Covers the brief but groundbreaking career of the self-proclaimed 'anarchitect' Gordon Matta-Clark (1943-1978), one of the most influential American artists of the 1970s. The immense ambition and scale of Gordon Matta-Clark's projects, and their fearless reimagining of the urban landscape, challenged city-dwellers to reconsider the very notion of built structure and the fragility of seemingly unassailable edifices. Matta-Clark's first interventions took place in abandoned, derelict structures, upon which he performed his famous 'building cuts' and 'intersects'. First published in 2008 (for a show at SMS Contemporanea in Siena), and organised thematically and chronologically, this substantial volume looks at these and other bodies of work, such as the Food restaurant, the performances, the 'estates' and the artist's pursuit of alternative economical housing. The catalogue also includes a filmography and critical essays, plus an interview done by Judith Russi Kirshner in 1978. Text in English and Italian.

As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .

An evocative childhood memoir by the much-loved illustrator of "Winnie the Pooh" and "The Wind in the Willows". In this autobiography, E.H. Shepard describes a classic Victorian childhood. Shepard grew up in the 1880s in Saint John's Wood with his brother and sister. He was surrounded by domestic servants and maiden aunts, in a an age when horse-drawn buses and hansom cabs crowded the streets. Recalling this time with charm and humour, Shepard illustrates these scenes in his own distinctive style.

And the Dawn Came Up Like Thunder is the experience of an ordinary soldier captured by the Japanese at Singapore in February 1942. Leo Rawlings' story is told in his own pictures and his own words; a world that is uncompromising, vivid and raw. He pulls no punches. For the first time the cruelty inflicted on the prisoners of war by their own officers is depicted as well as shocking images of POW life. This is truly a view of the River Kwai experience for a 21st Century audience.The new edition includes pictures never before published as well as an extensive new commentary by Dr Nigel Stanley, an expert on Rawlings and the medical problems faced on the Burma Railway. More than just a commentary on the history and terrible facts behind Rawlings' work, it stands on its own as a guide to the hidden lives of the prisoners.Most of the pictures are printed for the first time in colour as the artist intended, bringing new detail and insight to conditions faced by the POWs as they built the infamous death railway, and faced starvation, disease and cruelty.Pictures such as those showing the construction of Tamarkan Bridge, now famed as the prototype for the fictional Bridge on the River Kwai, and those showing the horrendous suffering of the POWs such as King of the Damned have an iconic status. Rawlings' art brings a different perspective to the depiction of the world of the Far East prisoners. For the first time the pictures and original texts are printed in a large format edition, so that their full power can be experienced.The new edition includes an account of how Rawlings' book was published in Japan by Takashi Nagase (well known from Eric Lomax's book The Railway Man) in the early 1980s. Rawlings visited Nagase in 1980 and at last reconciled himself to his experiences as a POW.