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.    

This is the first comprehensive monograph devoted to New York and San Francisco-based artist Renee Green. Over the past 20 years, through film, video, sound art, photographs, prints, banners, texts, websites and ephemera, Green's work has comprised complex, multi-layered archive-like installations, employing a vast array of sources, which always urge viewers to become active participants. Included in this superbly illustrated volume are newly commissioned essays by a host of esteemed media scholars, art historians, critics and curators--Nora Alter, Diedrich Diederichsen, Kobena Mercer, Catherine Queloz, Gloria Sutton and Elvan Zabunyan--who engage issues central to Green's oeuvre, such as genealogy, archives and their reworkings, movements and displacements, site specificity and location.

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.

"You need this Millennial Loteria for your next game night." -Latina Magazine "Loteria cards got a genius millennial makeover." -The Chicago Tribune OMG, can you even? Millennial Loteria is a hilarious and insightful parody of the classic "Mexican Bingo" game called Loteria, but this time, it's like way more millennial. Born from the viral Instagram account @MillennialLoteria, this game reimagines La Dama as La Feminist, El Catrin as El Hipster, and Las Jaras as La Hashtag. Filled with nostalgia and ironic humor, it's guaranteed to make your next fiesta be lit AF. So grab your bitcoins, get a couple of your fave followers together, and prepare to yell "Yaaaaasssssssssss, Millennial Loteria!" Each set includes: - 46 cards - 10 boards - 80 bitcoin tokens - and a collectible Millennial Loteria pin!

Gerhard Richter is one of the most important and popular artists of the postwar era. For decades he has sought innovative ways to make painting more relevant, often through a multifaceted dialogue with photography. Today Richter is most widely recognized for the photo-paintings he made during the 1960s that rely on images culled from mass media and pop culture. Always fascinated with the limits and uncertainties of representation, he has since then produced landscapes, abstractions, glass and mirror constructions, prints, sculptures, and installations. Though Richter has been known in the United States for quite some time, the highly successful retrospective of his work at the MOMA in 2002 catapulted him to unprecedented fame. Enter noted curator Dietmar Elger, who here presents the first biography of this contemporary artist. Written with full access to Richter and his archives, this fascinating book offers unprecedented insight into his life and work. Elger explores Richter's childhood in Nazi Germany; his years as a student and mural painter in communist East Germany; his time in the West during the turbulent 1960s and '70s, when student protests, political strife, and violence tore the Federal Republic of Germany apart; and, his rise to international acclaim during the 1980s and beyond. Richter has always been a difficult personality to parse, and the seemingly contradictory strands of his artistic practice have frustrated and sometimes confounded critics. But the extensive interviews on which this book is based disclose a Richter who is far more candid and vivid than ever before. The result is a book that will be the foundational portrait of this artist and his profoundly influential oeuvre.

In a contemporary and ever-changing society, 'the visual' has become a dynamic element that traverse all parts of current life all over the world - what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter - a 'flesh' which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice - all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

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.

The singular paintings of British artist Gillian Carnegie (b.1971) have been exhibited and discussed extensively for nearly two decades but this is the first substantial publication on her work. Carnegie's work is explicitly analytical, systematic yet oblique in its reexamination of traditional painting genres such as still life, landscape, portraits, and the nude - all of them 'genres without a subject', as they have sometimes been called. Yet she makes clear that her impulse to resuscitate these categories is not simply an exercise in formalism, historicism, academic reverence, postmodern pastiche, or nostalgia. And far from being without a subject, far from having no story to tell, Carnegie's paintings insistently suggest that there is a subject, that there is a story, but that the painting exists not to communicate it but to conceal it, to hold it incommunicado. In contemporary painting Gillian Carnegie's work stands apart, quietly, calmly and insistently uncanny, with an emotional tenor unlike anything else in art today.

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.

An extensive retrospective dedicated to Roger Raveel (1921-2013), one of the most important Belgian painters of the second half of the 20th century Commemorating the centenary of the artist's birth in 2021, the Centre for Fine Arts - BOZAR will present an extensive retrospective dedicated to Roger Raveel (1921-2013), considered one of the most important Belgian painters of the second half of the twentieth century. While belonging to the generation of artists that emerged following the Second World War, flanked by Magritte and Panamarenko, Raveel radically defended his own independence from the values commonly associated with this generation, notably the supposed superiority of internationality over all forms of local anchorage. In today's context of globalized art and its associated stereotypes, Raveel's choice to draw inspiration from his immediate, intimate surroundings-while always being very well informed about trends in the international art scene-now seems revolutionary, even prophetic. Showcasing some 120 artworks from public and private collections, this catalogue seeks to demonstrate the singularity of Raveel's pictorial language as it took form over time. Distributed for Mercatorfonds Exhibition Schedule: BOZAR Centre for Fine Arts, Brussels (February 10-July 04, 2021)

The Edinburgh Art Book showcases one of the most beautiful cities in the world. Inspired by Edinburgh's unique architecture, over 50 artists have produced a unique collection of contemporary images illustrating all aspects of the city and surrounding area. The city is shown in a new light through a range of media, from screen print and computer aided design to hand-cut collage.

The paintings of contemporary Thai artist Pichai Nirand (b. 1936) are a vivid exploration of the interplay between Thailand's Buddhist roots and its modern aspirations and struggles. Pichai engages fully with the world and belief system around him. Accompanying the full-color paintings is an incisive examination of the Thai moral and social themes of Pichai's paintings in terms of the Buddhist cycle of life. Philip Constable's sensitive analysis of the social, political, economic, and moral dimensions affecting the artist, coupled with careful reference to other contemporary Thai artists, illuminates the deep meaning and expression behind each painting. This book showcases a celebrated Thai artist who has spent a lifetime providing a Thai Buddhist perspective on the dilemmas and contradictions of the late twentieth and early twenty-first centuries.

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.

This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. * Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s * Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Mediterranee in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 * Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene * Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

Larry Poons (b. 1937) shot to fame while still in his twenties, on the strength of his “dot paintings,� in which dots or ellipses were meticulously arranged on brightly coloured fields, creating a rhythmic, pulsating effect. But within a few years, Poons first loosened the hard-edged precision of the dot paintings and then abandoned them entirely for an organic mode of abstraction based on vertical drips of flung paint. This marked the beginning of an uncompromising five-decade evolution that has finally led the artist back to a more intimate mode of painting with brushes — and his own hands. At every stage, Poons's career has compelled the attention of critics and, in particular, other artists. This handsome volume, the first full-length biocritical monograph on Poons, reproduces more than 140 of his most important works in full colour, some as spectacular gatefolds. The incisive text — a collaboration between four leading critics and historians — traces the development of the artist’s extraordinary career. Larry Poons is a necessary addition to the library of anyone with an interest in American art.

This volume accompanies the largest exhibition of contemporary art from Australia to be presented outside the continent. It's characterised by a surprising richness and variety, offering a combination of personal stories, languages, ethnic origins, religions and traditions. The artists belong to many Aboriginal cultures and First Nations and those that arrived from the Pacific, Europe, Asian countries and America. Curated by Eugenio Viola, this project encompasses a broad constellation of cultural, political and social practices and perspectives, and takes into consideration different means of expression such as painting, performance, installation, sculpture, video, drawings and photography. Artists: Vernon Ah Kee, Tony Albert, Khadim Ali, Brook Andrew, Richard Bell, Daniel Boyd, Maria Fernanda Cardoso, Barbara Cleveland, Destiny Deacon, Hayden Fowler, Marco Fusinato, Agatha Gothe-Snape, Julie Gough, Fiona Hall, Dale Harding, Nicholas Mangan, Angelica Mesiti, Archie Moore, Callum Morton, Tom Nicholson (with Greg Lehman), Jill Orr, Mike Parr, Patricia Piccinini, Stuart Ringholt, Khaled Sabsabi, Yhonnie Scarce, Soda Jerk, Dr Christian Thompson AO, James Tylor, Judy Watson, Jason Wing and Nyapanyapa Yunupingu. Text in English and Italian.

Michael C. Spafford, one of the most respected and admired painters in the Northwest, has created a cohesive body of work of rare intelligence and power. Now professor emeritus at the University of Washington School of Art, he began teaching in 1963 and was an influential and provocative teacher. Spafford remains an active painter who has never shied away from bold, often brutal universal themes. The rigorous physicality and formal invention inherent in his work enhance the viewer's visual understanding as well as the potency of the image. Widely exhibited, awarded, and collected, Spafford is best known for his fascination with myths of origin and heroic endeavor. His paintings, drawings, prints, and murals depict vivid episodes from epic poems and Greco-Roman mythology: "Leda and the Swan," The Iliad and The Odyssey, "The Twelve Labors of Heracles," to mention a few. Many of these narratives were revisited by Spafford over time in different formats in search of a better visual vignette. He strips these well-known narratives to their most emblematic elements, depicting them in a radically abstracted form, which illuminates these stories in a direct and visually affecting way. This book, the first monograph devoted to the artist, seeks to glimpse the breadth of Spafford's explorations.

In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.

This is the first full-length monograph on the paintings of Bernard Frize (b.1949), an artist whose work straddles movements and styles from Colour Field to Minimalism, Fluxus, and Conceptual Art. Frize's works utilise a carefully constructed range of tools, processes, choreography and collaboration to catalogue, in complex and unexpected abstract form and colour, the possibilities of his chosen materials. Emerging from the politicised 1970s onwards, Frize swam against the tide of opinion regarding painting's apparent obsolescence to develop a painting practice that could express political commitment and social concerns, while avoiding both overt statement and pure decoration. David Rhodes' text provides a detailed consideration of Frize's development, from the earliest works onwards. Placing his paintings in a broader art-historical and philosophical context, a wider conversation about painting itself is presented alongside Frize's significant place within the medium's history.

Dress up your drawings any way you like using this complete all-in-one style guide! Have you ever struggled to get the drape of a dress or the look of a jacket just right? Maybe you've mastered the human form but your drawings lack a sense of fashion? Or perhaps you're a budding fashionista who loves decking your characters out in elegant, outrageous or cutting-edge outfits? No matter how you wish to clothe your creations, in traditional togs or casual fashions, How to Create Manga: Drawing Clothing and Accessories is the perfect tutorial for you! Fashion meets form in this essential style guide to dressing up your drawings. Drape your manga creations in the wardrobe of your dreams, while learning techniques and tips used by professional illustrators to realistically draw clothing and accessories of all types--from blouses and T-shirts to button downs, sweaters, coats, pants, skirts and shorts. And what about the accessories? Boots, belts, shoes and sandals are all included as well, along with detailed coverage of satchels, purses and backpacks. How to Create Manga: Drawing Clothing and Accessories is the fashion bible used by manga artists in Japan. It presents more than 900 drawings by twelve accomplished illustrators, covering a broad range of fashions. Detailed, in-depth instructionals show you how to render not just the garments themselves, but the folds, creases and wrinkles that give them a sense of realism and movement. Other books in the series include How to Create Manga: Drawing Facial Expressions, How to Create Manga: Drawing the Human Body and How to Create Manga: Drawing Action Scenes and Characters.