Runa Islam's films are replete with vivid images that enthrall the viewer with their poetry. Using and reflecting on the medium of film is a pivotal part of her work. In detailed interviews with the artist, this book sheds light on her work during the last five years.

Runa Islam was born in Bangladesh in 1970 and today lives in London. She deconstructs linear narrative patterns and time sequences, making the act of seeing--both watching and recognizing what is seen--the central focus of her films. In 2008, Islam was nominated for the Turner Prize for visual art.

This 800 page publication is intended to assist persons in obtaining maximum value from a first or subsequent visit to Scotland. The guide is replete with multiple colour photographs and covers a wide range of specialist topics including activities, architecture, art & crafts, castles, tour itineraries, events & culture, family history, famous persons, filming locations, gardens, geology, history, islands, lochs, nature, 38 popular locations, Scottish Borders region, food, steam trains, textiles and whisky distilleries.

We live in an age of the mobile image. The world today is absolutely saturated with analog and digital images of all kinds circulating around the world at an incredible rate. The movement of the image has never been more extraordinary than it is today. This recent kinetic revolution of the image has hitherto unconsidered consequences not only for the way we think about contemporary art and aesthetics but also for art history as well. Responding to this historical moment, Theory of the Image offers a fresh new aesthetics and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but rarely, if ever, has it been understood to be, primarily and above all, in motion. This original approach is what defines Theory of the Image and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive "kinesthetics" of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.

Published to mark the artist's 90th birthday, this is the first and only book to provide an overview of Bryan Organ, one of the world's great portrait painters.

This book tells the story of Bryan Organ, whose works have been commissioned by the National Portrait Gallery more than any other 20th-century painter. It is itself a portrait, one that draws on his beginnings on the school cricket pitch and at art college as well as his time sketching others in recording studios, on the polo field and at the Elysée Palace. It tells the stories of his most important paintings, his friendship with Graham Sutherland, and his endless experimentation with movement, space and form. For the first time, it offers a contextual overview of his paintings, drawings, prints and sketches from the 1950s to today.

Whether painting Prince Charles, Sir Harold Macmillan, Elton John, President Mitterrand or pigeon fanciers Mr and Mrs Sharples, Organ’s strategy is to find a point of contact with his sitters and get to know them. As this beautiful book illustrates, his acute powers of observation, his facility as a draughtsman and meticulous painting technique enable him to create a psychological likeness that feels like a real human encounter.

Despite his success, Organ has always shunned the limelight. When his controversial 1970 portrait of Princess Margaret hit the front pages, he found it difficult to cope with the uproar and retreated to France. Some ten years later, his portrait of Princess Diana was slashed by an anti-monarchist, and Organ decided that enough was enough. Since then, he has continued to work quietly, but refuses to be involved in any exhibitions and avoids all press coverage. Organ provided unprecedented access to his entire archive for this book, the only overview of his illustrious career.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

'You Won't Be With Me Tomorrow' is a sequel to the narrative Harvey Benge developed in his 2013 book, 'Some Things You Should Have Told Me'. Both deal with the pain of relationship, the seeming inevitability of separation and the mistrust that is its consequence. Women drift, lost and hostile, throughout the pages - they're masked or veiled; they stare from behind bars - sometimes metal, sometimes frail as gauze, or turn away, eyes averted. They are beautiful but isolated - the time for reconciliation has long passed. This isolation is reinforced by a sense of eroticised cruelty - on one page, a woman plucks out her tongue, on another she thrusts it through a ghostlike paper mask, its tip counterpointed by a single red nail. Bodies are branded, bandaged, broken; they're both scarred and vulnerable. A vibrant red apple declares multiple allusions - beauty, knowledge, temptation, betrayal. Benge's visual vocabulary is typically elusive, but in 'You Won't Be With Me Tomorrow' he seems to examine a larger narrative. A young man is behind bars; a few pages later, stares at himself in a mirror in front of a closed door. A young boy puts his arm around a girl. They look beyond the frame at something troubling. And yet - within Benge's work, there is always unexpected beauty. Hope even. Amongst images of empty rotundas, retreating figures and vanishing planes, a closed door has panes of light, sunlight falls across a track. It's as if Benge, while chronicling the pain of connection, also suggests subtle ways forward: a wooden X beneath a bush may mean stop; it may also be a kiss.

Shortly after his untimely death in 1988, Jean-Michel Basquiat’s meteoric art-world ascent was in retreat. Nearly four decades later, the artist’s paintings are amongst the world’s most recognizable and valuable. Based on over 100 interviews, Jean-Michel Basquiat: The Making of an Icon finally fills in long-missing chapters from the life and work of an artist who helped reframe contemporary art.

When Jean-Michel Basquiat died in 1988 at the age of twenty-seven, major critics called his work a flash in the pan and the meteoric rise in the prices of his paintings started to fall back. Almost thirty years later Basquiat joined Picasso, Modigliani and Munch when one of his paintings sold for over $100 million. Nearly four decades after his untimely death, he remains one of the most recognizable artists in the world ― his work not only headlines major museum exhibitions and private collections but also appears on T-shirts, sneakers, tattoos and accessories from Rio to Singapore. What happened?

For the first substantive biography in over twenty-five years, art world insider Doug Woodham conducted more than 100 interviews ― with family members, friends, lovers, gallery owners, collectors, musicians, academics and other artists ― to weave a thoughtful and revealing account of Basquiat’s life, work and legacy. Woodham’s account takes readers from the artist’s rich and complex family background through to his commercial and critical resurrection ― an ascent that has played a role in reshaping the art-world. In the process, he has also crafted a unique account of how the twenty-first century art world selects its icons and cements their place in history.

Jean-Michel Basquiat: The Making of an Icon examines key aspects of the artist’s life such as his childhood trauma, sexuality, cultural identities and struggles with addiction ― topics long downplayed in the museum and art world, arguably due to the controlling role played by his estate. Simultaneously Woodham uncovers the previously untold story of how a few against-the-grain speculators and gallerists ― plus his deftly skilled and strategic father, the band U2 and a bestselling children’s book ― all contributed to bringing what Basquiat accomplished back to the centre of the conversation and in the process helped to birth a new era in contemporary art.

This beautifully presented coffee table book includes a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band and the making of their album Room To Roam. Covering an 18-month period between Spring 1989 to Summer 1990, The Magnificent Seven includes a vast collection of previously unseen photos of the band on the road, recording at Spiddal House in the West of Ireland, as well as maps, lyrics, manuscripts, and other archival memorabilia.