The British painter Francis Bacon (1909-1992) is famed for his idiosyncratic mode of depicting the human figure. Thirty years after his death, his working methods remain underexplored. New research on the Francis Bacon Studio Archive at Hugh Lane Gallery, Dublin, sheds light on the genesis of his works, namely the photographic source material he collected in his studios, on which he consistently based his paintings. The book brings together the artist's pictorial springboards for the first time, delineating and interpreting recurring patterns and methods in his preparatory work and adoption of photographic material. In addition, it correctly locates 'chance' as a driving force in Bacon's working method and qualifies the significance of photography for the painter.

In the summer of 2021, Miriam Cahn's project FREMD das fremde in the southern valley of Bergell in the Swiss canton of Grisons provoked a lasting echo both in the public and the media. The world-renowned contemporary artist, who has lived in the valley for years, set new, unexpected accentuations with her most recent work in the historic Palazzo Castelmur. As part of a multi-layered performance, the publication embraces the theme of being a stranger and advances a deepening of the discourse. The book reflects the conceptual openness of Miriam Cahn's artistically as well as socially arousing project. The works have been captured by internationally acclaimed Swiss photographer Lukas Wassmann, representing their special spatial constellation arranged by the artist herself.

The Insta Grammar series explores the best of the best in amateur photography, focussing on the immensely popular social media site, Instagram. After Cats, City and Nordic, Green is the fourth and latest title in this series, which closely follows online trends. The reason is obvious: green is the new black. Be inspired by photos of plants, trees and everything green, and enjoy the creativity of the selected photographers.

00s is the first exhibition that explores the 2000s, taking as its starting point one of the most important European collections of contemporary art - the Cranford Collection. This accompanying catalogue selects 100 works from the collection, and includes pieces by artists such as Louise Bourgeois, Cindy Sherman, Damien Hirst, Gerhard Richter, Raymond Pettibon, and Josh Smith. With an introduction by Nicolas Bourriaud, the CEO of MO.CO, and interviews with Muriel and Freddy Salem, the Patrons of the Cranford Collection. Text in English and French.

In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark's Conical Intersect (1975) is emblematic of Henri Lefebvre's understanding of art's function in relation to urban space. By engaging with Lefebvre's theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille, the book elicits a story that presents the artwork's significance, origins and legacies. Conical Intersect is a multi-media artwork, which involves the intersections of architecture, sculpture, film, and photography, as well as being a three-dimensional model that reflects aspects of urban, art, and architectural theory, along with a number of cultural and historiographic discourses which are still present and active. This book navigates these many complex narratives by using the central 'hole' of Conical Intersect as its focal point: this apparently vacuous circle around which the events, documents, and other historical or theoretical references surrounding Matta-Clark's project, are perpetually in circulation. Thus, Conical Intersect is imagined as an insatiable absence around which discourses continually form, dissipate and resolve. Muir argues that Conical Intersect is much more than an 'artistic hole.' Due to its location at Plateau Beaubourg in Paris, it is simultaneously an object of art and an instrument of social critique.

There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.

'Like Salvador Dali's confessions, only far funnier and more self-deprecating, Dandy in the Underworld entertains as much as it revolts, is as tender as it is shocking, and as genuine as it is false.' Independent Sure to shock and surprise, Sebastian Horsley recounts his life story with excruciating self-knowledge and a savage wit. 'One of the funniest, strangest and most revolting memoirs ever written.' Sunday Times Growing up at High Hall, in Hull, with his alcoholic mother, who regularly attempted suicide, his stepfather, a cult member dressed in orange, and his father, a crippled millionaire, Sebastian Horsley couldn't wait to leave home. Searching for happiness, meaning and a good outfit he embarked on a doomed career as a punk guitarist, had a stormy relationship with a notorious Scottish gangster, enjoyed a wildly successful period as a stock-market entrepeneur and experienced a near fatal stint as a shark-hunter. Sebastian charts his years as a dandy, an artist, a male escort and a brothel connoisseur. There are the love affairs, with Rachel 1 and Rachel 2, and a harrowing descent into heroin and crack addiction. Dandy in the Underworld evokes his desperate attempts to get clean, culminating in his crucifixion in the Philippines.

As world attention focuses on the economic development and massive cultural upheavals of China, all of which are embodied in the transformation of Beijing prior to the 2008 Olympics, Chinese artists have emerged after years of containment by the strictures of the national ideology. The Western art world, hungry for new spectacle, has consumed the new art with an appetite, but the art is changing so fast the Western viewer has little means of assessing or understanding the background to these extraordinary developments. "The Revolution Continues" provides a link between the rebellious spirit of the current generation of Chinese artists and the mood of rebellion that was so explicitly evident during the years of the Cultural Revolution that ran from 1966 to the death of Mao and the fall of the Gang of Four in 1976.In his text Jiang Jiehong argues that the widespread destruction of traditional Chinese treasures by the Red Guards, especially in the early period of 1966, overshadows the entire period. Today's rebellious artistic spirit is, in fact, an extension of Mao's legacy. The extensive Saatchi collection of new Chinese art is presented in conjunction with Joshua Jiang's examination of the use of the colour red, the iconography of Mao, the sense of the collective and the use of textual language that derives from the calligraphy of the propaganda poster. This dramatic material will be published to coincide with one of the opening exhibitions at the new Saatchi Gallery.

Writings on human life and the refugee crisis by the most important political artist of our time Ai Weiwei (b. 1957) is widely known as an artist across media: sculpture, installation, photography, performance, and architecture. He is also one of the world's most important artist-activists and a powerful documentary filmmaker. His work and art call attention to attacks on democracy and free speech, abuses of human rights, and human displacement--often on an epic, international scale. This collection of quotations demonstrates the range of Ai Weiwei's thinking on humanity and mass migration, issues that have occupied him for decades. Selected from articles, interviews, and conversations, Ai Weiwei's words speak to the profound urgency of the global refugee crisis, the resilience and vulnerability of the human condition, and the role of art in providing a voice for the voiceless. Select quotations from the book: "This problem has such a long history, a human history. We are all refugees somehow, somewhere, and at some moment." "Allowing borders to determine your thinking is incompatible with the modern era." "Art is about aesthetics, about morals, about our beliefs in humanity. Without that there is simply no art." "I don't care what all people think. My work belongs to the people who have no voice."

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.

This book presents interdisciplinary scholarship on art and visual culture that explores disability in terms of lived experience. It will expand critical disability studies scholarship on representation and embodiment, which is theoretically rich, but lacking in attention to art. It is organized in five thematic parts: methodologies of access, agency, and ethics in cultural institutions; the politics and ethics of collaboration; embodied representations of artists with disabilities in the visual and performing arts; negotiating the outsider art label; and first-person reflections on disability and artmaking. This volume will be of interest to scholars who study disability studies, art history, art education, gender studies, museum studies, and visual culture.

In Brave Birds, cut-paper artist and writer Maude White presents an entirely new collection of sixty-five stunning cut-paper birds. As a source of inspiration, each bird is paired with an original message of kindness and strength associated with its particular traits to encourage bravery and perseverance. Inside, you'll find birds for experiencing Joy, Creativity, Patience, Kindness, Resilience, Communication, Strength, Awareness, Action, and Transformation, and each composition, beautifully photographed by Laura Glazer, reflects thousands of intricate cuts, lending an astounding level of texture to these delicate and ethereal creatures. Appealing to any bird lover or collector of bird art, Brave Birds is a beautiful resource for those wishing to practice a life of kindness and empathy.

Interior stylist Bea Mombaers is passionate about vintage and design; she's always on the lookout for special finds and unique objects. Over time she developed a distinctive signature style. This book presents Bea's work and universe as seen through the lenses of different photographers. The photos show interiors arranged by Bea, but also intriguing details, beautiful still lifes and objects with a story Bea feels inspired by. The photos are presented according to the key moments in a day: waking up, breakfast, break, lunch, coffee, apero, dinner and party. Bea is a source of inspiration and interior dreams, and a personal view on Bea Mombaers's world and her favourite projects up to now.

Paul Gruhler opened his first studio in 1962 at the age of 21 - a year later he had a solo show at the DeMena Gallery in lower Manhattan. From the beginning, Gruhler, a self-taught artist, was compelled by what came to be known as geometric abstraction, in which the deliberative arrangement of color, line, texture, and scale, in paintings and collage, evoke from these disparate elements a sense of meditative harmony. For sixty years, he has continued to explore the subtle differences that can be made from color and line. Gruhler was fortunate in the early years to have met and become good friends with three older artists who were also important teachers and mentors - first Michael Lekakis, then Harold Weston and Herb Aach. Lekakis, a celebrated sculptor, who already had had exhibitions at the Guggenheim Museum, the Whitney Museum of American Art, and the Museum of Modern Art's exhibition Americans 1963, took Gruhler under his wing, navigating him through New York's thriving avant-garde art scene. As Carolyn Bauer writes, "Michael Lekakis was instrumental in encouraging Gruhler to attend art events, while taking him to invite-only museum openings." He also introduced him to renowned artists - among them, Alexander Calder, Isamu Noguchi, Louise Nevelson, and Barnett Newman - whose works influenced the young Gruhler, as did such artists as Mark Rothko, Clyfford Still, and Ad Reinhardt. Lekakis was also instrumental in Gruhler's first show, giving titles to his paintings and writing catalog copy that drew upon his own abstract poetics. "These canvases," he wrote, are "multi colored fire densely cascades to suspension hanging a counterpoint of rhythmic patterns in space covering it like a shroud united by a golden fragmentation." Over these years Gruhler has had numerous solo and group shows in the U.S. in New York and Vermont, in Mexico, and abroad in Finland, Germany, Sweden, and The Netherlands. HARMONICS is both a retrospective and a current view of Paul Gruhler's intensive art. "My work," he says, "has been a meditative exploration of vertical and horizontal relationships in space, in order to achieve both harmony and tension within color, line and form." -- Paul Gruhler * Publisher *

Small Pieces is a collaboration between novelist Micheline Aharonian Marcom and writer and visual artist Fowzia Karimi, pairing Marcom’s short stories—miniatures as Marcom calls them—with Karimi's watercolors. The work is a conversation between two artists in text and image, side by side.

Disrupted Realism is the first book to survey the works of contemporary painters who are challenging and reshaping the tradition of Realism. Helping art lovers, collectors, and artists approach and understand this compelling new phenomenon, it includes the works of 38 artists whose paintings respond to the subjectivity and disruptions of modern experience. Widely published author and blogger John Seed, who believes that we are "the most distracted society in the history of the world," has selected artists he sees as visionaries in this developing movement. The artists' impulses toward disruption are as individual as the artists themselves, but all share the need to include perception and emotion in their artistic process. Six sections lay out and analyze common themes: "Toward Abstraction," "Disrupted Bodies," "Emotions and Identities," "Myths and Visions," "Patterns, Planes, and Formations," and "Between Painting and Photography." Interviews with each artist offer additional insight into some of the most incisive and relevant painting being created today.