The drawings of Israeli artist Eran Shakine may look carefree and casual, but their message is serious: Muslims, Christians, and Jews share a history. They are linked through Abraham's sons Ishmael, an ancestor of the Muslims, and Isaac, an ancestor of the Jews, as well as through Jesus, born a Jew. As Shakine demonstrates in this new collection of his work, Muslims, Christians, and Jews have a great deal in common. Eran Shakine: Knocking on Heaven's Door presents new large-format oilstick drawings depicting Muslims, Christians, and Jews as an indistinguishable trio involved in actions that are both profound and humorous. In doing so, he reveals both the diversity and the similarity of the three and offers his own highly individual view of these world religions. Shakine's work argues that though they may have many differences, they share one thought: when they knock at heaven's door, they all hope to find the love of God. The result is a moving, sometimes witty, and always powerful collection of drawings that speak to many conflicts in the world today.

The stepped terraced house is a type of building that meets modern housing requirements: it is economical and offers ample living space with the comfort of terrace and garden. Rising to popularity with the advent of new social movements it was forgotten with the progressive erosion of the new ideas of society and relegated them to obscurity or even to their disqualification as eyesores. Yet the enduring satisfaction of residents and ecological advantages of green houses make terraced housing as attractive as ever. The buildings studied in the book are not only architectural icons today; even today, one can still learn from them about what residential buildings need. One proponent of this building style was Harry Gluck; part of his text pleading the case for a green city is printed here.

One of the major literary works by Andy Warhol, the subject of the new Netflix documentary The Andy Warhol Diaries, executive produced by Ryan MurphyConceptually unique, hilarious, and frightening, a: A Novel is the perfect literary manifestation of Andy Warhol's sensibility. In the late sixties, Warhol set out to turn a trade book into a piece of pop art, and the result was this astonishing account of the artists, superstars, addicts, and freaks who made up the Factory milieu. Created from audiotapes recorded in and around the Factory, a: A Novel begins with the fabulous Ondine popping several amphetamines and then follows its characters as they converse with inspired, speed-driven wit and cut swaths through the clubs, coffee shops, hospitals, and whorehouses of 1960s Manhattan.

The first book to explore the fascinating career and fantasy-driven worlds created by the acclaimed Argentinean artist Adrian Villar Rojas's works concoct imaginary realms. Usually made from clay, his colossal installations are transitory and so cannot be collected, as they disappear or decay over time. His practice confronts the public with ideas of obsolescence and extinction, but also with the possibilities of humankind and its endless imagination. This is the first book to include all of Villar Rojas' most significant projects, featured in international biennials such as Venice, Documenta, Shanghai, and others.

Elmgreen & Dragset's constructed environments have been celebrated all over the world for their mischievous, cerebral, and accessible nature. This is the first comprehensive presentation of the duo's work, from their early performative pieces in the late 1990s to their most recent public projects Drawing from disciplines as divergent as institutional critique, social politics, performance, design, and architecture, Elmgreen & Dragset's work reconfigures the familiar with characteristic and subversive wit. Their sculptures and installations, also known as 'Powerless Structures', have redefined what it means to experience art - the cover features their work Van Gogh's Ear, a sculpture in the form of a swimming pool, which is located on Fifth Avenue in New York at the entrance to the Rockefeller Center. This book includes all of their most significant projects, from the transformation of New York's Bohen Foundation into a subway station in 2004, to the siting of a fake Prada boutique in the Texan desert in 2005, and the installation of the statue of a child on a rocking horse on the fourth plinth in Trafalgar Square in 2012. Elmgreen & Dragset is the latest addition to the acclaimed Phaidon Contemporary Artists Series.

The first comprehensive survey to explore the rich and complex history of contemporary Korean art - an incredibly timely topic Starting with the armistice that divided the Korean Peninsula in 1953, this one-of-a-kind book spotlights the artistic movements and collectives that have flourished and evolved throughout Korean culture over the past seven decades - from the 1950s avant-garde through to the feminist scene in the 1970s, the birth of the Gwangju Biennale in the 1990s, the lesser known North Korean art scene, and all the artists who have emerged to secure a place in the international art world.

Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich

The Lost Thing uses the house as a metaphor in which the various rooms are images of mental states, memories and displacements. The catalogue accompanying the exhibition is structured as a labyrinthine wandering from room to room showing an experimental exploration of installation art's ability to articulate existential issues through a poetic architectural adaptation. Hanne Tyrmi (1954) is a Norwegian artist who has been active in the art scene since the 1980s. As an artist, she is totally unafraid of using a variety of visual languages to make her point: she is a sort of "polyglot" with a reputation for creating sculptures, installations, videos and photographic works that invade our emotions like a benign virus. Her work is infectious and any contact with it sets in motion a metamorphosis that brings about a healthy resistance to the emotional malaise of our time. A strong sense of adventure can be felt in her works, something she learnt from her travels around the world, without fear and with an open mind. She lived and worked in Brazil, South Africa and India for years; more recently she moved her studio from Oslo to Xiamen in order to work in Chinese workshops. Hanne has ventured into the world of art fearless of its conventional canons and she is willing to address issues and subjects many artists would shy away from. Her curiosity is focused on how one's mind and body behave when confronted by certain images and environments, i.e. on the emotional reactions of the viewers.

THE NATIONAL BESTSELLER From the internationally bestselling artist that brought you the Morphia series, this incredible coloring book includes 96 double-sided pages of pure imagination in an all-new Kerby Rosanes universe. A new fantastic and super-detailed adult coloring book, in an entirely new world, from the prodigious bestselling illustrator. Colorists will find Kerby Rosanes's new creations to be hypnotic, with spread after dizzying spread featuring creatures, people, animals, and landscapes that blur the line between familiar and magical, between reality and imagination. Fans will be thrilled to see Kerby return with this 96-page book, providing an apparently endless coloring challenge for even his most dedicated and enthusiastic fans.

A sweeping selection of Donald Judd's iconic and ambitious works alongside a diverse collection of newly commissioned writings. "One of the most significant American artists of the postwar period, Donald Judd rigorously experimented with color, form, material, and space. The works in this catalogue range from the artist's expansive installations to self-contained single units, yielding valuable new insights into his process and approach. The survey includes one of the artist's largest and most intricate installations of sixty-three wall-mounted plywood boxes, conceived in 1986. Other works include variations on some of Judd's most recognizable forms, executed in materials such as Cor-ten steel, plexiglass, copper, plywood, brushed aluminum, and enameled aluminum. Brilliant and exacting reproductions bring these works to life on the page. Following the artist's major retrospective at The Museum of Modern Art, New York, in 2020, this book serves as a companion volume. With contributions from a wide range of voices-art historians, critics, writers, and performers- this publication includes rich new writings on Judd's oeuvre, art criticism, and enduring influence. Artworks: 1970-1994 is published on the occasion of the eponymous 2020 exhibition at David Zwirner, New York."

Architecture and the Virtual is a study of architecture as it is reflected in the work of seven contemporary artists, working with the tools of our post-digital age. The book maps the convergence of virtual space and contemporary conceptual art and is an anthropological exploration of artists who deal with transformable space and work through analogue means of image production. Marta Jecu builds her inquiry around interviews with artists and curators in order to explore how these works create the experience of the virtual in architecture. Performativity and neo-conceptualism play important roles in this process and in the efficiency with which these works act in the social space.

For three decades the signature "W. C. Hook" has connoted dynamic design, saturated colour, and muscular brushwork. William Cather Hook's ability to straddle the border between pictorial illustrationsion and pure paint, between traditional yet modern, has won him collectors worldwide. Less well-known about this master of acrylics is the breadth of his subject matter. In this retrospective of paintings dating from the early 1980s to the present Hook guides the reader on a journey that includes the back roads of northern New Mexico, the high country of the colourado Rockies and Sangre de Cristos, California's Pacific coastline and central valley, the reaches of the Sonoran Desert, and historic vistas in England and Italy. Whether depicting crashing surf, aspen forests, or luminous big skies, Hook's vision is inviting, vibrant, and infused with radiant light. Also explored is the artist's biography, from his Kansas roots to his current studios in Santa Fe, New Mexico, and Carmel, California.

*A Financial Times Book of the Year* 'The first time I opened What Artists Wear, I gasped with pleasure. Imagine it as a kind of punk cousin to John Berger's Ways of Seeing, liberally illustrated with the most astonishing images of artists, decked out in finery or rags ... It transported me to somewhere glamorous, exciting, even revolutionary' Olivia Laing, Guardian Most of us live our lives in our clothes without realizing their power. But in the hands of artists, garments reveal themselves. They are pure tools of expression, storytelling, resistance and creativity: canvases on which to show who we really are. In What Artists Wear, style luminary Charlie Porter takes us on an invigorating, eye-opening journey through the iconic outfits worn by artists, in the studio, on stage, at work, at home and at play. From Yves Klein's spotless tailoring to the kaleidoscopic costumes of Yayoi Kusama and Cindy Sherman; from Andy Warhol's signature denim to Charlotte Prodger's casualwear, Porter's roving eye picks out the magical, revealing details in the clothes he encounters, weaving together a new way of understanding artists, and of dressing ourselves. Part love letter, part guide to chic, and featuring generous photographic spreads, What Artists Wear is both a manual and a manifesto, a radical, gleeful, inspiration to see the world anew-and find greater pleasure and possibility in the clothes we all wear.

This catalogue documents the first exhibition in the Middle East by KAWS (Brian Donnelly, born 1974, USA). The solo show explores his career and vast oeuvre and features paintings and sculptures made over the past 20 years. KAWS' imagery has long possessed a sophisticated, dark humour, revealing the interplay between art and consumerism, referencing both art history and pop culture. Donnelly began his career in street art in the 1990s, becoming synonymous with the name KAWS, a tag that became a staple in his 'sub-vertisments' (modifications of commercial works). In addition to more than 40 major pieces exhibited in the Garage Gallery, examples of commercial collaborations designed by KAWS, among them sneakers, skateboards, and toys are on view in a separate archive above Cafe 999. A massive 5-meter-tall sculpture, COMPANION (PASSING THROUGH) (2013), in the Fire Station courtyard and an inflatable 40-metre public artwork at the Dhow Harbour, HOLIDAY (2019), also serve to highlight the exhibition.

My Generation is a striking and appealing new volume that presents 75 artworks by 27 young Chinese artists, all born after 1976 after the end of the Cultural Revolution. Covering all media and types of production, their work opens a window onto a new China, a society that has undergone rapid industrialisation and globalisation in the past two decades. Artists and collectives featured include Birdhead, Chi Peng, Chen Ke, Chen Wei, Cui Jie, Double Fly, Guo Hongwei, Hu Xiaoyun, Huang Ran, Irrelevant Commission, Jin Shan, Li Qing, Liang Yuanwei, Liang Yue, Liu Di, Lu Fang, Lu Yang, Ma Qiusha, Made In, Qiu Xiaofei, Song Kun, Shi Zhiying, Sun Xun, Wang Yuyang, Yan Xing, Zhang Ding, Zhou Yilun. Contents of the book: Foreward by Todd Smith, Director, Tampa Museum of Art, Florida; Curator's Preface & Acknowledgements by Barbara Pollack; Young, Gifted and Chinese by Barbara Pollack; Essay 2 by Li Zhenhua; Main Catalogue/Plates section: 75 artworks; Brief captions for comparative images 1-para; Artist biographies; Selected Exhibitions and Publications; Notes on curator; Index; Photo credits.

Germany Divided explores a selection of unpublished and unseen works from some of the leading names in contemporary art. Showcased are key works from six artists who re-defined art in Germany in the second half of the twentieth century: Georg Baselitz; Marcus Lupertz; Blinky Palermo; A.R. Penck; Sigmar Polke and Gerhard Richter. In-depth biographical essays on each artist show how the division of Germany into separate states affected their work; and the importance of the experience of migration from East to West. The new consumer culture in the West contrasted starkly with the planned economy of the East. Artists on both side of the Wall were faced with the difficult emotional task of negotiating with the past; not only the recent history of the Third Reich, but the 'lost' traditions of German painting, particularly Expressionism, from which they had been cut adrift. Germany Divided explores the work of these artists in the broader historical context of Germany and Europe in the 1960s and 1970s, and shows how these debates placed crucial emphasis on the creation and display of art. Graphic traditions, reaching back through Expressionism to older traditions of print-making in Germany, were an essential part of the reconstruction of artistic life, and a basis for the phenomenal international success of German art on an international stage in the decades to follow.

The volume brings together for the first time the photographs taken by Olivo Barbieri (Carpi, Modena, 1954) in the early eighties. In these shots, full of mystery and everyday life, can be found all the elements that in the following decades the Emilian master would have developed: the artificial lighting in contemporary cities, views from above, home interiors and bars, the signs left by man in the landscape. In consonance with the spirit of research that characterised the season of Italian photography between the late seventies and the early eighties, Barbieri scoured with a sharp and meticulous gaze the hidden corners of the province - authentic places of the indefinite - with the intent to investigate the theme of visual perception and its representation. His images scratch the surface of a banal only apparently so and, in a state of expectation and disorientation, open up a new way of looking at space, instilling a doubt in the observer: do we actually see reality? The volume includes a critical text by Corrado Benigni and a conversation with the artist. Text in English and Italian.

Dialectical Materialism: Aspects of British Sculpture Since the 1960s charts a network of relations linking the work of six sculptors: Anthony Caro, Barry Flanagan, Richard Long, William Turnbull, Rachel Whiteread and Alison Wilding. Since the 1960s, successive artists and art-critical frameworks have sought to undermine or dispense with traditional media and the boundaries between painting and sculpture, the core disciplines of modern Western art. The artists studied here are united by their commitment to sculpture as a distinct practice, but also to broadening, challenging and redefining the basis of that practice. In his essay, art historian Jonathan Vernon argues that each of these sculptors has engaged in a realignment of sculptural and material space - in removing sculpture from the disembodied, 'disinterested' spaces of mid-century modernism and returning it to a shared world inhabited by other objects, ourselves and our material interests. From the conflicts that inhere in this space, we may discern the outlines of a new idea of British sculpture since the 1960s - an idea by turns narrative, dramatic and dysfunctional.

Somewhere in Brooklyn, a little boy dreams of being a famous artist, not knowing that one day he would make himself a king. Jean-Michel Basquiat and his unique, collage-style paintings rocketed to fame in the 1980s as a cultural phenomenon unlike anything the art world had ever seen. However, before that, he was a little boy who saw art everywhere: in poetry books and museums, in games, in the words that we speak and in the pulsing energy of New York City. Now, award-winning illustrator Javaka Steptoe's vivid text and bold artwork echoing Basquiat's own style introduces young readers to the powerful message that art doesn't always have to be neat or clean - and definitely not inside the lines - to be beautiful.

The Social Design Reader explores the ways in which design can be a catalyst for social change. Bringing together key texts of the last fifty years, editor Elizabeth Resnick traces the emergence of the notion of socially responsible design. This volume represents the authentic voices of the thinkers, writers and designers who are helping to build a 'canon' of informed literature which documents the development of the discipline. The Social Design Reader is divided into three parts. Section 1: Making a Stand includes an introduction to the term 'social design' and features papers which explore its historical underpinnings. Section 2: Creating the Future documents the emergence of social design as a concept, as a nascent field of study, and subsequently as a rapidly developing professional discipline, and Section 3: A Sea Change is made up of papers acknowledging social design as a firmly established practice. Contextualising section introductions are provided to aid readers in understanding the original source material, while summary boxes clearly articulate how each text fits with the larger milieu of social design theory, methods, and practice.

The final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art This book takes readers on a fascinating journey around five Asian centers of contemporary art and its myriad institutions, agents, forms, materials, and languages, while posing vital questions about the political economy of culture and the power of visual art in a multi-polar world. He analyzes the financial powerhouse of Art Basel Hong Kong, new media art in South Korea, the place of the Kochi Biennale within contemporary art in India, transnational art and art education in China, and the geo-politics of art patronage in Palestine, and he develops a highly original synthesis of theoretical perspectives and empirical research. Drawing on detailed case studies and personal insights gained from his extensive experience of the contemporary art scene in Asia, Professor Harris examines the evolving relationship between the western centers of art practice, collection, and validation and the emerging "peripheries" of Asian Tiger societies with burgeoning art centers. And he arrives at the somewhat controversial conclusion that dominance of the art world is rapidly slipping away from Europe and North America. The Global Contemporary Art World is essential reading for undergraduates and postgraduate students in modern and contemporary art, art history, art theory and criticism, cultural studies, the sociology of culture, and globalization studies. It is also a vital resource for research students, academics, and professionals in the art world.

A groundbreaking introduction to the photographic work of an iconic modern artist The pathbreaking artist Georgia O'Keeffe (1887-1986) is revered for her iconic paintings of flowers, skyscrapers, animal skulls, and Southwestern landscapes. Her photographic work, however, has not been explored in depth until now. After the death of her husband, the photographer Alfred Stieglitz, in 1946, photography indeed became an important part of O'Keeffe's artistic production. She trained alongside the photographer Todd Webb, revisiting subjects that she had painted years before-landforms of the Southwest, the black door in her courtyard, the road outside her window, and flowers. O'Keeffe's carefully composed photographs are not studies of detail or decisive moments; rather, they focus on the arrangement of forms. This is the first major investigation of O'Keeffe's photography and traces the artist's thirty-year exploration of the medium, including a complete catalogue of her photographic work. Essays by leading scholars address O'Keeffe's photographic approach and style and situate photography within the artist's overall practice. This richly illustrated volume significantly broadens our understanding of one of the most innovative artists of the twentieth century. Published in association with the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (October 17, 2021-January 17, 2022) Addison Gallery of American Art, Phillips Academy, Andover, MA (February 26-June 12, 2022) Denver Art Museum (July 3-November 6, 2022) Cincinnati Art Museum (February 3-May 7, 2023)

For someone who shuns the limelight so completely that he conceals his name, never shows his face and gives interviews only by email, Banksy is remarkably famous. From his beginnings as a Bristol graffiti artist, his artwork is now sold at auction for six-figure sums and hangs on celebrities' walls. The appearance of a new Banksy is national news, his documentary Exit Through the Gift Shop was Oscar-nominated and people queue for hours to see his latest exhibition. Now more National Treasure than edgy outsider, who is Banksy and how did he become what he is today? In the first attempt to tell the full story of Banksy's life and career, Will Ellsworth-Jones pieces together a picture of his world and unpicks its contradictions. Whether art or vandalism, anti-establishment or sell-out, Banksy and his work have become a cultural phenomenon and the question 'Who is Banksy?' is as much about his career as it is 'the man behind the wall'. 'Britain's unlikeliest national treasure' Independent 'A fascinating portrait that elicits admiration for a man who, despite his increasingly unconvincing efforts to retain some shred of his vandal status, has had an undeniable impact on art' The Times