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.

How have radical print cultures fostered and preserved queer lived experience from the 1960s to the present? What alternative stories about queer life across Europe can visual material reveal? Queer Print in Europe is the first book devoted to the exploration of queer print cultures in Europe, following the birth of an international gay rights movement in the late 1960s. By unearthing these ephemeral paper documents from archives and personal collections, including materials that have been out of circulation since they were first distributed, this book examines how the production and dissemination of queer print intersected with the emergence of LGBTQ+ activism within specific national contexts. This vital contribution to queer history explores borders and political movements, and the ways in which these materials contributed, through their international circulation, to the creation of a 'post-national' queer community. Illustrated throughout with examples of manifestos, flyers, posters, zines and other forms of print media, it features interviews with those responsible for making, distributing or archiving queer print, alongside a series of new theoretical essays that set particular publications and the individuals and groups that produced them in context. The book isolates specific instances of queer print media and scrutinises their design aesthetics, identifying both the significant contribution that queer print has made to histories of LGBTQ+ struggle and to the history of print design.

Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have been focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond.

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.

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.

How can social theory help us all design solutions to address the social, political and ecological challenges that confront us, and build more sustainable communities? Design professions have typically been associated with intervention and action, while social science has long been associated with thought and reflection. Design and social thought are too frequently considered distinct in terms of how theories can be applied in practice. Design and the Social Imagination brings together the creative, action-oriented sensibility of design with the reflective, analytical capacities of the social sciences to offer models, ideas and strategies for shaping the future of the world we live in. In a world of global economic inequality, racism, and environmental degradation, designing with an understanding of our social reality is increasingly crucial to our survival. Matthew DelSesto explores current practices and discourses in areas of urban design, design for social innovation, environmental design, co-design, service design, and more, illustrating how thoughtful design can contribute in a more productive way. Drawing on a range of theory and practice from radical social thinkers C. Wright Mills, Patrick Geddes, Jane Addams and W. E. B. Du Bois, his book shows us how design and the social sciences can interact in order to intervene in the crises we face today.

Brings together, for the first time, Lucian Freud's oil on copper paintings, including his lost portrait of Francis Bacon and two works that have never been reproduced before In the early 1950s, Lucian Freud produced several works in oil paint on copper, a technique favored by 17th-century artists such as Rembrandt and Frans Hals, but unusual for a 20th-century painter. Originally thought to be only a handful, Freud in fact painted more than a dozen copper works-all small-scale, enamel-smooth and astonishingly intense. Based on a decade of research, this book, for the first time, brings together all of Freud's "coppers," including two works that have never been reproduced before. Among these paintings is Freud's famous portrait of Francis Bacon, labeled by Nicholas Serota as "the most important portrait of the 20th century." The work was stolen in 1988-its whereabouts still unknown-but during research for the book a rare photograph was discovered that shows the work just minutes before the theft, and it is published here for the first time. Distributed for Less Publishing

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.

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.

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.

This one-of-a-kind compendium features a selection of women artists and architects who have made groundbreaking contributions to contemporary art. Profiling an international cross section of artists, 50 Contemporary Women Artists presents fresh perspectives on feminism and notions of cultural power. Using a variety of mediums, the artists in this book address themes of social, cultural, political, environmental, and psychological issues. Included are works by five MacArthur Foundation Fellows that activate an ongoing dialogue about contemporary practices. Readers receive a unique glimpse of seminal works such as Judy Chicago's The Dinner Party, as well as brand-new pieces inspired by the Women's March on Washington in 2017. Complete with a foreword by Elizabeth Sackler, PhD, this compilation is ideal for educators, students, curators, collectors, and all those who support the arts.

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.

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.

Illustrated essays that broaden our understanding of modernism by centering Black artists and experiences, with a contribution featuring the work of Venice Biennale Golden Lion winner Simone Leigh In this volume, ten leading scholars examine the contradictions of modernity and Black agency that continue to define the Western art world. Illustrated essays explore the work of artists such as Roy DeCarava, Ben Enwonwu, James Hampton, Norman Lewis, Nancy Elizabeth Prophet, Augusta Savage, and Carrie Mae Weems, always with an eye toward reframing our understanding of Black artistic producers. The interdisciplinary avenues of inquiry remake the boundaries of modernist art—its notions time and again focused on the singular white male European or American artist—with another set of imperatives, ethics, and histories, broadening our understanding of the past and present of modernism. Published by the National Gallery of Art, Center for Advanced Study in the Visual Arts/Distributed by Yale University Press

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

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.

This intelligently argued overview is invaluable for the way in which it reveals and makes coherent sense of the often-bewildering diversity of styles, forms, media, techniques, and agendas that proliferate in contemporary art. Extensively revised and expanded since it was first published, Michael Archer s acclaimed book is brought fully up to date in this third edition. A completely new section maps the developments in contemporary art since 2000, ensuring that the book remains an indispensable source of information on the evolution of art over the past five-and-a-half decades."

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.

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 post-civil rights era of the 1970s offered African Americans an all-too-familiar paradox. Material and symbolic gains contended with setbacks fueled by resentment and reaction. African American artists responded with black approaches to expression that made history in their own time and continue to exercise an enormous influence on contemporary culture and politics. This collection's fascinating spectrum of topics begins with the literary and cinematic representations of slavery from the 1970s to the present. Other authors delve into visual culture from Blaxploitation to the art of Betye Saar to stage works like A Movie Star Has to Star in Black and White as well as groundbreaking literary works like Corregidora and Captain Blackman. A pair of concluding essays concentrate on institutional change by looking at the Seventies surge of black publishing and by analyzing Ntozake Shange's for colored girls. . . in the context of current controversies surrounding sexual violence. Throughout, the writers reveal how Seventies black cultural production anchors important contemporary debates in black feminism and other issues while spurring the black imagination to thrive amidst abject social and political conditions. Contributors: Courtney R. Baker, Soyica Diggs Colbert, Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa, Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa Woolfork

Celebrated British painter Rose Wylie-whose works are at once tactile, cerebral, and humorous-often draws her influence from a wide range of popular culture. Here her newest body of work references memories from her own life and mimics the way memories evolve and change over time. Wylie's source material is culled from the vast visual world around her, ranging from sixteenth-century British estates to Serena Williams and the French Open. While initially these may seem random or aesthetically simplistic, through the nuanced use of humor, language, and compositional structure, Wylie creates wittily observed and subtly sophisticated meditations on the nature of memory, and visual representation itself, in line with the paintings she has become known for over the course of her career. A new essay by art critic Michael Glover explores the remarkable painter whose work has "spark, assurance, brash humor, an extraordinary, freewheeling eclecticism that seems to be just as ready to suck in references to the art of Ptolemaic Egypt and Roman portraiture as to pay homage to the films of Quentin Tarantino and the late paintings of Philip Guston." Part of David Zwirner Books's Spotlight Series, this book features Wylie's newest paintings and drawings and is published on the occasion of the artist's 2020 solo exhibition of these works at David Zwirner Hong Kong.

An intimate study of the friendship and creative dialogue between two artists, offering an in-depth understanding of their work and the upheavals of 1960s New York Irrational Judgments examines the close friendship and significant exchange of ideas between Eva Hesse (1936-1970) and Sol LeWitt (1928-2007) in New York City during the 1960s. Taking its title from LeWitt's statement "Irrational judgments lead to new experience," this book examines the breakthroughs of the artists' intertwined careers, offering a new understanding of minimal, post-minimal, and conceptual art amid the era's political and social upheavals. Kirsten Swenson offers the first in-depth discussion of the early critical developments of each artist: LeWitt's turn from commercial design to fine art, and Hesse's move from expressionist painting to reliefs and sculpture. Bringing together a wealth of documents, interviews, and images-many published here for the first time-this handsome publication presents an insightful account of the artists' influence on and support for each other's pursuit of an experimental practice. Swenson's analysis expands our understanding of the artists' ideas, the importance of their work, and, more broadly, the relationship of the 1960s New York art world to gender politics, the Vietnam War, and the city itself.

A collection of materials and essays contextualizing a performance by Christiansen and Nørgaard in homage to Joseph Beuys. Joseph Beuys performed one of his most radical pieces, the action Manressa, on December 15, 1966, at the Galerie Schmela in Düsseldorf. He was accompanied by the Danish artists Henning Christiansen and Bjørn Nørgaard, who, in 1994, created Manresa Hauptbahnhof (Manresa, Central Station), a new performance in homage to the original. The performance was carried out in Manresa, the city that both gave the name to the original action and was where Saint Ignatius Loyola had the revelations that led him to write his Spiritual Exercises, which Beuys considered essential reading. This book brings together all the material related to the 1994 performance—including images, scripts, and preparatory drawings—as well as a selection of critical texts that situate the action within its European context. In one essay, Friedhelm Mennekes analyses the action by delving into its spiritual meaning, exploring the symbolism of the objects employed. In another, Pilar Parcerias uses the metaphor of the central station to discover the city of reference and redraw the map of Europe with unexpected connections between Manresa and Copenhagen. In the final essay, Peter van der Meijden contextualizes the two performances, which represented a meeting place for different artistic personalities working on the cutting edge in creating a new form of art.