In this readable and highly original book, John J. Curley presents the first synthetic account of global art during the Cold War. Through a careful examination of artworks drawn from America, Europe, Russia and Asia, he demonstrates the inextricable nature of art and politics in this contentious period. He dismantles the usual narrative of American abstract painting versus figurative Soviet Socialist Realism to reveal a much more nuanced, contradictory and ambivalent picture of art making, in which the objects themselves, like spies, dissembled, housed and managed ideological differences.

Glory and Exile: Haida History Robes of Jut-ke-Nay Hazel Wilson marks the first time this monumental cycle of ceremonial robes by the Haida artist Jut-Ke-Nay (The One People Speak Of)-also known as Hazel Anna Wilson-is viewable in its entirety. On 51 large blankets, Wilson uses painted and appliqued imagery to combine traditional stories, autobiography, and commentary on events such as smallpox epidemics and environmental destruction into a grand narrative that celebrates the resistance and survival of the Haida people, while challenging the colonial histories of the Northwest Coast. Of the countless robes Wilson created over fifty-plus years, she is perhaps best known for The Story of K'iid K'iyaas, a series about the revered tree made famous by John Vaillant's 2005 book The Golden Spruce. But her largest and most important work is the untitled series of blankets featured here. Wilson always saw these works as public art, to be widely seen and, importantly, understood. In addition to essays by Robert Kardosh and Robin Laurence, the volume features texts about each robe by Wilson herself; her words amplify the power of her striking imagery by offering historical and personal context for the people, characters, and places that live within her colossal work. Glory and Exile, which also features personal recollections by Wilson's daughter Kun Jaad Dana Simeon, her brother Allan Wilson, and Haida curator and artist Nika Collison, is a fitting tribute to the breathtaking achievements of an artist whose vision will help Haida knowledge persist for many generations to come.

In the perpetual quest for the new, the exciting and the innovative, the attention of the global art community has in recent years been more and more focused on the Middle East. Exhibitions and articles have highlighted a remarkable burst of creativity in the region, as Arab countries from Syria to Algeria, Egypt to Lebanon and Palestine to Saudi Arabia have launched some of the most fascinating artists in recent years. The conceptual playfulness of Hassan Khan, the charged paintings of Jeffar Khaldi, the organic sculptures of Diana Al-Hadid, and the moving photography of Yto Barrada have dazzled audiences with their variety, innovation and thoughtfulness. Until now, however, nobody has captured the vitality of the region's art in a single book. New Vision: Arab Contemporary Art in the 21st Century offers the most comprehensive, scholarly and in-depth survey yet of what is currently happening at the cutting-edge of art in the Arab world. It begins with five groundbreaking essays that offer the best context to date for contemporary Arab production. Between them they discuss the critical issues of diaspora, globalization, identity and audience, and also explore the origins of the current boom in the political upheavals of the late 20th century. These essays are then followed by some 90 superbly illustrated profiles of key artists, organizations and galleries. Mixing the well known (such as Mona Hatoum or Susan Hefuna) with the up and coming (for example, Steve Sabella or Mireille Astore), this section offers a vibrant perspective on the current state of Arab art.

A revealing exploration of Edward Hopper's inspired relationship to New York City through his paintings, drawings, prints, and never-before-published archival materials This engaging book delves into the iconic relationship between Edward Hopper (1882-1967) and New York City. This comprehensive look at an essential aspect of the revered American artist's life reveals how Hopper's experience of New York's spaces, sensations, and architecture shaped his vision and served as a backdrop for his distillations of the urban experience. During sidewalk strolls and elevated train rides, Hopper sketched the city's many windowed facades. Exterior views gave way to interior lives, forging one of Hopper's defining preoccupations: the convergence of public and private. These permeable walls allowed Hopper to evoke the perplexing awareness of being alone in a crowd that is synonymous with modern urban life. Drawing on the vast resources of the Whitney Museum of American Art, the largest repository of Hopper's work, and the recently acquired gift of the Sanborn Hopper Archive, this book features more than 300 illustrations and fresh insight from authoritative and emerging scholars. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (October 19, 2022-March 5, 2023)

In her vibrant works, the Brazilian painter Beatriz Milhazes fuses two very different worldviews. Her abstract compositions, which can be seen in a line with modernist masters from Henri Matisse to Bridget Riley, are saturated with the colors and light of her native country. Her paintings are strewn with symbols of everyday life in Brazil, invoking carnival, traditional craftsmanship, and motifs from baroque to pop, all choreographed in an exuberant visual rhythm. The colorful atmosphere has an irresistible exotic allure, but as in the works of Paul Gauguin, we find a broken paradise in which darker, more melancholic tones resonate, both in the promises of tropical life and those of modernist abstraction. In seeking this balance, Milhazes developed a special transfer technique in the late eighties, painting her motifs onto plastic sheets, gluing these to the canvas and letting them dry, and then peeling away the plastic once dry so that the paint remains on the canvas. This method allows the artist to layer surface upon surface and to achieve an iridescence somewhere between radiant aura and shimmering melancholy. Since her breakthrough in the early 1990s, Milhazes has extended the scope of her work to other media, producing screen prints, collages made of chocolate and candy wrappers, sculptures such as giant mobiles made of carnival decorations, site-specific projects that transform building facades into stained glass windows, and experiments with body and rhythm in collaboration with her sister Marcia's ballet ensemble. This updated edition, which has been expanded to include works made as recently as 2020, explores all of the artist's creative phases, from her beginnings to the present, with over 300 of her works. The book was created in close collaboration with the artist, in both the selection of images and specially designed pages between chapters. It includes a conversation with editor Hans Werner Holzwarth in which the artist unravels her working methods and talks about the ideas and cultural background behind her work. An art historical essay by David Ebony, a poetic dictionary of Milhazes's key motifs by Adriano Pedrosa, and a detailed, updated artist biography by Luiza Interlenghi round off this comprehensive work. Also available in an Art Edition with a silkscreen print signed by Beatriz Milhazes

An artistic collection of more than 50 drawings featuring unique, funny, and poignant foreign words that have no direct translation into English.
Did you know that the Japanese language has a word to express the way sunlight filters through the leaves of trees? Or that there's a Finnish word for the distance a reindeer can travel before needing to rest? "Lost in Translation" brings to life more than fifty words that don't have direct English translations with charming illustrations of their tender, poignant, and humorous definitions. Often these words provide insight into the cultures they come from, such as the Brazilian Portuguese word for running your fingers through a lover's hair, the Italian word for being moved to tears by a story, or the Swedish word for a third cup of coffee.
In this clever and beautifully rendered exploration of the subtleties of communication, you'll find new ways to express yourself while getting lost in the artistry of imperfect translation.

As artists push further and further beyond their, and our, comfort zones, this book aims to help decipher the bizarre and often intimidating aspects of modern and contemporary art by exploring twenty works of art in terms of seven 'keys'. History, biography, aesthetics, experience, theory, criticism and the market represent conventional 'modes of existence' for every artwork discussed, but in a fascinating variety of ways. Simon Morley shows how twenty well-known but little-understood works of art can serve as useful springboards not only for understanding each other, but also for appreciating works by the same artists, and from the wider world of art in general. Rather than proceeding on the basis of familiar art 'movements' or '-isms', Morley focuses on just twenty individual works of art, from Matisse's The Red Studio to Doris Salcedo's Untitled. Representing a variety of media, styles, subjects and intentions, being the creations of men and women of different periods and places, coming from disparate social and ethnic backgrounds, these works show a rich diversity in modern and contemporary art.

"Pain is whatever the experiencing person says it is, existing whenever he says it does." - Margo McCAaffery, 1968. The catalogue Beyond the Pain, published for the exhibition of the same name at Galerie Stadt Sindelfingen, addresses approaches to conquering pain within the visual arts. Twelve renowned national and international artists demonstrate how negative physical and psychological experiences can be transformed into a positive attitude to life, and contributions from academics complement and discuss the overcoming of pain. The reception of art, just like the experience of pain, is as much informed by cultural-societal norms as it is a profoundly individual experience; to this end contemporary art is connected to a universal theme of humanity. Text in English and German.

SingaporeEye features seventy-five of the country's most dynamic contemporary artists, as well as contributions by experts tracing the origins and history of artistic development in Singapore, offering insight of new trends arising from the city's young artists of today and of the perspectives behind their work. The publication of this volume coincides with the 50th anniversary of Singapore's independence. A cosmopolitan and multicultural city with a global outlook tempered by Asian traditions, Singapore and its contemporary artists are starting to gain a foothold in the international art world.

This long-awaited volume celebrates the work of Kerry James Marshall, one of America's greatest living painters. Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for large-scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth-century abstraction, as well as other sources such as the comic book and the muralist tradition. With luscious color and brushstrokes and highly detailed patterning, his direct and intimate scenes of black middle-class life conjure a wide range of emotions, resulting in powerful paintings that confront the position of African Americans throughout American history. Richly illustrated, this monumental book features essays by noted curators as well as the artist, and more than 100 paintings from throughout the artist's career arranged thematically by subject: history painting; beauty, as expressed through the nude, portraiture, and self-portraiture; landscape; religion; and the politics of black nationalism.

Iñaki �balos and Juan Herreros established the renowned architec­tural firm �balos & Herreros in Madrid in 1984. At the time, fol­lowing the end of the Franco regime, architects were valued more for their technical ability than for their contributions to theoretical research. In this context, �balos and Herreros's melding of design with a range of publications and curatorial projects presented a remarkable challenge to assumptions about the role of an architect. In 2012, the Canadian Centre for Architecture obtained the �balos & Herreros archive, which contains documents related to more than 160 projects. The material comprises sketches, slides, models, col­lages, and drawings. The archive presents a compelling opportunity to reconstruct �balos and Herreros's planning and design process. Each of the book's three contributors--two of whom worked with �balos and Herreros--approaches the archive with specific questions, and their essays explore topics including the architects' fascination with industrial architecture, their capacity to construct a hybrid materiality without recourse to building technology as language, and their innova­tive visions for landscape architecture. While many have written about the work of �balos and Herreros, previous books have been based mainly on their built projects and on­going research. �balos & Herreros Selected by Office Kersten Geers David Van Severen, Juan José Castellón and SO-IL is the first book to draw on the firm's archive to offer a new take on this important architectural practice.

“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.

This career-spanning publication features conceptual, political, formal, and technical perspectives on the work of contemporary sculptor Charles Ray For Charles Ray (born 1953), sculpture is a way of thinking that informs his work across a wide range of media-from gelatin silver prints to porcelain, fiberglass, wood, and steel. Charles Ray: Figure Ground spans the whole of the artist's fifty-year career, from his early photographs and performances through his intriguing, often unsettling sculptures, some of which are published here for the first time. The essays foreground Ray's engagement with preexisting traditions, as well as charged issues around race, gender, and sexuality (notably expressed through his explorations of Mark Twain's 1884 novel Adventures of Huckleberry Finn) and investigate the modalities of touch that run through his work. In addition, a reflection by Ray himself and a conversation between the artist and Hal Foster offer further insights into his multifaceted practice. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (January 31-June 5, 2022)

German artist Neo Rauch, championed as "the painter of the zeitgeist" by The New York Times's Roberta Smith, presents new paintings in PROPAGANDA. Rauch is widely celebrated for his captivating compositions that bring together figurative painting and surrealism into an entirely new kind of visual encounter. They often hint at broader narratives and histories-seemingly reconnecting with artistic traditions of realism-but they remain dreamlike and impossible to reduce to a single story. Though his art is highly refined and executed with great technical skill, Rauch himself stresses the intuitive, deeply personal nature of how he works. As the artist notes, "My process is far less a reflection than it is drawing from the sediments of my past, which occurs in an almost trance-like state. "Eight large-scale canvases and seven smaller, more intimately scaled works continue the artist's exploration of figuration and the ambiguous nature of meaning in visual art. In some of the larger works, the saturation of the canvas with characters, objects, and, forms, all rendered at different scales and in conflicting arrangements, creates a collage-like quality-a figurative scrapbook of Rauch's personal iconography. The publication features a short story by German novelist and playwright Daniel Kehlmann, which was inspired by the paintings in this book. The fantastical text moves between present-day New York and an unknown time of enchanted forests, knights, and witches, exploring the many layers found in Rauch's canvases. Published on the occasion of the artist's solo exhibition at David Zwirner, Hong Kong in 2019, Neo Rauch: PROPAGANDA is available in both English only and bilingual English/traditional Chinese editions.

Building-related art commissioned by the state brings politics, society, architecture, and urban design together in a unique way. In the German Democratic Republic (GDR), it was initially given the function of propagating political contents and idealized images of society. Artists increasingly emancipated themselves from government guidelines and developed their own forms of expression in interplay with their surroundings. Until today, many people identify numerous artworks with their home country. The publication documents the symposium "Building-related Art in the German Democratic Republic" on the occasion of the anniversary "seventy years of building-related art in Germany" in 2020. Renowned experts examine building-related art in the GDR from the perspective of aesthetics and contents and discuss this internationally unique stock of artworks in detail.

Anyone who has ever laughed out loud at Max Kersting’s brilliant combinations of word and image has immediately become a fan of his unique and original art. He lends new meaning to found photographs with his added speech and thought bubbles. The newly created word-image relationships are, in their sensitive way, as humorous as they are inimitably profound. This connection applies all the more to his new work, which could be called “purely graphic.� Here, Kersting considers the graphic� in its two meanings of drawing and writing, or symbol. Even Roland Barthes compared the flow of the fountain pen to the pressure of the ballpoint pen. Like brilliant emblems from Kersting’s ballpoint pen, the texts are scratched across the paper in brief, marvelously unskilled handwriting, as well as across the existential ground upon which our daily lives occur.

A larger-than-life figure in the design community with a client list to match, Paula Scher turned her first major project as a partner at Pentagram into a formative twenty-five-year relationship with the Public Theater in New York. This behind-the-scenes account of the relationship between Scher and "the Public," as it's affectionately known, chronicles over two decades of brand and identity development and an evolving creative process in a unique "autobiography of graphic design." New Yorkers, designers, and theater fans everywhere will be thrilled to find hundreds of Scher's posters, including those for Hamilton, Bring in 'da Noise, Bring in 'da Funk, and numerous Shakespeare in the Park productions, collected in this one-of-a-kind volume along with other printed and process-related matter. Essays by two of the theater's artistic directors, George C. Wolfe and Oskar Eustis, and design critics Steven Heller and Ellen Lupton contextualize Scher's dynamic typographic treatment.

Hanneke Beaumont is known for her life-size sculptures of human figures in public spaces, which are to be found everywhere - from Brussels to Connecticut. For 35 years, she has been a key part of the international art scene with works in the collections of, among others, the Copelouzos Family Art Museum in Athens, the Baker Museum in Florida and the Frederik Meijer Gardens & Sculpture Park in Michigan. The latter two also organised a highly-successful solo exposition of her work.

Over the past few decades, the Nordic region has witnessed large shifts in its political, social and international outlook. Meanwhile, its art, commonly described as introverted, contemplative and wild, is also undergoing changes. As technology embeds itself further into the contemporary art scene, there is a renewed need to examine the role of art in society and everyday life, and to consider how the digitalization of art has tackled socio-political realities, locally and in the wider world. Digital Dynamics in Nordic Contemporary Art includes a collection of testimonials from 78 artists, connected to Nordic art, who employ concepts and/or tools relating to the digital in their practice. Their statements form the basis of the essays in Part 2, penned by leading scholars affiliated with the Nordic art context, which inquire into the digital influences on contemporary art, with particular attention paid to the national and international Nordic socio-political context. Landscapes, nature, minimalism, melancholia - this book examines how these traditional Nordic tropes hold up in the growing field of digital contemporary art, and asks: to what extent have digital dynamics been adopted into the imaginaries and practices of Nordic artists? www.digitaldynamics.art