cinematic effects. She also discusses how the widespread use of color in advertisements was part of an increased ideological awareness of racial differences. Tracing the parallel ways that different media developed new methods of creating images that variously harkened back to Victorian ideals, agitated for modern innovations, or redefined domesticity, this book's broad purview gives a complete picture of how the visual culture of post-war Britain expressed the concerns of a society that was struggling to forge a new identity. Published in association with the Paul Mellon Centre for Studies in British Art

The third volume of a catalogue raisonne of Luc Tuymans's paintings, surveying nearly two hundred works, charts the artist's investigation into painting's relationship to history and technology. Tuymans is widely credited with having contributed to the revival of painting in the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and at times unsettling voice and are typically painted from preexisting imagery that includes photographs and video stills. The works in this volume, made between 2007 to 2018, show Tuymans at his most virtuosic, subtly but provocatively addressing a range of topics including religion, corporatization, and cultural memory, in addition to modernism and the history of painting. The Internet, in particular, is central to these works as well as the screen-leading to a new style of contemporary image. The works are mediatized to the nth degree, despite the artist's continuous use of the traditional medium of painting. There is a certain kind of light that comes out of a screen, which can be found in Tuymans's recent paintings. This volume includes an editor's note by Eva Meyer-Hermann and an illustrated chronology with archival images and installation views of the featured works. It also presents brilliant color reproductions of each painting from this period. This publication is a testament to Tuymans's persistent assertion of the relevance and importance of painting-a conviction that he maintains even in today's digital world, when his work continues to be a touchstone for artists and scholars.

A rich reconsideration of a short-lived but visionary voice in twentieth-century American painting and his enduring relevance Bob Thompson (1937-1966) came to critical acclaim in the late 1950s for paintings of unparalleled figurative complexity and chromatic intensity. Thompson drew upon the Western art-historical canon to formulate a highly personal, expressive language. Tracing the African American artist's prolific, yet tragically brief, transatlantic career, this volume examines Thompson's outlier status and pays close attention to his sustained engagements with themes of community, visibility, and justice. As the contributors contextualize the artist's ambitions and his unique creative process, they reposition Thompson as a predecessor to contemporary artists such as Kerry James Marshall and Kehinde Wiley. Featuring an array of artwork, and never-before-published poems and archival materials, this study situates Thompson's extraordinary output within ongoing dialogues about the politics of representation. Published in association with Colby College Museum of Art Exhibition Schedule: Colby College Museum of Art, Waterville, ME (July 20, 2021-January 9, 2022) Smart Museum of Art, The University of Chicago (February 10-May 15, 2022) High Museum of Art, Atlanta (June 18-September 11, 2022) Hammer Museum, Los Angeles (October 9, 2022-January 8, 2023)

The American Fraternity is a mysterious photo and ritual book that lifts the veil on America's oldest and most influential male tradition. The text comes from a decaying ritual manual from a prominent college fraternity. Seventy-five percent of modern U.S. presidents, senators, justices, and executives have taken arcane oaths of allegiance like the ones it contains. Six decades of red ceremonial wax stain it like blood. It is filled with dark power.

Detroit-based artist Glenn Barr presents a 96-page compilation featuring details from 80 paintings and drawings he created over the past five years. Inspired by the complex expressions and raw emotions revealed by faces, Barr invokes the human condition, creating a multitude of personalities ranging from extraordinarily common to extreme and fantastic. Barr uses pencil and brush to render elegant and elongated necklines, exaggerated eyes, and the gentle or jagged slopes shaping the noses or foreheads of the men, women, and monsters he creates, whether they are beautiful, ordinary, or even grotesque. Expressed in the intricate details of each image, Barr presents a delicate mix of texture, color and line typical of the his loose but carefully executed style. Turn the page to reveal subtle or manic emotions of the wise, the wicked and the wistful. "Faces" brings each reader one step closer to experiencing first hand the compelling mind and interesting characters found in the world of Glenn Barr.

The international artist Claudia Schmitz (*1975) transcends boundaries and barriers in her broad oeuvre. In her transmediatic works, she examines identities in real and virtual spaces, designs inter- and reactivity, and experiments with synesthesia. Schmitz discusses socio-urban structures and interweaves them with the phenomenology of drawings and the act of drawing. Always on the search for boundaries, she develops mischievous pneumatic sculptures and multidimensional drawings and projects moving pictures on objects. Through taking up temporary states, discarding and reinventing herself, her work plays with the radius of medial arrangements. The book is the artist's first monograph.

In the thirty years since his death, Keith Haring-a central presence on the New York downtown scene of the 1980s-has remained one of the most popular figures in contemporary American art. In one of the first book-length treatments of Haring's artistry, Ricardo Montez traces the drawn and painted line that was at the center of Haring's artistic practice and with which the artist marked canvases, subway walls, and even human flesh. Keith Haring's Line unites performance studies, critical race studies, and queer theory in an exploration of cross-racial desire in Haring's life and art. Examining Haring's engagements with artists such as dancer and choreographer Bill T. Jones, graffiti artist LA II, and iconic superstar Grace Jones, Montez confronts Haring's messy relationships to race-making and racial imaginaries, highlighting scenes of complicity in order to trouble both the positive connotations of inter-racial artistic collaboration and the limited framework of appropriation.

Slant Steps explores the vital role of the semi-periphery-artistic communities working between the provinces and the metropole. Premised on the collective fascination with the found object Slant Step, the book details a history of encounters among artists, filmmakers, critics, and others operating in and out of the Bay Area during the long 1960s. They revised the terms of the counterculture, the appeal of consumer goods, and the surfaces and materials of industrial design and contemporary sculpture. Whether extending to international exchanges or shrinking to local coteries, these circles helped develop process, funk, and conceptual art as they forged new directions for the art world and its members. Yet when these groups degraded their own works alongside those of their rivals, they made their political and aesthetic commitments difficult to decipher, reorganizing the ties between the visual arts and the New Left. Merging sociologies of art with the tradition of social art history, Jacob Stewart-Halevy uncovers the oblique perspectives and values of the semi-periphery, revealing its enduring impact upon contemporary art, above all in the field of pedagogy.

With over 400 angel tattoo designs, this book is probably the largest collection of angel tattoos you will ever find. From angel wings to baby angels and tribal angels, from fairy angels and cross angels to devil angels and cupids, all designs are very well represented in this book.

If you are looking to get a new angel tattoo, this book will help you find your dream design. If you are a tattoo professional, this book, and the other in the same collection, will make an excellent inspiration source for you and your customers.

The first complete survey of the work of the much-loved and collected contemporary Italian multimedia artist Paola Pivi - with more than 250 images, including previously unpublished work. Published in association with Anchorage Museum, Alaska; The Andy Warhol Museum, Pittsburgh; The Bass Museum of Art, Miami Beach; [mac] musee d'art contemporain de Marseille; and MAXXI Museo nazionale delle arti del XXI secolo, Rome. Probably best known for her playful, complex installations of life-sized, brightly-hued, feathered polar bears, Paola Pivi has created work across a range of media - including sculpture, video, photography, performance, and installation - throughout her 27-year career. Often using recognisable objects that are modified to introduce new scale, material, or color, her work challenges viewers to rethink their position. This in-depth monograph, made with the close involvement of the artist, is her most substantial publication to date and features more than 250 images, including previously unpublished work, together with five newly commissioned essays giving insight and perspective on her incredibly diverse body of work.

Tony Conrad has significantly influenced cultural developments from minimalism to underground film, "concept art," postmodern appropriation, and the most sophisticated rock and roll. Creator of the "structural" film, The Flicker, collaborator on Jack Smith's Flaming Creatures and Normal Love, follower of Henry Flynt's radical anti-art, member of the Theatre of Eternal Music and the first incarnation of The Velvet Underground, and early associate of Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has eluded canonic histories. Yet Beyond the Dream Syndicate does not claim Conrad as a major but under-recognized figure. Neither monograph nor social history, the book takes Conrad's collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections in 1960s art. Such an approach simultaneously illuminates and estranges current understandings of the period, redrawing the map across medium and stylistic boundaries to reveal a constitutive hybridization at the base of the decade's artistic development. This exploration of Conrad and his milieu goes beyond the presentation of a relatively overlooked oeuvre to chart multiple, contestatory regimes of power simultaneously in play during the pivotal moment of the 1960s. From the sovereign authority invoked by Young's music, to the "paranoiac" politics of Flynt, to the immanent control modeled by Conrad's films, each avant-garde project examined reveals an investment within a particular structure of power and resistance, providing a glimpse into the diversity of the artistic and political stakes that continue to define our time.Branden W. Joseph is Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University and an editor of the journal Grey Room (MIT Press). He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003.)