The unknown and mysterious Great Southland, or Terra Australis, captured the European imagination for centuries before it became a documented fact. This book traces the history of pictorial imagery associated with the 'Fifth Continent'. It discusses and presents imagery from all parts of the southern continent: Java, Australia, New Zealand, New Guinea, the South Pacific Islands and Tierra del Fuego as it evolved up to the Enlightenment. Many European explorers had a passionate interest in depicting the plants, animals and native inhabitants of the southern world. The images associated with the search for the southern continent - paintings, handcolored maps, drawings, tapestries and artefacts - are discussed in the context of the link between art and exploration. Beautifully illustrated with Portuguese, Spanish, French, Dutch and English images, this book is an exciting visual account of the construction of Terra Australis in the European imagination and as scientific fact.

In The Grey Ghost: New York City Photographs, Dan Winters turns his eye to New York City, collecting nearly 100 black-and-white images he created there in the years after moving to New York from California in 1987 at the age of 25. A highly personal collection, The Grey Ghost reveals an artist finding his voice, discovering "that elusive method that informs the manner in which we perceive and interpret our surroundings." In these photographs--featuring icons of New York City such as the Statue of Liberty and the Empire State Building, as well as everyday moments captured on the street--we find Winters presenting us with the seemingly ordinary and commonplace in a way that captivates us and makes us look much more closely. As Winters writes, New York "has acted as a proving ground and a rite of passage for countless photographers," beginning with Alfred Stieglitz and Paul Strand. The majority of the images in The Grey Ghost were created between 1987 and 1990, but the book also includes images created as recently as 2016. For those interested in street photography, New York City, black-and-white imagery, or the earlier work of one of today's most compelling photographers, The Grey Ghost is a must-have addition to your photo book collection.

Ceramic artist Vonney Ball's elegant output reflects a sound education in English ceramics design, a singularity of purpose and a drive to keep making work. Twenty years on from her arrival in New Zealand, her work connects cultural experiences from opposite ends of the earth. Vonney Ball: Ceramics surveys her work and examines her influences, from Bloomsbury to Maori art and design.

"Car Fetish "presents the automobile as a source of inspiration for the art of the last hundred years. Starting with the Futurists, who saw in its beastly roar and thrilling, dangerous speed a new ideal of beauty, the book provides an overview of the most beautiful and inspiring artworks we owe to this tin muse. Among them are examples of Pop Art and creations by the Nouveaux Realistes, with Jean Tinguely as biggest Formula 1 fan. The extensive catalog places the automobile in the context of cultural history as a key cultural artifact of the twentieth century.

Among the included artists are Kenneth Anger, Giacomo Balla, Edward Burtynsky, Andrew Bush, Cesar, John Chamberlain, Liz Cohen, Stephen Dean, Jan Dibbets, Don Eddy, Hans-Peter Feldmann, Sylvie Fleury, Franz Gertsch, Allan Kaprow, Peter Keetman, Edward Kienholz, Konrad Klapheck, Annika Larsson, Jacques-Henri Lartigue, Zilla Leutenegger, Arnold Odermatt, Ahmet Ogut, Julian Opie, Mel Ramos, Robert Rauschenberg, Pipilotti Rist, Peter Roehr, Mimmo Rotella, Bruno Rousseaud, Luigi Russolo, Franck Scurti, Roman Signer, Stefan Sous, Peter Stampfli, Anton Stankowski, Superflex, Andy Warhol, Patrick Weidmann, Virgil Widrich, and Dale Yudelman.

Introducing the first collection of art books with detachable prints to decorate your walls. Everything you need to create your own private gallery at home!

Each book contains a curated selection of twenty-one high-quality reproductions that can be easily removed from the book, framed in a standard-size frame, and displayed in the home. Step-by-step tips for grouping the works to create a harmonious gallery add an interior designer’s touch to the ensemble. Graphic, colorful, or abstract; paintings, engravings, or drawings―each work of art is explained on the back of the print. Interesting details about the style of painting, the particular work of art, and biographical information about the artist are accompanied by a “frameable fact” that helps you understand the context of that particular work in the history of art. In addition, suggestions for where you can go to see additional examples of the artists’ works allow the reader to expand their experience and learning.

Nightscapes that range from a fireworks display in Rome by Jacob Philipp Hackert, to the Louvre from across a Parisian bridge by Maximilien Luce, and a moonlit New York street lamp by Georgia O’Keeffe. Artists include: Edward Hopper, William Turner, Camille Pissarro, Paul Klee, Claude Monet, Vincent Van Gogh, Pierre Bonnard, Giorgio de Chirico, Georgia O’Keeffe, René Magritte, and Vassily Kandinsky.

Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism. The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

David Gentleman has lived in London for almost seventy years, most of it on the same street. This book is a record of a lifetime spent observing, drawing and getting to know the city, bringing together work from across his whole career, from his earliest sketches to watercolours painted just a few months ago. Here is London as it was, and as it is today: the Thames, Hampstead Heath; the streets, canals, markets and people of his home of Camden Town; and at the heart of it all, his studio and the tools of his work. Accompanied by reflections on the process of drawing and personal thoughts on the ever-changing city, this is a celebration of London, and the joy of noticing, looking and capturing the world. 'David has spent a lifetime depicting with wit and affection a London he has made his own' Alan Bennett 'He delivers a poetry of exultant concentration ... The surface fusion of the sensuous and the sharply modern is echoed by Gentleman's imagery' Guardian 'The artist and illustrator has been responsible for some of the most-seen public artworks in this country' The Times 'Perhaps the last of the great polymath designer-painters' Camden New Journal

Latin American extractivism has become the ground on which activists and scholars frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the detritus of longstanding extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and postextractivism. The field of art theory on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand with collective action remains limited, and fails to provide an account of the role, processes and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise offers the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. The book reports on a two-year research project into creative resistance to extractivism in Argentina, and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. Creating Worlds Otherwise is structured according to the main themes of anti and post-extractivist movements: territoriality; ecofeminism and the ethics of care; human rights and the rights of nature; urban extractivism; sovereignty, autonomy and self-determination; and postextractivism and alternatives to development. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Urban sketching has become one of the biggest art trends of the last decade, with artists preferring to capture a scene on location rather than relying on a photograph. Featuring 20 step-by-step exercises, Sketch Club: Urban Drawing is your essential guide to putting your drawing skills into practice on location. You'll learn how to start, when to stop and how to fix common mistakes. Packed with all the energy and inspiration of a drawing group, this is the ideal book for anyone looking to take their urban drawing further. Perfect your urban drawing skills and develop your own unique style with professional urban sketcher, Phil Dean. Chapters include: - Loosening Up - Building a Scene - Adding Contrast - Taking it Further - Finishing Touches

An groundbreaking book of car photography, revealing the car's unique role in our culture Car photography often evokes the same recycled tropes. Predictably slick, hi-spec images on the front pages of glossy magazines, or huge blow-ups on giant billboards which have one designed aim: to sell a lifestyle. But our relationship with cars is so much more meaningful than these images might suggest. Like the camera, the car has changed the way we explore the world. With cars came road trips, and with road trips came some of the most important photographic documentaries of our time. A car is a vehicle not just for transport but for our hopes, desires and dreams. In Smoke and Mirrors, a selection of world-renowned and up-and-coming photographers come together to pay tribute to the car. From Nick Turpin's images of 'donut' skid marks, Todd Hido's painterly landscapes taken through wet windscreens and William Green's shots of sleeping Tokyo taxi drivers, these photographs display cars at their most playful, introspective and meaningful, reminding us that there is more to them than just metal and machinery - for cars are emotionally intertwined with the lives we live.

Maritime prints, drawings and watercolours a re discussed, and a historical survey of the development of marine art is given, by a former Head of Painting at the Nat ional Maritime Museum in Greenwich. '