This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston's notion of the "outward turn", applying this perspective to contemporary art to broaden the scope of how we understand translation in today's global multisemiotic world. The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the "outward turn" has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change. This innovative book will be of interest to scholars in translation studies and contemporary art.

Bridget Riley, one of the leading abstract painters of her generation, holds a unique position in contemporary art. She has developed and extended the range of her interests ever since her first success in the 1960s, creating a body of work which is both consistent and highly varied. This volume, now fully revised and updated, reveals the mind behind this remarkable aachievement, drawing together the most important texts and interviews of the last fifty years. Riley's writings show a passionate engagement with her subjects and a great insight paired with a freshness of approach and an exceptional clarity of expression. Quite apart from providing a key to understanding her own work, this book is a fascinating document reflecting the issues and problems facing an artist in the 21st century.

How to Write About Contemporary Art is the definitive guide to writing engagingly about the art of our time. Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs. In counseling the reader against common pitfalls such as jargon and poor structure Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk. Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today."

From beehive to hotplate to the artist's hand, encaustic has evolved as a versatile medium applied to almost every artistic style. A long-overdue look at a newly popular art form, this book explores 79 North American artists' feelings about their work in encaustic and how they use it to express their inner worlds and the world around them. Eight chapters organize the artists by geographical region and focus on how the heated beeswax and resin material is used to create seductive, skin-like surfaces and rich, layered membranes. More than 2,000 years old, this cross-disciplinary medium ranges from painting to sculpture, assemblage, collage, and printmaking and encourages risk-taking in a way that other materials do not. Its inherent contradictions--it can be hot or cold, malleable or solid, opaque or translucent, layered or thin, permanent or fragile--make it all the more fascinating.

At a time of dramatic struggles over monuments around the world, this book examines monuments that have been erected in post-conflict Bosnia and Herzegovina (BiH) since 1996. Examining the historical precedents for the high rate of monumentbuilding, and its links to ongoing political instability and national animosity, this book identifies the culture of remembrance in BiH as symptomatic of a broader shift: a monumentalisation and privatisation of history. It provides an argument for how to account for the politics of contemporary nation-state formation, control of space, trauma and revisions of history in a region that has been subject to prolonged instability and crisis. This book will be of interest to scholars in contemporary art, museum studies, war and conflict studies, and European studies.

LAND ART AND LAND ARTISTS: POCKET GUIDE

A fully illustrated pocket guide to land and environmental art.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 971861714046. 280 pages.

www.crmoon.com

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Since the debut of Harry Potter and the Sorcerer's Stone, the Harry Potter film franchise has become one of the most popular and successful in the world. Beautifully crafted and presented in a deluxe, large-format with lavish production values, these pages present a visual chronicle of the work by artists and filmmakers to bring the wizarding world to life onscreen. Bursting with hundreds of rare and unpublished works of art, including production paintings, concept sketches, storyboards, blueprints, and more, this collectible book is the definitive tome on the visual legacy of the Harry Potter films. Fans will recognise beloved characters, creatures, locations, and more as they embark on a journey through the wizarding world, from Gringotts to the Quidditch pitch.

Over 360 spectacular art pieces are accompanied by personal statements from 74 artists in this curated selection of contemporary works. The artists, who come from across the United States, and from places such as New Zealand, Australia, and the United Kingdom, all convey their respect, enthusiasm, and personal connections to wildlife. A wide range of styles and media is covered including photography, glass, relief woodcarving, mosaics, pastels, oil, watercolor and acrylic painting, bronzes, stoneware, terracotta and porcelains, ink, graphite and colored pencil, digital illustration, felted sculpture and fabric collage, and more. Examples of wildlife presented are bears, birds, elephants, monkeys, pandas, tigers, foxes, wolves, owls, seals, and even insects. This book is a great gift for wildlife and nature enthusiasts, interior designers, museums, art collectors, art educators, and artists.

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The classic game of Loter a drew a lot of inspiration from the ancient practice of Tarot. This deck explores the similarities between these two timeless traditions with a modern twist finally reuniting these long lost primos to help you reconnect with your Latinx magic. One common misconception is that Tarot is a practice used only to predict the future, but this Millennial Loter a Tarot Deck is specifically designed to help you better understand your present and get in touch with your heritage. The only person in charge of your future is you, so the guidebook accompanying this 78-card tarot deck focuses on self-reflection and inspiration for your goals, all done with a sprinkle of Millennial Loter a humour.

British painter William Tillyer (born 1938) is regarded as one of the most accomplished and consistently inventive artists working in watercolor. His work luxuriates in translucent color and sensuous brushwork. Some of his pieces, in their untrammeled expressive zeal and readily apparent love of color as a pure quality call to mind the canvases of Morris Louis; in other paintings, flamboyantly voluptuous shapes confront geometric abstractions and Minimalist blocks of color. With 224 full-color images, "William Tillyer: Watercolours" provides a comprehensive look at the titular aspect of Tillyer's oeuvre, looking back over nearly 40 years of work. It includes three texts by the American poet and art historian John Yau, an essay describing the development of Tillyer's watercolors and linking his work to the tradition of the English watercolor, an essay on the latest body of work and an interview with the artist.

A timely exploration of the allusive, sculptural fiber work of an important contemporary South African artist The book presents an early career survey of the work of Cape Town-based artist Igshaan Adams (b. 1982), showcasing his multimedia practice since 2009. In addition to exploring recurring motifs in his work-Arabic calligraphy, the rose, the (self-)portrait, Sufi symbols, and pathways literal and metaphorical-the publication highlights some of Adams's material concerns, including his sculptural applications of weaving, his embrace of recycled materials related to black South African domesticity and interiority, and his use of the gallery wall and floor in installations. Hendrik Folkerts surveys the artist's recent work, addressing its engagement with presence, absence, and the trace.. Adams himself offers a visual essay enabling readers to see details they would be imperceptible in a gallery setting. In shorter essays and poetic texts, the other authors focus on the South African historical and political context, specific artworks, and particular creative strategies, materialities, and narratives. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (April 2-August 1, 2022)

Explore Kerby Rosanes's intricate and vibrant world in this striking jigsaw puzzle. Piece together shape-shifting creatures as they morph into a magnificent tiger in the night, featured in his bestselling book, Animorphia.

In this essential TASCHEN introduction to Tadao Ando we explore the hybrid of tradition, modernism, and function that allows his buildings to enchant architects, designers, fashion designers, and beyond. Through key projects including private homes, churches, museums, apartment complexes, and cultural spaces, we explore a uniquely monumental yet comforting aesthetic that draws as much on the calm restraint of Japanese tradition as the compelling modernist vocabularies of Bauhaus and Le Corbusier. With featured projects in Japan, France, Italy, Spain, and the United States, we see not only Ando's global reach but also his refined sensitivity for the environs: the play of light through windows, and, in particular, the interaction of buildings with water. From the mesmerizing Church of the Light in Osaka to the luminous Punta della Dogana Contemporary Art Center in Venice, this is a radiant tour through a distinctly contemporary form as much as a timeless appeal of light, elements, and equilibrium. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

Commemorating the 50th anniversary of the artist's birth, this book is the intended to be a faithful posthumous execution of the project. Containing a wealth of unpublished materials, and representing a decade of work and research, it promises to be the definitive book on the artist's life and work. Beginning with his very first collages and early subway tags - including many heretofore unseen photographs of the first ephemeral chalk drawings - through the development of the iconic graphic work now synonymous with his name, the book follows his meteoric rise to international stardom and worldwide recognition. Completely unprecedented in its scope, this volume documents everything from sketches to unedited interviews; personal snapshots to party invitations, bringing to life an extraordinary decade in art and history.

Contemporary Curating, Artistic Reference and Public Reception undertakes a unique critical survey and analysis of prevailing group exhibition-making practices in Europe, the UK and North America. Drawing on curatorial literature and two in-depth case studies of group exhibitions, Bertrand advocates for a mode of curatorial practice that secures the content of artworks, in contrast to prevailing open-ended, indeterminate approaches. Proposing a third exhibition type beyond the current binary exhibition ontology that opposes art historical narratives to curatorial installations or Gesamtkunstwerk, the book directly tackles the enduring critique of curating as a mediating activity that produces sameness in group-exhibition contexts by establishing artistic equivalences. The book relies on the principles of analytical philosophy to assess how different exhibition-making approaches fix reference and determine artistic reception, reintroducing a standard to evaluate exhibitions beyond personal taste and thematic coherence. Bertrand ultimately proposes an alternative conception of practice that affirms the renewed relevance of the institutional group show in the present context. Contemporary Curating, Artistic Reference and Public Reception will be of interest to academics, researchers and students working in museum and curatorial studies, visual cultures, art theory and art history programmes. Art theorists and critics, as well as curators of contemporary art with a research-based practice, should also find much to interest them within the pages of the book.

This book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent transformations from the late 1980s to 2004. It explores the emergence of 'contemporary art' in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia and points towards its limitations. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography. -- .

This is the first comprehensive overview of the career to date of British artist Hurvin Anderson (b.1965). Anderson is known for painting loosely rendered 'observations' of scenes and spaces loaded with personal or communal meaning. Anderson's painting style is notable for the ease with which he slips between figuration and abstraction, playing with the tropes of earlier landscape traditions and 20th-century abstraction. His paintings of barbershop interiors, country tennis clubs and tropical roadsides teem with rich brushwork and multitudes of decorative patterns or architectural features, at once obscuring and adding to underlying ruminations on identity and place. Drawing on interviews with the artist, Michael J. Prokopow offers a critical assessment of Hurvin Anderson's painting practice to date that will be enlightening for all students, dealers and collectors of contemporary painting.

An in-depth history of the Stalinist skyscraper In the early years of the Cold War, the skyline of Moscow was forever transformed by a citywide skyscraper building project. As the steel girders of the monumental towers went up, the centuries-old metropolis was reinvented to embody the greatness of Stalinist society. Moscow Monumental explores how the quintessential architectural works of the late Stalin era fundamentally reshaped daily life in the Soviet capital. Drawing on a wealth of original archival research, Katherine Zubovich examines the decisions and actions of Soviet elites-from top leaders to master architects-and describes the experiences of ordinary Muscovites who found their lives uprooted by the ambitious skyscraper project. She shows how the Stalin-era quest for monumentalism was rooted in the Soviet Union's engagement with Western trends in architecture and planning, and how the skyscrapers required the creation of a vast and complex infrastructure. As laborers flooded into the city, authorities evicted and rehoused tens of thousands of city residents living on the plots selected for development. When completed in the mid-1950s, these seven ornate neoclassical buildings served as elite apartment complexes, luxury hotels, and ministry and university headquarters. Moscow Monumental tells a story that is both local and broadly transnational, taking readers from the streets of interwar Moscow and New York to the marble-clad halls of the bombastic postwar structures that continue to define the Russian capital today.

“I am sometimes asked ‘What is your objective’ and this I cannot truthfully answer. I work ‘from’ something rather than ‘towards’ something. It is a process of discovery.” Since 1961, Riley has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. In the present selection, Riley advances her Measure by Measure series, her most extensive body of work to date, into a new, darker color palette. Once again, changing the way we look and offering a powerful effect on our eyes. This sense of dynamism was explored to great effect in the artist’s earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 2020, after visiting her own earlier works at her retrospective exhibition organized by the National Galleries of Scotland, Riley returned to black-and-white lozenges, adjusting the orientation of each shape to create a new visual sensation. In 1967, Riley introduced colour into her work, thus expanding the perceptual and optical possibilities of her compositions. Published on the occasion of the 2021 exhibition at David Zwirner, London, this monograph features new scholarship on the artist by art historian Éric de Chassey, who looks at how Riley’s past, as well as previous artists, has led to this body of work.

The works of 106 contemporary artists provide a fresh look at the artistic vibrancy of the Rocky Mountain West region of the United States. More than 600 photos of these artists' works--in sculpture, mixed media, paint, photography, and other contemporary mediums--show us a stunning variety. Each artist also offers a personal description of his or her art. A perfect gift or reference, this resource changes the way we perceive the Rocky Mountain West region and the world. A foreword by Rose Fredrick, curator of the Coors Western Art Exhibit & Sale, contributes insights on "Contemporary West: Myth, Truth, and What Lies Between."