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)

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.

Although race - a concept of human difference that establishes hierarchies of power and domination - has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality - from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants - Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.

A complete and in-depth look at the art of the newest Star Trek trilogy. Covering the creation of Star Trek (2009), Star Trek Into Darkness and Star Trek Beyond, this lavish art book contains never-before-seen concept art and designs, as well as interviews with the key creatives who helped bring these exciting movies to life on the big screen.

In many different parts of the world modern furniture elements have served as material expressions of power in the post-war era. They were often meant to express an international and in some respects apolitical modern language, but when placed in a sensitive setting or a meaningful architectural context, they were highly capable of negotiating or manipulating ideological messages. The agency of modern furniture was often less overt than that of political slogans or statements, but as the chapters in this book reveal, it had the potential of becoming a persuasive and malleable ally in very diverse politically charged arenas, including embassies, governmental ministries, showrooms, exhibitions, design schools, libraries, museums and even prisons. This collection of chapters examines the consolidating as well as the disrupting force of modern furniture in the global context between 1945 and the mid-1970s. The volume shows that key to understanding this phenomenon is the study of the national as well as transnational systems through which it was launched, promoted and received. While some chapters squarely focus on individual furniture elements as vehicles communicating political and social meaning, others consider the role of furniture within potent sites that demand careful negotiation, whether between governments, cultures, or buyer and seller. In doing so, the book explicitly engages different scholarly fields: design history, history of interior architecture, architectural history, cultural history, diplomatic and political history, postcolonial studies, tourism studies, material culture studies, furniture history, and heritage and preservation studies. Taken together, the narratives and case studies compiled in this volume offer a better understanding of the political agency of post-war modern furniture in its original historical context. At the same time, they will enrich current debates on reuse, relocation or reproduction of some of these elements.

A comprehensive volume--overseen by the artist himself--on one of the most renowned living artists today, Takashi Murakami. Takashi Murakami is celebrated the world over for his deft blurring of high and low art. In this volume, accompanying a major exhibition of his work and the first in the Middle East, readers are immersed in the unique way Murakami channels the ecstasy and anxiety of contemporary culture.Conceived by the artist as a self-portrait in the guise of a cartoon, Murakami - Ego illuminates the role of the artist as a cipher and critic of pop phenomena as well as a mirror of global networks of consumerism, interpretation, and exchange. The book features some of the artist's most celebrated series, including Kaikai Kiki Lots of Faces and Pom and Me. Murakami has conceived of the exhibition itself as a work of art, creating new modes of display that include sculptural pedestals with digital animation, a circus tent that doubles as an indoor cinema, and an impressive 300-foot-long painting, all of which are featured in the book. In addition to an interview by curator Massimiliano Gioni, Murakami will contribute writings on various works.

This delightful homage to Pulcinella (or Punch as he is referred to in English) contains over one hundred extraordinary pencil illustrations, some of which are depicted in comic-strip style. Divided into several scenes, it features the oddly surreal and globally recognised character that originated in seventeenth-century comedic theatre and became a fixture in Neapolitan puppetry. Distinguished by a long nose and typically dressed in white with a black mask, Pulcinella is often depicted in various kinds of misadventures and singing about themes of love, hunger, and money. In the typical fashion of author Luigi Serafini, Pulcinellopaedia Seraphiniana is created in a unique language all its own, and is filled with fascinating and mysterious illustrations that require thorough examination and inference to decipher what the artist is intending to portray. Written by Serafini s imaginative coauthor and alter ego C. Petrulo, who represents Pulcinella himself, the book artfully presents the struggles of a rebellious antihero who must come to grips with the difficulties of everyday life. First published in 1984 and since revised by the author, this volume is an exquisite treasure that has intrigued readers for more than thirty years. Designed as a handsome companion volume ready to take its place alongside the bestselling Codex Seraphinianus, the Pulcinellopaedia is akin to a missing chapter or coda to the Codex that no fan of Luigi Serafini s work will want to miss.

Ten new paintings by Alfredo Arreguin are included in this new edition of the highly regarded book first published in 2002. Arreguin's palpitations of color and light and arrested movement awaken our sublimated vision. His paintings seem to force our entire being to experience its livingness as an insatiable yearning and questing of the eyes. - from the Foreword by Tess Gallagher. decades, Alfredo Arreguin has long been recognized as a major force in pattern painting. His canvases are tapestries that mingle diverse and interpenetrating influences and images: the traditional crafts of his native Michoacan; the lush rainforests of his homeland and of the Pacific Northwest; Japanese ukiyo-e prints; sacred and endangered animals; gods and totemic figures; icons like Frida Kahlo and Cesar Chavez; and motifs including masks, eyes, and abstractly patterned tiles. But Arreguin's paintings, for all the apparent flatness of their surfaces, conceal an astonishing depth of perspective. superimposed planes, and below the surface of each completed painting are many others, transformed by the artist's strategic occlusions and erasures. The result is an exuberant, phosphorescent visual interplay in which images combine to form other images, yielding a potent narrative power and pointing up the profound, ambiguous symbiosis between human beings and nature, fiction and reality, and the natural and supernatural worlds. Lauro Flores reveals Alfredo Arreguin as a genuinely American painter, in the real, hemispheric sense of this term - an artist of magic, mystery, and revelation whose place in the history of North American art has already been secured.

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.

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)

This long-awaited volume brings together much of Brian O'Doherty's most influential writing, including essays on major figures such as Edward Hopper, Mark Rothko, and Andy Warhol, and a substantial follow-up to his iconic Inside the White Cube. New pieces specifically authored for this collection include a meditation on O'Doherty's various alternate personae-most notably Patrick Ireland-and a reflection on his seminal "Highway to Las Vegas" from 1972, penned after a return visit in 2012. The beautifully written texts, many of which have been unavailable in print, are insightfully introduced by art historian Anne-Marie Bonnet and complemented by forty-five color illustrations of artwork discussed in the essays as well as documentary photographs of O'Doherty and other major art-world figures. Adventurous, original, and essentially O'Doherty, this collection reveals his provocative charm and enduring influence as a public intellectual.

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.

In 1970 photography curator Peter C. Bunnell organized an exhibition called Photography into Sculpture for the Museum of Modern Art, New York. The project, which brought together twenty-three photographers and artists from the United States and Canada, was among the first exhibitions to recognize work that blurred the boundaries between photography and other mediums. At once an exhibition catalogue after the fact, an oral history, and a critical reading of exhibitions and experimental photography during the 1960s and 1970s, the Photographic Object 1970 proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O'Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson, Jerry McMillan, and other of the exhibition's surviving artists. Featuring seventy-nine illustrations, most of them in color, this volume is an essential resource on a groundbreaking exhibition.

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.

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.

Definitive monograph on America's most challenging and influential artist Los-Angeles-based artist Paul McCarthy (b.1945) creates Disneyesque installations, sculptures of animal/vegetable/human hybrids and slapstick performances in a purge of a national subconscious. The psycho-sexual desires and anxieties induced by the media and the built environment of contemporary America emerge in his collisions of plastic prosthetic limbs and condiments that stand in for bodily fluids. These works have been variously deployed: through live actions, often documented on video, and more recently in outsized figures and artificial rural environments, combined in overtly sexual ways. McCarthy's work echoes that of European artists such as Joseph Beuys or the Viennese Aktionistes, but gives 'action art' a postmodern twist. This new revised and expanded edition includes contributions by luminaries such as Kristine Stiles, Ralph Rugoff, Massimiliano Gioni and Robert Storr.

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

With dozens of full-color illustrations! This is a retrospective of musical poetry by heavy metal guitarist and frontman, Matt Pike, which spans twenty years beginning in 1998 with the album Art of Self Defense up to the latest release, the 2019 Grammy-Award winning record, Electric Messiah. Every chapter features brand-new artistic interpretations from the minds and hearts of an incredible cast of illustrators, tattooers, printmakers, and painters Pike has been trusted since the beginning to depict his vision. The cast of artists are Arik Roper, David V. D'Andrea, Santos, Brian Mercer, Skinner, Jondix,Stash, Tim Lehi, Jordan Barlow, and Derrick Snodgrass created brand new, never before seen works specifically inspired by each album, including one large illustration to define the chapter ahead and two additional vignettes that are directly inspired by the songs. Each has their own bold and iconic style that perfectly compliments the breadth of Pike's various works. These prolific artists transport the reader further into a far-away landscape of ominous Lovecraftian entities, shrouded in wondrous and esoteric darkness. Together, they have redefined the way we perceive Underground Doom Metal these past twenty years and it is our honor to showcase them together along with the incredible written word of Pike.