An investigation of the outsized influence of the Mod subculture on key figures of the 1960s London art scene Bonding over matters of taste and style, the 'Mods' of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz. In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity. The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies. Distributed for the Paul Mellon Centre for Studies in British Art

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.

From essays on gender in the work of Louise Bourgeois to a review of Art Spiegelman's comix memoir Maus, Writings on Art is expertly curated from his prolific output and illustrated with 175 images to accompany the texts. Written with Storr's signature intellect and wit, the book is the definitive collection of his multi-faceted writing and features the best of Storr's criticism, reviews, essays, and other writings from the 1980s to the mid 2000s. A must read for curators, students, artists, exhibition-goers and all those interested in the art and culture of today.

This almanac of overlooked vintage subject matter has an emphasis on art, design, photography and culture. With an extensive array of rare images, Outr Journal presents a curated compendium of the unusual that takes its cues from cabinets of curiosities and journals of miscellany such as The Saturday Book of old. The focus on underground topics and pop culture extends across time and continents to include highlights such as: religious architecture in the Space Age, found photos and images of masked people, Satan, pop culture and many more.

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.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett #58 features the work of Sylvie Fleury, Jason Rhoades, and James Rosenquist, three artists who work with everyday matter to produce lively and expressive paintings and installations. Contributing writers include Adrian Dannatt, Jutta Koether, and Beatrix Ruff on Fleury; Russell Ferguson, Roberto Ohrt, and a conversation between Christian Scheidemann & Eve Meyer-Hermann on Rhoades; and Constance Glenn, Pontus Hulten, Michael Lobel, John Russell, and Zdenek Felix on Rosenquist with a conversation between Jeff Koons and Rosenquist. The issue also contains essays on Hans Peter Kuhn, Jane & Louise Wilson, and an interview with Chris Ofili by Paul Miller. Parkett #59, featuring collaborations with Maurizio Cattelan, Yayoi Kusama, and Kara Walker, will include essays by Francesco Bonami on Cattelan; Midori Matsui on Kusama; and Hamza Walker and Elizabeth Janus on Walker, among others. In addition, the issue will feature articles on Anna Gaskell and Annette Messager. Parkett #60 will be published in December, 2000.

Jasper Johns is regarded as one of the most influential artists of the 20th century, and has remained central to American art since his arrival in New York in the 1950s. With his then partner Robert Rauschenberg, Johns helped to establish a decisive new direction in the art world, termed Neo-Dada at the time. Johns' striking use of popular iconography, things the mind already knows, as he put it (flags, numbers, maps), made the familiar unfamiliar--and made a colossal impact in the art world, becoming a touchstone for Pop, minimalist and conceptual art. This handsomely illustrated book, now available in paperback, brings together Johns' paintings, sculptures, prints and drawings. From his innovations in sculpture to his use of collage in paintings, it gives focus to different chapters of Johns' career and examines the international significance of his work. Featuring contributions from a range of experts, this volume explores the depth and breadth of Johns' oeuvre, encompassing more than half a century. Jasper Johns (born 1930) made his major breakthrough as a painter in the mid-1950s when he started using iconic, popular images in his paintings--an explosive move at a moment when advanced painting was understood to be exclusively abstract. Johns' midcentury paintings' lush, painterly surfaces resemble those of abstract expressionism, but Johns arrived at them through slow, labor-intensive processes and mediums such as encaustic. Throughout his 60-year career Johns has worked with many different mediums and techniques, using the restlessness of his own process to explore the interplay of materials, meaning and representation in art.

An introduction to the feminist art movement: one of the most ambitious, influential and enduring artistic movements of the twentieth century. Emerging in the late 1960s as women artists struggled to `de-gender' their work to compete in a male-dominated arena, the feminist art movement has played a leading role in the art world over the last five decades. Using the `female gaze' to articulate socially relevant issues after an era of aesthetic `formalism', women artists, working in a variety of media, have called to attention ideas around gender, identity and form, criticising the cultural expectations and stereotyping of women, women's struggle for equality, and the treatment of the female body as a commodity. This little book is a short and pithy introduction to some of the most important artworks born out of this movement. Fifty outstanding works - from the late 1960s to the present - reflect women's lives and experience, as well as the changing position of women artists, and reveal the impact of feminist ideals and politics on visual culture. Exploring themes such as gender inequality, sexuality, domestic life, personal experiences and the female body, A Little Feminist History of Art is a celebration of one of the most ambitious, influential and enduring artistic movements to emerge from the twentieth century.

In recent decades, an exciting new art movement has emerged in which artists utilize and illuminate the latest advances in science. Some of their provocative creations a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang (pictured on the cover) can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google s Creative Lab, and the MIT Media Lab. In Colliding Worlds, Arthur I. Miller takes readers on a wild journey to explore this new frontier.

Miller, the author of Einstein, Picasso and other celebrated books on science and creativity, traces the movement from its seeds a century ago when Einstein s theory of relativity helped shape the thinking of the Cubists to its flowering today. Through interviews with innovative thinkers and artists across disciplines, Miller shows with verve and clarity how discoveries in biotechnology, cosmology, quantum physics, and beyond are animating the work of designers like Neri Oxman, musicians like David Toop, and the artists-in-residence at CERN s Large Hadron Collider.

From NanoArt to Big Data, Miller reveals the extraordinary possibilities when art and science collide."

This comprehensive monograph offers a detailed examination of the paintings of the acclaimed German painter Neo Rauch (b.1960). Rauch's paintings deftly blend the iconography of Socialist Realism from his upbringing and art-school training in GDR-era Leipzig with the stylistic mannerisms of the Baroque and Romantic past, conjuring heavily populated sites of great commotion and complexity, remarkably without recourse to preliminary drawing. His compositions and their enigmatic figures are rich with reference and allusion, but the stories they tell are indistinct and somehow out of time. They have an ancient modernity - or the freshness of renewed antiquity. Michael Glover discloses Rauch's working methods, revealing how the artist approaches the making of his work, how his images come into being, and the importance of words and their etymology to the creation or disruption of an artwork. These are works that interrogate the very meaning of the artistic impulse; ruminations in the guise of history painting that in fact question what a painter could and should be creating at this particular historical moment.

New York-based Todd James (born 1969) pioneered a distinct cartoon-based graffiti style in New York in the 1980s, working under the name REAS and gaining the respect of both a street-culture audience and the art and design market. He has since produced work for the Beastie Boys, Eminem and Iggy Pop, among others. This unique artist's book is the first publication by James in half a decade, and collects 60 of his drawings, all created exclusively for this volume. Bearing close resemblance to his best-known graffiti work, each drawing is complete unto itself yet also represents a potential painting for the future. "Yield to Temptation" is of a piece with James' broader concerns: American excess as represented by the forms and fictions of sexuality and the ravages of war. James invites his audience to glamorize these issues, even as he undercuts any assumptions about them. His drawings have the expressive, minimal intensity of a cartoon Franz Kline and evoke the Day-Glo era of 1970s print culture, where "Schoolhouse Rock" crosses over into "Playboy" cartoons. "Yield to Temptation" is being published on the occasion of James' solo exhibition in Tokyo.

Gerhard Richter is one of the most famous painters of our time, worldwide. His fascinating visual spheres are characterized by a unique originality and quality, in which the abstract and the figural intertwine and permeate each other. This extensive volume of pictures concentrates entirely upon the theme of landscape in Richter's oeuvre. Through this genre, to which Richter has remained loyal for more than sixty years, it is possible to see more than a development in the artist's painting style. There is also a perceptible, genuine independence in many of the works, which makes him one of the most remarkable artists of our day. This book adds to the understanding of the significance and pictorial essence of Richter's art, opening up current insights into the theme of nature and landscape in the twenty-first century.

The church and the contemporary art world often find themselves in an uneasy relationship in which misunderstanding and mistrust abound. On one hand, the leaders of local congregations, seminaries, and other Christian ministries often don't know what to make of works by contemporary artists. Not only are these artists mostly unknown to church leaders, they and their work often lead them to regard the world of contemporary art with indifference, frustration, or even disdain. On the other hand, many artists lack any meaningful experience with the contemporary church and are mostly ignorant of its mission. Not infrequently, these artists regard religion as irrelevant to their work, are disinclined to trust the church and its leaders, and have experienced personal rejection from these communities. In response to this situation, the 2015 biennial conference of Christians in the Visual Arts (CIVA) facilitated a conversation between these two worlds. This volume gathers together essays and reflections by artists, theologians, and church leaders as they sought to explore misperceptions, create a hospitable space to learn from each other, and imagine the possibility of a renewed and mutually fruitful relationship. Contemporary Art and the Church seeks common ground for the common good of both the church and the contemporary art world. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

An engaging account of today s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. * Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 * Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways * Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship * International in scope, bringing together over forty of the most important voices in the field, including Sofia Hernandez Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert * A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados

Contains over 35 years of cannabis creations with a humorous twist. Thirty marijuana mailing pieces -- postcards including Budzilla, Super Skunk, Muy Blastido, Stupor Farms, Harvest Moon, Buds from Space, High Noon, High Society, and more. Originally created as satirical brand labels for the "California Homegrowers Association" and used on greeting cards, stickers, and tee shirts, these pot-themed postcards are perfect for all your cannabis-related (or cannabis-fueled) correspondance. Includes the following designs, plus more Top o' the Mornin' Harvest Moon Muy Blastido Red Eye World Famous Drive Thru Bud Humboldt Honey Amazing Bud Stories Northern Lights Sun King High Noon Budzilla Super Skunk Stupor Farms Buds from Space High Society Purple Haze Kush Ganjah Jah Make Ah Don't Tread on Me Fumar la Mejor Space City Sticky Fingers

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

Published on the occasion of renowned Belgian figurative painter Luc Tuymans' retrospective exhibition in Hungary and Poland, this volume circumvents the typical monograph format by focusing on the reflections of regional writers, whose perspectives were solicited for being less inhibited and more direct than the typical art historian's. Contributors were granted complete freedom to comment on a single picture, Tuymans' activity as a painter or any other aspect of his personality. The resulting narratives, which are accompanied by a well-considered selection of color reproductions, share the spirit of the pictures and are quite personal and engaging. For example, Warsaw's Agata Tuszynska writes, "The echoes of the Holocaust that permeate my world and are my deepest genealogy are your soil as well. We dig around in ashes and play with smoke. I, with words, you, with images."