The Young British Artists (YBAs) stormed on to the contemporary art scene in 1988 with their attention-grabbing, ironic art. They exploded art-world conventions with brazen disdain. Dismissed as trivial gimmickry and praised for its witty energy, their art made a mark both on the art scene and on public consciousness that continues to reverberate today. Now, almost three decades after they emerged, Artrage! tells the story of the YBAs with the benefit of perspective, chronicling the group's rise to prominence from the landmark show `Freeze' curated by Damien Hirst, through the heyday of the 1990s and the notorious `Sensation' exhibition, to the Momart fire of 2004 that seemed to symbolize the group's fading from centre stage. The book ends with an update on the artists' careers and fortunes in the last decade. Drawing on interviews with all the key BritArt players and extensive archival research, Elizabeth Fullerton examines the individual characters, their relationships to one another, crucial events and seminal artworks, considering, too, the political, economic and artistic context of those years. Plentiful quotations bring out the distinctive personalities and provide fresh insights into the people and the period. Among the artists discussed are Damien Hirst, Rachel Whiteread, Tracey Emin, Jake and Dinos Chapman, Sarah Lucas and Gary Hume.

This collection of 5,000+ designs from Thomas Wilson's drawing notebooks harvests the creative output of four decades of ironwork design. Wilson-ironwork designer, master blacksmith, artist, sculptor, illustrator, author, and restorer-is at the forefront of design in metal. The designs here demonstrate the core role that drafting and drawing play in artistic work. Rendered on everything from notebook pages to paper napkins, they range from traditional to wildly creative. This volume incorporates the best of all that Wilson's eyes and mind have absorbed, and offers inspirational creative reference for anyone interested in design. Some of the drawings are spontaneous, simple idea sketches; others are fully evolved renderings of works of art. From chairs to hinges, chandeliers to fences, benches to belt buckles, the images will inspire design professionals, architects, interior designers, art students, blacksmiths, ironwork enthusiasts, jewelers, and artists of all kinds.

Something strange is going on in the photographs by Frank Kunert (*1963 in Frankfurt am Main): the table set for two has been so cleverly built around a corner that neither of the diners has to see the other, yet they can both watch their own television. Or a desk has a built-in bed for the much-desired office nap. And the outdoor toilet is located further away than one might hope for in an emergency-namely, on the moon. Kunert, a model builder and photographer, creates images of this kind in weeks of painstaking attention to detail, lending expression to the grotesque outgrowths of civilized life that is as humorous and exhilarating as it is profound. The ambivalence between tragedy and humor piques the artist time and again and permeates his surreal-looking visual worlds in an inexhaustible variety of ways. Melancholy and skewed wit are closely related in this wonderland of absurdities-surprising and thought provoking.

A dynamically illustrated exploration of 70 years of automotive design in the Motor City Detroit, nicknamed Motor City, has always been a leader in car design. As the city became the center of the American automobile industry in the early 20th century, its studios became incubators for new ideas and new styles. This volume highlights the artistry and influence of Detroit designers working in the industry between 1950 and the present day, giving readers a sumptuously illustrated opportunity to discover the ingenuity of influential (and surprisingly little-known) figures in postwar American car design. Detroit Style showcases 12 coupes and sedans, representing both experimental cars created solely for display and iconic production models for the mass market. Dozens of design drawings and images of studio interiors-along with paintings and sculptures-highlight the creative process and dialogue between the American art world and car culture. These materials in addition to interviews with influential figures in car design today bring new insights and spark curiosity about the formative role Detroit designers have played in shaping the automotive world around us, and the ways their work has responded to changing tastes, culture, and technology.

Part performance art and part engineering, sand sculpture has become amazingly sophisticated as artists explore the boundaries of their skill with sand as a medium. Within a very short time, a sculptor can create an awesome, thought-provoking experience that will completely vanish after a few weeks. The photographs are all that's left. Barbara Purchia and E. Ashley Rooney take you on a round-the-world tour of sandscapes showcasing a dazzling array of sculptural figures, forms, and styles. Behind-the-scenes interviews with the sand masters reveal what motivates them and how they approach their art. Todd Vander Pluym, the world's premier sand artist and president of Sand Sculptors International (SSI), shares a contemporary history of sand sculpture, and renowned international sculptor Kirk Rademaker describes how he built a new life around this ephemeral medium.The images of these art pieces will have you wanting to stick your toes in the sand!

This fascinating volume showcases the work of British artist, poet and performer Liz Finch and presents a series of 25 sculptures created between 1975 and 2016. The gentle figures are strangely familiar, built using found and made objects that might otherwise be discarded. Knitted limbs and faces with stitched or collaged features are affixed to torsos made from cardboard boxes that are plastered with papier-mâché and painted. The fragile bodies are then suspended on pieces of frayed string and twisted wire from the shoulders or sometimes by the neck. Finch subverts the ordinary and engages with the uncanny; a strange and anxious feeling created by familiar objects in unfamiliar contexts. Featuring full reproductions of each artwork alongside close details that reveal their composition, the book is threaded with poetic texts by Finch that blur the lines between personal memories, surreal dreams and everyday reality.

The first-ever monograph on Reynaud-Dewar, one of today’s most celebrated multimedia artists

French artist Lili Reynaud-Dewar creates environments and situations in which she uses her own body to examine the dual experience of vulnerability and empowerment that results from acts of exposing oneself to the world. Evolving through a range of media such as performance, video, installation, sound, and literature, her work considers the fluid border between public and private space, challenging conventions related to the body, sexuality, power relations, and institutional spaces. This is the first book to document her remarkable career.

How might we develop products made with and by disabled users rather than for them? Could we change living and working spaces to make them accessible rather than designing products that "fix" disabilities? How can we grow our capabilities to make designs more “bespoke” to each individual? After Universal Design brings together scholars, practitioners, and disabled users and makers to consider these questions and to argue for the necessity of a new user-centered design. As many YouTube videos demonstrate, disabled designers are not only fulfilling the grand promises of DIY design but are also questioning what constitutes meaningful design itself. By forcing a rethink of the top-down professionalized practice of Universal Design, which has dominated thinking and practice around design for disability for decades, this book models what inclusive design and social justice can look like as activism, academic research, and everyday life practices today. With chapters, case studies, and interviews exploring questions of design and personal agency, hardware and spaces, the experiences of prosthetics' users, conventional hearing aid devices designed to suit personal style, and ways of facilitating pain self-reporting, these essays expand our understanding of what counts as design by offering alternative narratives about creativity and making. Using critical perspectives on disability, race, and gender, this book allow us to understand how design often works in the real world and challenges us to rethink ideas of "inclusion" in design.

The decade of the 1990s was one of the most turbulent periods in recent Mexican history marked by political assassinations, the Zapatista uprising in Chiapas, the signing of NAFTA, a catastrophic economic crisis, and the defeat of the PRI after seventy years of one-party rule. How did art respond to these events? To answer this question, Gallo examines some of the most radical artistic experiments produced in this period, from Daniela Rossell's photographs of Mexican millionaires to Teresa Margolles's manipulations of human remains, from Santiago Sierra's controversial work with human subjects to Vicente Razo's creation of a Salinas museum.

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.

DANIEL JOHNSTON, raised on a farm in Randolph County, returned from Thailand with a new way to make monumental pots. Back home in North Carolina, he built a log shop and a whale of a kiln for wood-firing. Then he set out to create beautiful pots, grand in scale, graceful in form, and burned bright in a blend of ash and salt. With mastery achieved and apprentices to teach, Daniel Johnston turned his brain to massive installations. First, he made a hundred large jars and lined them along the rough road that runs past his shop and kiln. Next, he arranged curving clusters of big pots inside pine frames, slatted like corn cribs, to separate them from the slick interiors of four fine galleries in succession. Then, in concluding the second phase of his professional career, Daniel Johnston built an open-air installation on the grounds around the North Carolina Museum of Art, where 178 handmade, wood-fired columns march across a slope in a straight line, 350 feet in length, that dips and lifts with the heave while the tops of the pots maintain a level horizon. In 2000, when he was still Mark Hewitt's apprentice, Daniel Johnston met Henry Glassie, who has done fieldwork on ceramic traditions in the United States, Brazil, Italy, Turkey, Bangladesh, China, and Japan. Over the years, during a steady stream of intimate interviews, Glassie gathered the understanding that enabled him to compose this portrait of Daniel Johnston, a young artist who makes great pots in the eastern Piedmont of North Carolina.

Contemporary Art and Anthropology takes a new and exciting approach to representational practices within contemporary art and anthropology. Traditionally, the anthropology of art has tended to focus on the interpretation of tribal artifacts but has not considered the impact such art could have on its own ways of making and presenting work. The potential for the contemporary art scene to suggest innovative representational practices has been similarly ignored. This book challenges the reluctance that exists within anthropology to pursue alternative strategies of research, creation and exhibition, and argues that contemporary artists and anthropologists have much to learn from each others' practices. The contributors to this pioneering book consider the work of artists such as Susan Hiller, Francesco Clemente and Rimer Cardillo, and in exploring topics such as the possibility of shared representational values, aesthetics and modernity, and tattooing, they suggest productive new directions for practices in both fields.

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto's thinking-posthistory and the end of aesthetics-provocative notions that to this day shape questions about the meaning and future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto's ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto's thinking, emphasizing where the two disagree as well as what they learned from each other.

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the `author' of such a work? And just what is the difference between a work of art and a work of craft? New in paperback, the first book to highlight and explore the way artists collaborate with artisans and craftspeople to realise their work. The Art of Not Making tackles explores the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in creating some of today's most innovative and highly sought-after works of art. The book analyses hundreds of artworks by the most important international artists, including Chris Burden, Louise Bourgeois, Matthew Barney, Grayson Perry, Mona Hatoum, Ai Weiwei, Daniel Buren, Carsten Hoeller, Mark Wallinger, Kiki Smith, Fred Wilson, Pae White, Tony Cragg, Roni Horn, Liam Gillick, Sherrie Levine, Ugo Rondionone, Subodh Gupta, Kara Walker and Maurizio Cattelan. `Enjoyable ... Petry clearly knows his stuff'- Art Quarterly `Timely...Petry has identified a significant art world trend' - The Art Newspaper `Glorious' - Harper's Bazaar `A handsome volume...provides pause for thought, and should be commended for drawing attention to the ideas of collaboration' - Ceramic Review `Refreshingly fun to read and look at' - State of Art `The arguments presented in this glossy erudite art book are bold, intriguing ... beautiful' - GT (Gay Times)

This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.

Nathalie has been creating ceramics, textiles, illustrations and other artwork for numerous brands - most notably Anthropologie, Astier de Villatte, Uniqlo, Issey Miyake and Godiva - for the past 20 years. She is one of the most commercially successful French artists working today, whose aesthetic has captured the imagination of people from all over the world - her kitchenware, wallpapers, fabrics, furniture, fashion accessories and sculptures are coveted items in countries like Japan, United States, England, Germany and France, among others.

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.

Denis Wirth-Miller and Dicky Chopping were a couple at the heart of the mid-twentieth century art world, with the visitors' book of the Essex townhouse they shared from 1945 until 2008 painting them as Zeligs of British society. The names recorded inside make up an astonishing supporting cast - from Francis Bacon to Lucian Freud to Randolph Churchill to John Minton. Successful artists, although not household names themselves, writing Dicky and Denis off as just footnotes in history would be a mistake. After Denis's death in 2010, Jon Lys-Turner, one of two executors of the couple's estate, came into possession of an extraordinary archive of letters, works of art and symbolically loaded ephemera the two had collected since they met in the 1930s. It is no exaggeration to state that this archive represents a missing link in British art history - the wealth of new biographical information disclosed about Francis Bacon, for example, is truly staggering. The Visitors' Book is both an extraordinary insight into the minutiae of Dicky and Denis's life together and what it meant to be gay in pre-Wolfenden Britain, as well as a pocket social history of the era and a unique perspective into mid-twentieth century art. With reams of previously unseen material, this is a fascinating and unique opportunity to delve into post-war Britain.