Based on the seventh instalment of the biennial Renwick Invitational, this striking volume, presents the work of Steven Young Lee, Kristen Morgin, Jennifer Trask, and Norwood Viviano. The four selected artists work in a remarkable variety of media including porcelain, raw clay, bone, gold, glass, metal, found objects and mineral pigments. Their visual sensibilities draw on sources ranging from traditional Asian pottery to vintage Americana, and from the romance of the Victorian Era to the algorhythmic precision of the computer. Together, they engage a current fascination in American craft with change, transformation, ruin, and reinvention.

A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904-1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation.

This book investigates Jimmie Durham's community-building process of making and display in four of his projects in Europe: Something ... Perhaps a Fugue or an Elegy (2005); two Neapolitan nativities (2016 and ongoing); The Middle Earth (with Maria Thereza Alves, 2018); and God's Poems, God's Children (2017). Andrea Feeser explores these artworks in the context of ideas about connection set forth by writers Ann Lauterbach, Franz Rosenzweig, Pamela Sue Anderson, Vinciane Despret, and Hirokazu Miyazaki, among others. Feeser argues that the materials in Durham's artworks; the method of their construction; how Durham writes about his pieces; how they exist with respect to one another; and how they address viewers, demonstrate that we can create alongside others a world that embraces and sustains what has been diminished. The book will be of interest to scholars working in contemporary art, animal studies, new materialism research, and eco-criticism.

This publication offers a rich and expansive visual record of Julie Brook's artistic practice, and proposes a unique collaboration between Brook and distinct voices from the nature writing and craftsmanship traditions. Situating Brook's practice in the context of critical reflections by Robert Macfarlane, Alexandra Harris and Raku Jikinyu, the publication presents a striking visual narrative of Brook's landscape and tidal sculptural work, and a sense of its timeless yet contemporary resonance. Documenting in depth a number of recent works made in the Hebrides, Japan and Namibia, their shared attention to the elements and their key pre-occupations of the fleeting, mobile forces of light, time, and gravity demonstrate Brook's coherent vision within vastly contrasting environments. Throughout her oeuvre, the balance between what Brook makes in relation to the environment and materials themselves is paramount. Including film stills, photography and drawing, which are all integral languages for conceptualising and communicating the work, plus insightful extracts from Brook's notebooks, this beautiful publication succeeds in providing the reader with a unique understanding of the artist's 'monuments to the moment'.

The artist Humphrey Ocean RA has painted portraits of Sir Paul McCartney and Philip Larkin, among many others. But alongside these prestigious commissions, he has always returned to drawing the simpler things in life: our 'alluringly unnatural world', as he puts it. The result is this idiosyncratic and charming collection of birds, all rendered in Ocean's unique style. With a species to discover on every page, this book is the perfect gift for any keen ornithologist, aspiring twitcher or dedicated listener to Tweet of the Day. As well as birdwatching around his home and studio in South London, Ocean regularly visits his sister, who is a nun in Nairobi and has loved birds all her life. There, he paints Kenyan birds such as the Eurasian bee-eater, the Bulbul and the Flycatcher that are 'local, a bit like our garden birds so nothing overly exotic, but of course to me they are'. They join the familiar gulls, thrushes and tits of the gardens, parks and hedgerows of the UK in this beautifully produced collection.

Born in Yugan, near Jingdezhen, the birthplace of porcelain, Bai Ming has contributed to the revival of contemporary Chinese ceramics and introduced it to a new worldwide audience through numerous exhibitions. Today he is arguably China's greatest exponent of this most traditional art form. In this book, Bai Ming traces his career, revealing a sensitive yet creative and flamboyant style, built on the most rigorous traditional techniques. Focussing particularly on his blue and white ceramic work, this book, through a large selection of glorious images and the artist's own words, reveals Bai Ming's exquisite style and superb attention to detail.

Rose Wylie RA (b.1934) trained as an artist in the 1950s, but it was her re-engagement with painting in the early 1980s, after a period spent raising a family, that marked the beginning of a remarkable career that continues to evolve and impress. This monograph, the first of its kind, follows Wylie's fascinating artistic journey celebrating her achievements while also examining her current practice. Rose Wylie's large-scale paintings are inspired by a wide range of visual culture. Her subject matter ranges from contemporary Egyptian Hajj wall paintings and Persian miniatures to films, news stories, celebrity gossip and her observation of daily life. Often working from memory, she distills her subjects into succinct observations, using text to give additional emphasis to her recollections. In weaving together imagery from different sources with personal elements, Wylie's paintings offer a direct and wry commentary on contemporary culture. Her pictures refuse judgment but reveal a concern with the everyday that makes visible its enigmatic core. Drawing on a series of extended interviews with the artist, Clarrie Wallis unpicks the complexities of Wylie's visual language so providing an important contribution to our understanding, and appreciation of, a significant, and increasingly celebrated, figure in contemporary British art.

Anselm Kiefer, born in 1945, is one of the most important and controversial artists at work in the world today. Through such diverse mediums as painting, photography, artists books, installations, and sculpture, he has interpreted the great political and cultural issues at the heart of the modern European sensibility: the connections between memory, history, and mythology; war; the Holocaust; and ethnic and national identity. In this extensively illustrated, thoughtful survey of his work, available again in a new and compact format, author Daniel Arasse analyzes Kiefer s education, influences, philosophy, and art, while demonstrating the unity and continuity of his work. Arasse takes as his starting point the 1980 Venice Biennale, a key moment in Kiefer s career that marked the birth of both his international reputation and the controversy over the strong focus on German civilization that characterized much of his work. Equal parts eloquent tribute and respected monograph, Anselm Kiefer is organized both chronologically and to reflect the artist s recurrent motifs, including Nordic and Germanic mythologies, Jewish mysticism, the cosmos, the legends of the ancient world, and many more. Approximately 250 full-color images reproduce his art at the highest possible quality, to trace Kiefer s creative evolution and reveal as fully as possible his works scope and power."

This book tells, for the first time, the story of the Situationist International's influence and afterlives in Britain, where its radical ideas have been rapturously welcomed and fiercely resisted. The Situationist International presented itself as the culmination of the twentieth century avant-garde tradition - as the true successor of Dada and Surrealism. Its grand ambition was not unfounded. Though it dissolved in 1972, generations of artists and writers, theorists and provocateurs, punks and psychogeographers have continued its effort to confront and contest the 'society of the spectacle.' This book constructs a long cultural history, beginning in the interwar period with the arrival of Surrealism to Britain, moving through the countercultures of the 1950s and 1960s, and finally surveying the directions in which Situationist theory and practice are being taken today. It combines agile historicism with close readings of a vast range of archival and newly excavated materials, including newspaper reports, underground pamphlets, Psychogeographical films, and experimental novels. It brings to light an overlooked but ferociously productive period of British avant-garde practice, and demonstrates how this subterranean activity helps us to understand postwar culture, late modernism, and the complex internationalization of the avant-garde. As popular and academic interest in the Situationists grows, this book offers an important contribution to the international history of the avant-garde and Surrealism. It will prove a valuable resource for researchers and students of English and Comparative Literature, Modernism and the Avant-Gardes, Twentieth Century and Contemporary History, Cultural Studies, Art History, and Political Aesthetics.

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors-from the arts, art history, sociology, political science, and philosophy-to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

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 Ordinary and The Odd" is the first book from artist and graphic designer, Swen Swenson. Swenson's use of simple and minimilst illustrations, evoking playful and sometimes odd encounters is a pleasure for any viewer of his work. His style is instantly recognisable and each image conjures the imagination to create stories that can be both quirky and also calming. In this book we see Swenson encapsulate a variety of themes including: urban landscape, nature, transport and engineering and human life. Through subtle and peaceful tones, each image touches on a quiet moment that is perhaps contrasted with a surprising twist or sense of anticipation. Graphic illustration is ever more present in our visual world and media. Characters and scenes depicted are relatable to a wide audience and Swenson's work is relates to our lives through recognisable content in his art, requiring us to stay still, consider the scene and reflect.

This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia. This pioneering study proposes an important new framework that focuses on the relationship between China, Japan, and Korea. By reconsidering existing concepts of 'East Asia', and examining the porousness of boundaries in East Asian art history, the study proposes a new model for understanding trans-local artistic production - in particular the mechanics of interactions - at the turn of the 20th century.

Can fine art survive in an age of mass media? If so, in what forms and to what purpose? And can radical art still play a critical role in today's divided world? These are the questions addressed in the Art in the Age of Mass Media, as John Walker examines the fascinating relationship between art and mass media, and the myriad interactions between

Since the mid-1970s, American painter Stanley Whitney has been exploring the formal possibilities of colour within grids of multi-coloured blocks. Matthew Jeffrey Abrams's thoughtful book, the first full monograph on the artist, highlights Whitney's unique and sophisticated understanding of line and colour and his commitment to abstract painting over four decades of consistent practice. Abrams brings together Whitney's personal and professional narratives to weave a chronological analysis of the work and the artist's wider cultural contribution. Born in Philadelphia in 1946, Whitney moved to New York in 1968, and under the guidance of Philip Guston he began to experiment with abstraction, drawn to the basic formal qualities of Abstract Expressionism, the pure chroma of the Color Field movement, and the minimalist approach of such artists as Donald Judd. Steadfastly pursuing abstraction at a time when critical interest was focussed on figurative art and photography, Whitney has not received the critical recognition due to him until late in his career. This book affirms his outstanding achievement.

This volume looks at the politics of communication and culture in contemporary South Asia. It explores languages, signs and symbols reflective of current mythologies that underpin instances of performance in present-day India and its neighbouring countries. From gender performances and stage depictions to protest movements, folk songs to cinematic reconstructions and elections to war-torn regions, the chapters in the book bring the multiple voices embedded within the grand theatre of popular performance and the cultural landscape of the region to the fore. Breaking new ground, this work will prove useful to students and researchers in sociology and social anthropology, art and performance studies, political studies and international relations, communication and media studies and culture studies.