This book explores how feminist artists continued to engage with kitchen culture and food practices in their work as women's art moved from the margins to the mainstream. In particular, this book examines the use of food in the art practices of six women artists and collectives working in Southern California-a hotbed of feminist art in the 1970s-in conjunction with the Women's Art Movement and broader feminist groups during the era of the Second Wave. Focused around particular articulations of food in culture, this book considers how feminist artists engage with issues of gender, labor, class, consumption, (re)production, domesticity, and sexuality in order to advocate for equality and social change. The book will be of interest to scholars working in art history, food studies, and gender and women's studies.

This book offers a reassessment of how "matter" - in the context of art history, criticism, and architecture - pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" - meaning fleeing the human - as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.

This jewel-like book evokes unmistakable Italian landscapes and cityscapes. Anne Desmet's pen commits every detail to paper, and the small-scale format emphasises her distinctive flair for capturing the relationship between extreme foreground and distance. This is an opportunity to explore Italy, from Apennines to Veneto, through the eyes of a very particular artist.

These powerful works, all completed in 2016, are reproduced in this stunning new volume in beautiful colour-saturated plates to which black and white installation photos, as well as studio shots, provide a striking contrast. New texts by art historian Yve-Alain Bois and art critic Ben Eastham situate these new works within Ruscha s larger oeuvre and provide detailed insight into particular works. In the restrained paintings that comprise Extremes and In-Betweens, Ruscha sets into motion a dynamic interplay of words and their meanings in ascending and descending shifts of scale and tone that echo the relation of macrocosm to microcosm. Although his images are undeniably rooted in the signs and symbols of American reality closely observed, his elegant and laconic art speaks to more complex and widespread issues regarding the appearance, feel, and function of the world and our tenuous and transient place within it.

A vivid and moving celebration of the ways that Black Americans have shaped and been shaped by photography, from its inception to the present day. A Picture Gallery of the Soul presents the work of more than one hundred Black American artists whose practice incorporates the photographic medium. Organized by the Katherine E. Nash Gallery at the University of Minnesota, this group exhibition samples a range of photographic expressions produced over three centuries, from traditional photography to mixed media and conceptual art. From the daguerreotypes made by Jules Lion in New Orleans in 1840 to the Instagram post of the Baltimore Uprising made by Devin Allen in 2015, photography has chronicled Black American life, and Black Americans have defined the possibilities of photography. Frederick Douglass recognized the quick, easy, and inexpensive reproducibility of photography and developed a theoretical framework for understanding its impact on public discourse, which he delivered as a series of four lectures during the Civil War. It has been widely acknowledged that Douglass, the subject of 160 photographic portraits and the most photographed American of the nineteenth century, anticipated that the history of American photography and the history of Black American culture and politics would be deeply intertwined. A Picture Gallery of the Soul honors the diverse visions of Blackness made manifest through the lens of photography. Published in association with the Katherine E. Nash Gallery. Exhibition dates: Katherine E. Nash Gallery: September 13-December 10, 2022.

Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call 'shared sculptures', highlighting the important equality of authorship and responsibility at stake for both these artists. Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: 'Only the Lonely' (1993), 'monuments' (1999), 'Lead Astray' (2004), 'On the Rocks' (2008) and 'Don't Start' (2016). Their recent body of work, 'We Thought About It A Lot' (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists' latest two-person exhibition, 'We Thought About It A Lot, and other shared drawings' at Ikon, Birmingham, in autumn 2021. Bill Woodrow (b.1948) has exhibited internationally, representing Britain at biennales in Sydney (1982), Paris (1982, 1985) and Sao Paulo (1983). He was shortlisted for the Turner Prize in 1986 and participated in Documenta 8 in 1987. He was elected a Royal Academician in 2002 and had a major retrospective at the Royal Academy of Arts in 2013. Richard Deacon (b.1949) has exhibited internationally throughout his career. He was awarded the Turner Prize in 1987, elected to the Royal Academy in 1998 and to the Akademie der Kunste in Berlin in 2010. A large exhibition of his work was shown at Tate Britain in 2014, the same year as a selected edition of his writings was published. Dr Jon Wood (b.1970) is a writer and curator, specialising in modern and contemporary sculpture. Recent publications and exhibitions include: 'Sean Scully' (2020), 'Contemporary Sculpture: Artists' Writings and Interviews' (2020), 'Tony Cragg at the Boboli Gardens' (2019) and 'Sculpture and Film' (2018). He is a trustee of the Gabo Trust.

Learn the skills to set any scene or capture any mood. With this book, your manga drawings will spring to life and leap off the page! Drawing Action Scenes and Characters is most suited to digital artists, but the tips and techniques in this book are applicable to illustrators of all schools and persuasions. No matter where you're at in your development as a manga master, this companion volume helps bring your skills to the next level. Follow along through the forty mini-lessons, created and guided by experts tapping into years of experience in the Japanese animation and entertainment industries. Open new pathways to your visual storytelling possibilities as your characters find themselves in increasingly complex and compellingly rendered scenarios. Tuttle's How to Create Manga series guides users through the process of reaching a professional-looking final drawing through actual sketch progressions, practical tips and caution on common missteps to avoid. Other books in the series include How to Create Manga: Drawing the Human Body, How to Create Manga: Drawing Facial Expressions and How to Create Manga: Drawing Clothing and Accessories.

A magisterial study of celebrated photographer Walker Evans Walker Evans (1903-75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans's work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle. Alpers demonstrates that Evans's practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans's dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists-from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner-underscoring how Evans's travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style. A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world-to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.

As he turns 100, the definitive monograph of Wayne Thiebaud's work is now available in a reformatted, accessibly priced edition, and including his most recent paintings. This is the most comprehensive monograph to date on Wayne Thiebaud, with new works added, in a reformatted size. Spanning the length of his career from the 1950s to the present, the book has been made in close collaboration with the artist. Thiebaud selected the works himself, making the book an act of autobiography in a sense. At age 100, he looks back over his life and his work, rich with breakthroughs in painting and masterful individuality. Required reading for those who have a healthy appetite for provocative art. -Bloomberg Business This comprehensive monograph of more than 200 illustrations can literally be considered eye candy. American artist Wayne Thiebaud is famed for his brightly coloured canvases of cakes, diner pies, pastries, ice cream cones, candy and brightly coloured gumball machines. . . . Whether still lifes or landscapes, Thiebaud's paintings are akin to visual Prozac; you simply cannot be in a bad mood looking at them. -Kansas City Magazine While Thiebaud is best known for his heavily pigmented still lifes of cakes, pies, and candies, [this] book shows his broader range, from vibrant landscapes depicting highways and farmland to portraits of solitary figures. . . The texts examine Thiebaud's influences as well as his impact on the art world and the individual viewers of his work. -Architectural Digest

The Art of Heikala: Works and Thoughts is the first major publication by popular Finnish illustrator Heikala. Heikala's artwork combines traditional watercolor painting and inks with a fresh, enchanting approach - fans love her charming characters and scenes that are largely influenced by Finnish and Japanese cultures. This combined with her in-depth sharing of her processes and knowledge, has given Heikala a social media following of over 400,000 on Instagram alone; she also has growing audiences on Tumblr, Facebook and Twitter. This visually appealing and coffee-table worthy, hardback art book not only includes Heikala's sketches, works in progress and beautifully presented paintings that her fans will be familiar with, it also includes never-before-seen images from along Heikala's creative journey; all new in-depth tutorials, thought processes and advice on watercolor painting; detailed how-to product design guides; and how she has built a successful career as an artist. A valuable book for fans, budding artists and experienced illustrators alike.

What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.

Telling a story of class and taste, aspiration and identity, tapestry series 'The Vanity of Small Differences' saw Turner Prize-winning artist Grayson Perry travel the length and breadth of the UK, "on safari amongst the taste tribes of Britain". The result is a monumental exploration of the "emotional investment we make in the things we choose to live with, wear, eat, read or drive." The six vibrant and highly detailed tapestries presented here bear the influence both of early Renaissance painting and of William Hogarth's moralising series, literally weaving characters, incidents and objects from the artist's research into a modern-day version of 'A Rake's Progress' (1733). Featuring essays by journalist Suzanne Moore ('Guardian', 'The Mail') and Grayson Perry, alongside extensive commentary on each of the tapestries and their making, this book is an essential companion to one of the key contemporary art works of the last decade.

This accompanying catalogue to largest exhibition of Matthew Barney's extraordinary drawings to date explores this central aspect of the artist's important body of work. Drawing has always been an incredibly important part of Matthew Barney's practice: his first major work--completed while still at Yale Art School--involved him creating a wall drawing while harnessed to the ceiling of his studio. In this exhibition and accompanying catalogue, one hundred of the artist's most important drawings are presented from his major series of works--including "The Cremaster Cycle," "The Drawing Restraint" series, and most notably "Ancient Evenings," the body of work that has occupied the artist in the last few years (and is based on Norman Mailer's ancient Egyptian-inspired novel of the same name). This exhibition and catalogue also represent a unique collaboration between the artist and the august Morgan Library, in which he was invited by the institution to mine their extensive holdings in order to include objects (drawings, manuscripts, etc.) in the installation of his work, to create an interesting framework around the many ideas the artist is exploring. In addition to a major essay by curator Klaus Kertess, who considers the many themes the artist draws from, the book includes a poetic contribution by artist Roni Horn and an insightful text by Adam Phillips, noted psychoanalyst.

From keychains to a punchout starship model, discover a dozen inserts inspired by legendary Jedi Knights! A collection of treasures centering on the galaxy's greatest heroes, Star Wars: Jedi Artifacts offers exciting collectibles that represent thrilling moments from the history of the Jedi Order. - COLLECT A DOZEN UNIQUE ARTIFACTS: Featuring a woven patch, punchout starship model, high-quality stickers, a collectible pin, keychains, and more incredible items, this kit is a great gift for Star Wars fans of all ages. - DISCOVER THE ADVENTURES OF LEGENDARY JEDI: From the heroic days of the High Republic, to the eras of Obi-Wan Kenobi, Ahsoka Tano, Luke Skywalker, and Rey, Star Wars: Jedi Artifacts compiles exquisite inserts inspired by the Jedi and their valiant adventures. - BUILD YOUR STAR WARS COLLECTION: Star Wars: Jedi Artifacts stands alongside fan-favorite Star Wars books including Star Wars: The Lightsaber Collection, Star Wars: The Secrets of the Jedi, and Star Wars: Galaxy's Edge: The Official Black Spire Outpost Cookbook.

Bringing together photographs taken during the mid 1970s through to the early 1980s, Turn and Face the Strange covers the eclectic range of subjects that passed in front of Jane England's camera. England photographed friends and associates at a time when marginalised groups and sub-cultures merged and came together with a shared sense of nihilism and decadence. Her images encompass the early years of London's Punk era and the birth of New Romanticism. Her depictions of non-conformist urban tribes provide an intimate portrayal of sophistication and squalor, the demi-monde who existed between the street and the more exotic echelons of the art and fashion scenes. By not aligning herself with any of the number of sub-cultures that emerged across London and beyond in the late twentieth century, England was able to photograph club kids and Teddy boys, transvestites, artists and aspirant models. While a number of England's subjects such as Vivienne Westwood and Gilbert & George have become icons of the period, many of the others are forgotten, having retreated to the suburbs or died tragically young.

This book spotlights the role that contemporary art will play in Saudi Arabia's new push for cultural diplomacy as well as sweeping reform in the country. As the Kingdom mobilises its vast resources behind the economic and social priorities of its Vision 2030 strategy and seeks new terms of engagement with the international community, art is set to take centre stage. Rooted in Saudi Arabia's own traditions and contemporary practices, a barrage of planned events, installations, public projects, biennales and museum openings are beginning to draw in many from the international art community. This book looks at both the historic and contemporary contexts for this recent state-led focus on art in the Kingdom; at how its planned events and programmes stand apart, in resource, scale and ambition, from seemingly similar initiatives coming from that region; and at both the opportunities and pitfalls, not just for the burgeoning art world of Saudi Arabia, but for practitioners and professionals around the world.

Jack Milroy: Cut Outs is the first substantial publication on the work of the prolific British artist Jack Milroy who has been active for over 50 years. The book explores Milroy's extensive artistic career, highlighting his repurposing of materials-from illustrated books and posters, to maps and packaging-as a means for creating expansive, yet intricate, artworks.Whilst often playful and humorous in nature, the works are often attentive of and make reference to monumental events and narratives, ranging from 9/11 to The Garden of Eden. Traces of Surrealism and the fantastical are also present within Milroy's creations, as well as references to modern technology, Pop art and the natural environment, all executed with impeccable skill and detail.Accompanying Milroy's works is an essay by William Packer, the former Financial Times Art Critic. Packer has written about the artist's work for many years and has an astute understanding of the work, exemplified in this new, specially commissioned text.

The follow-up to the very successful exhibition "Younger Than Jesus," "The Ungovernables" is the highly anticipated second New Museum Triennial. The Ungovernables captures the perspectives, preoccupations, and experiences of an inventive and informed generation of international artists who came of age after the independence and revolutionary movements of the 1960s and 1970s. This important volume features thirty-four artists and artist collectives working in painting, sculpture, drawing, performance, video, and other activities. Through explorations of form, objecthood, material, and temporality, these artists negotiate time and their experience of our contemporary moment, often demonstrating a profound mistrust of permanence. Many of the works are provisional, site-specific, and performative, reflecting an attitude of possibility and faith in the contingent nature of our time. The book includes a substantive essay on this international group of artists by curator Eungie Joo and essays and other contributions from many of the artists featured in the exhibition, as well as short profiles on each.

From early 2009 to mid-2010, the Underbelly Project was the world's best-kept urban art secret. This is the only book documenting the project, during which the world's leading urban artists, such as Swoon, Faile, Revok, and Lister, made late-night trips to an abandoned New York City subway station, painting night after night to transform the space into the largest underground art gallery in the world.
When curators Workhorse and PAC declared the project finished, there was no opening to show the work. In fact, the space's location remains a secret kept by the MTA, which boarded up the space, making it, like the cave of Lascaux, a time capsule for future generations to discover.
The book includes three hundred photographs documenting the project and the participating artists' stories of secret expeditions, ranging from the hilarious to the suspenseful. With texts from artists such as Dan Witz, Brian Campbell aka Elbow Toe, Jeff Soto, Miya Ando, and Ron English, the result is an extraordinary contribution to urban history and the annals of street art.

A groundbreaking and essential survey of the art of Lynette Yiadom-Boakye, offering an in-depth discussion of the development of the artist and positioning her work within a wider history of portraiture. Lynette Yiadom-Boakye: Fly In League With The Night celebrates the work of one of the most significant and acclaimed figurative painters of her generation. Fact and fiction fuse in Yiadom-Boakye's paintings: they appear to be portraits, yet the people she depicts are not real but invented. Created from a composite of found images and her own imagination, her characters seem to exist outside of a specific time or place: they feel at once familiar yet mysterious. This ambiguity resonates again in the enigmatic titles she gives to her artworks. The artist is also a writer of poetry and prose, and for her, the two forms of creativity complement each other: 'The things I can't paint, I write, and the things I can't write, I paint.' This perceptive and engaging publication provides a comprehensive account of Yiadom-Boakye's practice over the past two decades. With contributions by the celebrated poet Elizabeth Alexander and curators Andrea Schlieker and Isabella Maidment, alongside new writing by Yiadom-Boakye, Fly In League With The Night reflects the dual aspects of the artist's career as both a painter and a writer and offers an intimate insight into her creative process.

This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram - the tactile world of affiliation ('follows'), aesthetics ('likes') and attention ('comments') - the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.