Per Fronth is one of Norway’s most distinctive contemporary artists, dynamically redefining the relationship between painting and photography in influential and innovative works. Painting with photography as his raw material, Fronth’s pictorial universe is captivating, bold, controversial, and seductive. Central to Fronth’s overall artistic practice are the challenging aspects of the human condition. Fronth produces large-format artworks in series and different disciplines that are politically, environmentally, socially, and highly emotionally charged: from the war zones in Afghanistan, to the indigenous peoples’ fight for their own land in the Amazonas region, and back to his own life, in native Norway, where he explores visual narratives of innocence and the coming of age. In his most recent project Fronth creates controversy by introducing paid product placement into his artworks already acquired by museums. In doing so he elevates the discussion as to what art’s value — and the value of art — is. Text in English and Norwegian.

From the mangaka who told his life story in A Drifting Life, and gave you Abandon the Old in Tokyo and The Push Man and Other Stories, comes this collection of gekiga of the 1970s which have never before been translated into English. Personally selected for publication exclusively by Landmark Books by Tatsumi, the stories strip away the gloss of the Japanese Economic Miracle to reveal the stresses, desires and angst of the millions of young people who flocked to the cities where life was not what it was promised to be.Compared to Tatsumi's earlier stories, this collection paints a much more pessimistic world. The stories run on a different beat. The banality of modern life and its values bleed through.Yoshihiro Tatsumi plumbs the depths of the lost Japanese youth of the 1970s. Today, 'youth' of every age group appreciates Yoshihiro Tatsumi. They are attracted to him because they connect with the struggles and the darkness of modern life which he portrays.

The most comprehensive monograph to date on the groundbreaking Swiss artist and international art star, Pipilotti Rist A pioneer of experimental video art, Pipilotti Rist is celebrated for her expansive installations that bridge the spaces between fine art and popular culture, the natural world and the technological sublime. Through vivid colors, audaciously sensuous imagery, and playful sexuality, Rist's art-which ranges from single-channel videos to multilayered environments-absorbs viewers in a hyperfeminine aesthetic interlaced with deeper themes of pain, innocence, and transformation.

This exhibition catalogue for a show at the Neue Sammlung (Design Museum) in Munich documents the first solo show by Swiss jewellery artist Therese Hilbert, former student of Max Froehlich in Zurich and Hermann Ju nger in Munich. It features 250 works, going back 50 years and beginning with her earliest, unknown pieces through to her newest work created in 2020. One of her life-long passions is volcanoes: she has climbed many of them and has used them as a theme in her jewellery design for many years. The sense of heat below the surface of her minimalist designs underlines her passion for the subject. Her work is in the collections of the Design Museum (Munich), the National Gallery of Victoria, the Dallas Museum of Art, and Museum of Arts and Design (New York). Features texts by Heike Endter, Otto Kunzli, Ellen Maurer-Zilioli, Pravu Mazumdar, Angelika Nollert, Warwick Freeman and Petra Hoelscher. Text in English and German.

Jennifer Way's study The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America. Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the 'Free World', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and manage its production, distribution and consumption abroad and at home. Way shows how Wright and his staff brought American ideas about Vietnamese history and culture to bear in managing the making of Vietnamese craft.

Nioh is brutal action game series from Team NINJA and Koei Tecmo Games. In the age of samurai, a lone traveler lands on the shores of Japan. He must fight his way through the vicious warriors and supernatural Yokai that infest the land in order to find that which he seeks. Nioh & Nioh 2: Official Artworks collects the fantastic artwork behind the challenging video game franchise. Included are character artwork, monster designs, key art, rough concepts and more! Plus, dive deep into the world of Nioh through detailed character profiles and a complete guide to the weapons, armor, and items of the games.

This is the catalogue that accompanies a solo exhibition of the work of Domenec, an artist born in 1962 in Mataro, a town in Catalonia. The exhibition sets out to contemplate, through the artist`s work, how neoliberalism destroys social projects with its escalation of individualism. In doing so it offers a retrospective of Domenec`s work from the late 1990s to the present, and includes some new projects. Using certain emblematic buildings or monuments as referents, Domenec analyses the proposals of the modern movement and its legacy within contemporary practice. Supporting his research are projects in situ, installations, maquettes, photographs, workshops, seminars and videos. Based on various local contexts, his work establishes a dialogue with other international themes to highlight the impact on the present of the utopian ideas that resulted from the Industrial Revolution, and are seen as a stand against capitalism. The rise of an urban proletariat in the C19 led to discourses and social models based on social justice and egalitarianism. Utopian communism and socialism developed architectonic models promoting a concept of coexistence in the urban space based on services to the community and better living conditions. Domenec investigates these exemplary systems and the breakdown of what he calls the ` fragile contract between capital and the social body` . The transformations of the socio-political circumstances generated by these systems can also lead, at times, to changes of usage and the creation of dystopic models. Social housing turned into military barracks or internment camps; statues of circumstantial heroes that were pulled down because of their meaning, or counter meaning; or the absurdity of a ghost city used for military training in urban warfare, but never officially recognized, are some of the cases used by Domenec to investigate the dysfunctions of the processes of modernity and the political accounts marginalised by these narratives. In other words, the breakdown of a social project that has become, as a result of neoliberalism, the exacerbation of individualism. Domenec`s work gives voice to the protagonists of that story, to unofficial discourses, and avoids the dominant narratives to bring back memory

An evocative chronicle of the power of solitude in the natural world I'm often asked, but have no idea why I chose Iceland, why I first started going, why I still go. In truth I believe Iceland chose me.-from the introduction Contemporary artist Roni Horn first visited Iceland in 1975 at the age of nineteen, and since then, the island's treeless expanse has had an enduring hold on Horn's creative work. Through a series of remarkable and poetic reflections, vignettes, episodes, and illustrated essays, Island Zombie distills the artist's lifelong experience of Iceland's natural environment. Together, these pieces offer an unforgettable exploration of the indefinable and inescapable force of remote, elemental places, and provide a sustained look at how an island and its atmosphere can take possession of the innermost self. Island Zombie is a meditation on being present. It vividly conveys Horn's experiences, from the deeply profound to the joyful and absurd. Through powerful evocations of the changing weather and other natural phenomena-the violence of the wind, the often aggressive birds, the imposing influence of glaciers, and the ubiquitous presence of water in all its variety-we come to understand the author's abiding need for Iceland, a place uniquely essential to Horn's creative and spiritual life. The dramatic surroundings provoke examinations of self-sufficiency and isolation, and these ruminations summon a range of cultural companions, including El Greco, Emily Dickinson, Judy Garland, Wallace Stevens, Edgar Allan Poe, William Morris, and Rachel Carson. While brilliantly portraying nature's sublime energy, Horn also confronts issues of consumption, destruction, and loss, as the industrial and man-made encroach on Icelandic wilderness. Filled with musings on a secluded region that perpetually encourages a sense of discovery, Island Zombie illuminates a wild and beautiful Iceland that remains essential and new.

What happens when the shock of artistic transgression wears off, when scandal dissipates, when outrage becomes a tired routine? In this original new book, Theo Reeves-Evison argues that transgressive art no longer succeeds on its own terms in societies where language, prohibition and morality have become increasingly malleable. This compels us to rethink the relationship between contemporary art and ethics, and focus our attention on the potential of artworks to propose new values rather than simply challenge pre-existing moral codes. Assembling a novel theoretical framework from the writings of Felix Guattari, Jacques Lacan and others, Ethics of Contemporary Art narrates a journey away from transgression towards a new critical paradigm for the relationship between ethics and aesthetics that places questions of subjectivity centre stage. Along the way artworks by Kader Attia, Artur Zmijewski, Dora Garcia and others serve as springboards launching discussions of the varied pathways along which a renewed ethics of contemporary art might develop.

Markus Oehlen (*1956) is one of Germany's most unmistakable painters. As an anarchic pictorial inventor, since the 1980s he has revolted against any visual convention and aesthetic convenience. Due to his integration of digital techniques and the contemporary reservoir of images, he creates stunningly hybrid paintings. Collage-like fragments of art history and popular culture interfere with each other. Abstraction and figuration swiftly blend into one another. With the utmost freedom, Oehlen expands the possibilities of today's painting in his both daring and calculated pictorial experiments.

The definitive collection of artist profiles by legendary journalist and New Yorker writer Calvin Tomkins, from the 1960s to today

When Calvin Tomkins joined The New Yorker as a staff writer in 1960, he did not plan to make art and living artists his main subjects. And yet, auspiciously for the magazine and its readers, Tomkins did just that. For the last six decades, his profiles of contemporary artists, from Jasper Johns and Robert Rauschenberg to Cindy Sherman and Mark Bradford, have become the liveliest and most authoritative guide to the art of our time. These six volumes contain eighty-two of Tomkins’s profiles, from 1962 to 2019. Balancing insight and observation with wit, candor, and appreciation, Tomkins is a master of the profile―his indelible prose forming fascinating portraits, each a work of art in its own right.

Morgan Howell paints classic 7" singles and takes into account every crease, every tear, every imperfection-producing a one-off, truly unique artwork, almost identical to the owner's original copy, but blown up, supersize, to 70 by 70 cm, and three-dimensional, with the spindle in the centre, as if the record is ready to play. This completely original approach has resulted in Howell attracting a cult following amongst art collectors and musicians alike-with paintings commissioned by the likes of Neil Diamond, Jude Law, Edgar Wright, and The Stone Roses' Ian Brown, and major music labels selecting the artist's work for display in their headquarters, indeed, Howell's painting of David Bowie's The Jean Genie is displayed at the Sony Music Building in London, and Yesterday by The Beatles has been shown at the Capitol Building in L.A. Morgan Howell at 45 RPM, published by Black Dog Press, beautifully documents 95 of Howell's creations, from 'Tutti Frutti' by Little Richard to 'Heart of Glass' by Blondie, to 'Gimme Shelter' by The Rolling Stones, to 'Waterloo Sunset' by The Kinks. The artworks are shown in full, alongside evocative commentaries from fans of Howell's work, including The Smiths' Johnny Marr, Spandau Ballet's Gary Kemp, comedian Al Murray, journalist Tony Parsons, actress Kay Mellor, Happy Mondays' Shaun Ryder, producer William Orbit and composer Andrew Lloyd Webber. The book features Forewords by Sir Peter Blake and Andrew Marr, plus an in-depth interview with Morgan Howell, exploring his process as an artist and why, for him, music and art are intrinsically linked. With a format perfectly designed to fit on record shelves, this book is a must for vinyl junkies, music heads and art lovers everywhere.

The fourth publication of Krzysztof Wodiczko with Black Dog Press, exploring the artist and writer's distinctive oeuvre. Transformative Avant-Garde and Other Writings is a comprehensive collection of Wodiczko's writing from the 1970s to the present day, providing a new perspective on this often controversial artist. An in-depth book which represents the many political, social and theoretical motivations and concerns of Wodiczko's work, this is a must for art and culture theorists and fans alike. This overarching publication highlights the equal merits of Wodiczko's writings in respect of his artistic practice, demonstrating the overlapping influences and considerations that run throughout his life. Wodiczko is famed for his large-scale, politically-charged video and slide projections, projected onto prominent architectural structures. Since the 1980s his work has been engaging marginalised residents of cities to make their voice and experience public. He is Professor in Residence at Harvard University, and was awarded the Hiroshima Prize in 1998 for his contribution as an artist to world peace.

This timely follow-up to Conway's highly successful Marine Art of Geoff Hunt (2004) presents the considerable artistic output of Britain's leading marine painter since 2003. This new volume is heavily illustrated with images ranging from large paintings to sketchbook drawings with text written by the artist himself. The new book reflects Hunt's developing career during a time in which he served a five-year term as President of the Royal Society of Marine Artists, worked on large-scale paintings such as the definitive Mary Rose,and also completed numerous outdoor sketches and paintings. The book is divided into six sections: 1. The Sea Painter's World, an introduction to the artist's studio work at Merton Place, London and his plein air work on the River Thames; 2. Home Waters; 3. The Mediterranean; 4. In the Wake of Nelson; 5. North America and 6. The West Indies and Beyond. This concept sets Geoff's work in a broadly geographical context, showcasing the artist's freer plein air style alongside the exhaustively researched maritime history paintings to which he owes his standing as Britain's leading marine artist.

This intelligently argued overview is invaluable for the way in which it reveals and makes coherent sense of the often-bewildering diversity of styles, forms, media, techniques, and agendas that proliferate in contemporary art. Extensively revised and expanded since it was first published, Michael Archer s acclaimed book is brought fully up to date in this third edition. A completely new section maps the developments in contemporary art since 2000, ensuring that the book remains an indispensable source of information on the evolution of art over the past five-and-a-half decades."

Forces of Nature: Renwick Invitational 2020 features artists Lauren Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts. Nature provides a way for these invited artists to ask what it means to be human in a world increasingly chaotic and divorced from our physical landscape. Representing craft media from fiber to mosaic to glass and metals, these artists approach the long history of art's engagement with the natural world through unconventional and highly personal perspectives. Forces of Nature: Renwick Invitational 2020 is the ninth installment of the Renwick Invitational. Established in 2000, this biennial showcase highlights midcareer and emerging makers who are deserving of wider national recognition.The featured artists work in a wide variety of media, from Lauren Fensterstock, who creates detailed, large-scale installations using intensive modes of making drawn from the decorative arts, including paper quilling and mosaic, and from whom SAAM has commissioned a site-specific work--inspired in part by the illustrated renaissance German manuscript The Book of Miracles ---that will transform an entire gallery at the Renwick, to Timothy Horn, who creates exaggerated adornments that combine natural and constructed worlds, taking inspiration from objects as varied as baroque jewellery patterns and Victorian era detailed studies of lichen, coral, and seaweed, from bronze and glass, as well as unusual materials like crystalized rock sugar, to evoke the extravagant Amber Room in the Catherine the Great's palace of Tsarskoye Selo; and from Debora Moore, known for her exquisitely detailed glass renderings of orchids, and who is represented in this volume in her new series, Arboria (2018), in which Moore focuses less on realism and more on capturing an intensely personal experience of beauty and wonder, to Rowland Ricketts who creates immersive installations using handwoven and hand-dyed cloth, starting on his farm, where he cultivates the indigo plants he uses to colour his artwork, fully linking his material and process with the finished product. Participatory engagement from non-artists, forms a major part of Rickett's work, emphasizing the relationship between nature, culture, the passage of time, and everyday life.

Girl With Two Fingers is an edited day to day account of life as a subject of eight portraits by Lucian Freud. '...diaries and letters are a form of time travel. They transport the future reader back to the moment the words were written.' In 1999, a young woman writer returns to London from living in Paris, having been hit by a bus. The accident is a wake-up call: what should she do with her life, how to continue writing? Having known Lucian Freud over a decade, and having previously declined to have a portrait painted by him, she writes asking if he still needs someone to work from Something to do while thinking what to do next. Writer and painter meet for dinner and an after hours visit to the National Gallery, and agree to start painting the following week. The studio in Holland Park is unchanged, except everyone's ten years older. The puppy, Pluto, is an old girl now. The writer has travelled, written, grown up.'Now I look for the adult in me, instead of the child.' She keeps a diary, as she always has, until it becomes too much of a chore. After a few weeks, she begins to write to an imaginary confidante instead. 'Every thing, be it glamorous or mundane, has a particularity of its own. Seeing and recording that particularity is what a writer does. And it's a form of protest. Because it's the loudest voice that tells you how to see, and the smallest voice that sees and hears the most.' As an act of independence she rejects the offered chair and stands for her picture, standing up to the artist. She records, 'For now, my place on the planet is in this studio, my small space the shapes of my feet carved into the floor.' The writer's under no illusion that the picture will be flattering. 'I'm simply a body for him to paint, one of many bodies. And a face. Another one of many.' She won't connect to the finished image.'I'm not going to recognise myself, or connect with this image. It'll just be a work of art.' But writer and painter do connect. This becomes a painting relationship, one picture leads to seven more. Leading to night time phone calls and the painter saying 'I'm beginning to depend on you.' 'It feels a bit like Shakespeare's The Tempest up here. The studio our island. Lucian as Prospero, with 'art to enchant'. The shopper as Ariel, and me as a stand-in Miranda.' But not everybody's happy with this painting relationship. And it's proving too much for the subject herself. Despite being committed to the painter's work, she's keen to regain her freedom. 'I think he knows I'm starting to want to break free. That's a kind of magnetic energy for him.' Face to face: writer and painter, woman and man, the seer and the seen. And the unseen. Because that's the joy of writing: it's seeing what can't be depicted in paint. On a trip to New York May 2000, standing unnoticed in a gallery between two of the portraits of herself, the writer looks in to the pictures she's - depicted as - looking out from, and asks if the images are more about the painter than the painted: '...his view, his space, his paint, his colours, his brushes, his language, his desire to control and portray. His feelings. His life events. And the distortions, the freuding, are his signature. They are autobiographical naked portraits of Lucian. Hiding in plain sight.' 'The stories that bring a fixed portrait into being are much more fun than the finished thing itself.' 'What's lovely about (a friend),' says Lucian 'and you do it too, is you describe people by what they say.' 'What do you mean?' 'Well you repeat what it was they said.' Beautifully written, poignant and evocative, testament to the world of the studio, witness to the act of portraiture. 'Historically, men make images of women. Men tell us how to see and understand those images. They narrate them. And then they market what they have made. So the images of women are about men.' Girl With Two Fingers is the female gaze, a detailed subject's account of the making of eight works of art.

An innovative retrospective look at the work of one of America's most iconic artists, utilizing the concepts of mirroring and doubling, which have long preoccupied Johns Jasper Johns (b. 1930) is arguably the most influential artist living today. Over the past 65 years, he has produced a radical and varied body of work marked by constant reinvention. Inspired by the artist's long-standing fascination with mirroring and doubles, this book provides an original and exciting perspective on Johns's work and its continued relevance. A diverse group of curators, academics, artists, and writers offer a series of essays-including many paired texts-that consider aspects of the artist's work, such as recurring motifs, explorations of place, and use of a wide array of media. These include Carroll Dunham on nightmares, Ruth Fine on monotypes and working proofs, Michio Hayashi on Japan, Terrance Hayes on flags, and Colm Toibin on dreams, among many others. The various themes are further explored in a series of in-depth plate sections that combine prints, drawings, paintings, and sculptures to draw new connections in Johns's vast output. Accompanying "mirroring" exhibitions held simultaneously at the Whitney Museum of American Art and the Philadelphia Museum of Art, this lavishly illustrated volume features a selection of rarely published works along with never-before-published archival content and is full of revelations that allow us to engage with and understand the artist's rich and varied body of work in new and meaningful ways. Distributed for the Whitney Museum of American Art and the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (September 29, 2021-February 13, 2022) Whitney Museum of American Art, New York (September 29, 2021-February 13, 2022)

This book examines a range of visual expressions of Black Power across American art and popular culture from 1965 through 1972. It begins with case studies of artist groups, including Spiral, OBAC and AfriCOBRA, who began questioning Western aesthetic traditions and created work that honored leaders, affirmed African American culture, and embraced an African lineage. Also showcased is an Oakland Museum exhibition of 1968 called "New Perspectives in Black Art," as a way to consider if Black Panther Party activities in the neighborhood might have impacted local artists' work. The concluding chapters concentrate on the relationship between selected Black Panther Party members and visual culture, focusing on how they were covered by the mainstream press, and how they self-represented to promote Party doctrine and agendas.