In this book, Cristina Filipe offers a critical examination, from a social and art historical perspective, of some of the artists and contexts that contributed to the transformations in Portuguese jewellery from the vanguard of the 1960s to the early twenty-first century - a decisive period in which the term 'jewellery' itself was redefined. In addition, Contemporary Jewellery in Portugal contextualises the international scene, reflecting on how Portuguese artists responded to these external influences. What jewellery was made? Who made it? What were the underlying trends and creative references? These are some of the questions that this book seeks to answer through the analysis of artist interviews and exhaustive factual research, accompanied by a visual narrative mirroring the changes in contemporary jewellery in Portugal.

Written in the wake of the widely publicised attacks by Hindu nationalist activists on the late M. F. Husain, India's most famous artist and a prominent Muslim, The Art of Secularism addresses the entanglement of visual art with political secularism. The crisis in secularism in India, commonly associated with the rise of Hindu nationalism in the 1980s, transformed the meaning of art. It challenged the relation- ships between modernism, national culture, secularism and modernity that had been built since India's independence in 1947. The Art of Secularism describes how four renowned artists - M. F. Husain, K. G. Subramanyan, Gulammohammed Sheikh, and Bhupen Khakhar - developed their practice in an era when secular nationalism grappled with the recent re-enchantment of signs. Com- bining close readings of these artists' work with ethnography of the art worlds of Mumbai and Vadodara, Karin Zitzewitz describes both the everyday forms of cosmopolitanism in the Indian art world and the increasing vulnerability of art world spaces to cultural regulation. She also presents the shifting conditions of the production and exhibition of art within the particularly urgent, varied, and sophisticated public debates about secularism in India, in which artists have been increasingly prominent interlocutors.

An essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century. Gordon Matta-Clark (1943-1978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark's widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark.

The Japanese artist Koho Mori-Newton is a master when it comes to handling silk, which he places in an exciting dialogue with architecture. In this way he creates cult-like spaces which interact with light in a fasci nating way. In addition to the works in silk, this volume also shows various graphic work groups from the last 35 years as well as the Path of Silk, created especially for no intention. Koho Mori-Newton (*1951) is a master of intentional lack of intention. His works appear simple, but the aesthetic which lies behind them is complex. Time and again he investigates the basis of art itself, questions the concept of the originality of the artistic creative process and explores the boundaries of artworks. His oeuvre lures us into a world that exists beyond the obvious. Path of Silk, a labyrinthine installation of room-high panels of silk, worked in China ink by Mori-Newton, presents a fragile interplay of space and light, of heaviness and lightness. Further areas of focus in his creative work are repetition and copy, from which his graphic works derive their own special charm.

The National Gallery's second Artist in Residence is Ali Cherri (b. 1976), a Lebanon-born artist based in Beirut and Paris. Known for his sculptures, films and installations, Cherri is interested in the aesthetics, practices and politics associated with the museum classification and collecting of objects, animals, images, and their narratives. Cherri was recently awarded the Silver Lion at the 2022 Venice Biennale. The first survey of Cherri's work in English, this book will give an overview of the artist's archaeological approach to the heritage of objects by investigating their relationships to history, society and nature. It will introduce Cherri to a broad audience and document his journey from the beginning of his residency to the production and display of the final work at the National Gallery in the autumn of 2021, followed by the Herbert Art Gallery & Museum in spring 2022. Published by National Gallery Company/Distributed by Yale University Press

A unique and visionary generation of young Chinese artists are coming to prominence in the art world - just as China cements its place as the second largest art market on the planet. Building on the new frontiers opened up by the Chinese artists of the late 1980s and 1990s, artists such as Ai Wei Wei who came to the West and became household names, this new generation are provocative, exciting and bold. But what does it mean to be a Chinese artist today? And how can we better understand their work? Here, renowned critic Barbara Pollack presents the first book to tell the story of how these Chinese millennials, fast becoming global art superstars, negotiate their cultural heritage, and what this means for China's impact on the future of global culture. Many young Chinese artists have declared they are "not Chinese, but global" - this book investigates just what that means for China, the art market, and the world. Brand new Art from China is the first collection to showcase the dynamic new art coming from Chinese artists, and features full-colour photos and video stills throughout - with many works being published in book-form for the first time. Featuring an in-depth interview with Zhang Xiaogang, probably the most well-known artist in China itself, whose sombre portraits of Chinese families during the Cultural Revolution sell for as much as $12 million at auction, alongside unparalleled access to the tastemakers of today's art scene, Brand New Art from China is the essential guide to Chinese contemporary art today - its vision, values and aesthetics.

In 1916, as World War I raged around them, a group of bohemians gathered at a small cabaret in Zurich, Switzerland. After decorating the walls with art by Picasso and other avant-garde artists, they embarked on a series of extravagant performances. Three readers simultaneously recited a poem in three languages a monocle-wearing teenager performed a spell from New Zealand another young man sneered at the audience, snapping a whip as he intoned his Fantastic Prayers." One of the artists called these sessions both buffoonery and a requiem mass." Soon they would have a more evocative name: Dada.In Destruction Was My Beatrice , modernist scholar Jed Rasula presents the first narrative history of Dada, showing how this little-understood artistic phenomenon laid the foundation for culture as we know it today. Although the venue where Dada was born closed after only four months and its acolytes scattered, the idea of Dada quickly spread to New York, where it influenced artists like Marcel Duchamp and Man Ray to Berlin, where it inspired painters George Grosz and Hannah Hoech and to Paris, where it dethroned previous avant-garde movements like Fauvism and Cubism while inspiring early Surrealists like Andre Breton, Louis Aragon, and Paul Eluard. The long tail of Dadaism, Rasula shows, can be traced even further, to artists as diverse as William S. Burroughs, Robert Rauschenberg, Marshall McLuhan, the Beatles, Monty Python, David Byrne, and Jean-Michel Basquiat, all of whom,along with untold others,owe a debt to the bizarre wartime escapades of the Dada vanguard.A globe-spanning narrative that resurrects some of the 20th century's most influential artistic figures, Destruction Was My Beatrice describes how Dada burst upon the world in the midst of total war,and how the effects of this explosion are still reverberating today.

Gallery 1988's annual Crazy 4 Cult art show has quickly become a phenomenon, with huge crowds and high profile buyers like Kevin Smith and Joss Whedon snapping up work by the cream of the underground/urban scene. Following 2011's critically acclaimed first volume, here's the eagerly awaited second selection of surprising, beautiful and just plain cool cult movie-inspired artwork.

Arthur Jeffress was an art dealer and collector from a Virginian family who bequeathed his "subversive little collection" (Derek Hill) to Tate and Southampton City Art Gallery on his suicide in 1961. That suicide, a result of his expulsion from Venice, has been the subject of speculation in many memoirs. Gill Hedley's biography of Jeffress has benefited from access to many hundreds of unpublished letters written between Jeffress and Robert Melville, who ran Jeffress' own gallery from 1955-1961. The letters were written largely while Jeffress was in Venice and reveal a vivid picture of the London gallery world as well as frank details of artists, collectors and the definitive story of his suicide. Previously unpublished research reveals new information about the lives of Jeffress' lover John Deakin, his business partner Erica Brausen, the French photographer Andre Ostier and Henry Clifford, and the way in which all of them influenced Jeffress' first steps as a collector from the 1930s onwards.

Fractured Light focuses on a key body of work by the British artist Johnnie Cooper, which was instrumental in his transformation from sculptor to painter. Throughout the 1990s, with a renewed dedication Cooper embarked on an industrious and experimental trajectory with paint and collage. These works on paper, made by layering multiple strips of paintings, were directly inspired by a series of large assemblage works he constructed during the late 1980s, when the culmination of his work in art education brought a new found freedom. The view from a new studio in rural Worcestershire conjured fresh inspirations and instilled a fascination with the ever-changing colour, shape and light values that fractured through a nearby woodland over the course of a day. This book documents an important part of Cooper's oeuvre and is a must for enthusiasts of Johnnie's work or anyone who is into British Expressionism or abstract art. It accompanies an exhibition, also called Fractured Light, and follows Johnnie Cooper: Sunset Strip, a major monograph on the artist in 2019, also published by Black Dog Press.