The author of the Booker-shortlisted Real Life returns with a deeply involving new novel of young men and women at a crossroads.

Seamus, Fyodor, Ivan, Noah and Fatima are running out of time to decide on their futures.

In a university town in the American Midwest, this circle of lovers and friends ask themselves: what is the right thing to stake a life on? Work, love, money, dance, poetry? Is love possible without harm? And what does true connection look like in an age of precarity?

The author of the Booker Prize-shortlisted author of Real Life returns with a deeply involving new novel of young men and women trying to work out what they want, and who they are.

Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit a, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. As these essays show, figures such as Barbara Hepworth, Eva Hesse, Jean-Jacques Lebel, Robert Morris, Donald Judd, Gilbert and George, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.

Wallace has spent his summer in the lab breeding a strain of microscopic worms. He is four years into a biochemistry degree at a lakeside Midwestern university, a life that s a world away from his childhood in Alabama. His father died a few weeks ago, but Wallace didn t go back for the funeral, and he hasn t told his friends Miller, Yngve, Cole and Emma. For reasons of self-preservation, he has become used to keeping a wary distance even from those closest to him. But, over the course of one blustery end-of-summer weekend, the destruction of his work and a series of intense confrontations force Wallace to grapple with both the trauma of the past, and the question of the future.

Deftly zooming in and out of focus, Real Life is a deeply affecting story about the emotional cost of reckoning with desire, and overcoming pain.

Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. Moreover the relationship is frequently a double one. As these essays show, figures such as Donald Judd, Barbara Hepworth, Gilbert and George, Jean-Jacques Lebel, Eva Hesse, Robert Morris, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.

The first collection of stories from the author of Real Life, shortlisted for the 2020 Booker Prize and winner of the Foyles Fiction Book Of The Year

In the series of linked stories at the heart of Filthy Animals, a young man tentatively engages with the world again. Recently discharged from hospital, Lionel meets two dance students at a party. Charles and Sophie’s relationship is difficult to read but Lionel is drawn to them both. As he navigates their sexually fraught encounters he is forced to weigh his vulnerabilities against his loneliness – and to consider his return to life. Elsewhere, a little girl runs wild to the consternation of her childminder; unspoken frictions among a group of teenagers come to a vicious head on a winter night; and a woman dreads a first date only to find that something has cracked open.

What connects these stories is the tension between the surface of things and the intensity of our inner worlds. With exquisite empathy, Brandon Taylor shows that though violence hovers at the edge of many encounters, so too does tenderness and love.

What is form in modern art? How could a work of art achieve its organic life in a world increasingly dominated by mechanism, by new technology? In this new book, Brandon Taylor proposes that biology and the life sciences themselves supplied many of the analogies and metaphors by which modern artists were guided. For the creative giants of the period - Picasso, Miro, Kandinsky, Strzeminski, Dali, Arp, Motherwell and Pollock, as well as less-known figures such as Taeuber, Erni and Kobro - questions of 'living' form loomed large in studio conversation, in the press, and in the writings of the artists themselves. In a book rich in new research and fresh thinking, a well-known art historian proposes six modalities of organic and vital life that pervade the radical experiments of modern art: the organic, the biomorphic, the ambiguous, the monstrous, the dialectical, and the liquid.

From today's perspective, Leon Polk Smith's artistic position can be understood as a "missing link" in art history. His work connects the European avant-garde with the American abstraction of the 1940s/1950s via references to the paintings of Piet Mondrian. Smith's pioneering role in the Hard-Edge style and his Shaped Canvases are in turn achievements that spread from the US to Europe. With his unique Constellations, Smith became known beyond the borders of the US. In recent years, his work has gained new visibility thanks to numerous exhibitions in the US. The solo show at Museum Haus Konstruktiv in Zurich and the accompanying publication are intended to contribute to the long overdue new reception in Europe.

What is form in modern art? How could a work of art achieve its organic life in a world increasingly dominated by mechanism, by new technology? In this new book, Brandon Taylor proposes that biology and the life sciences themselves supplied many of the analogies and metaphors by which modern artists were guided. For the creative giants of the period - Picasso, Miro, Kandinsky, Strzeminski, Dali, Arp, Motherwell and Pollock, as well as less-known figures such as Taeuber, Erni and Kobro - questions of 'living' form loomed large in studio conversation, in the press, and in the writings of the artists themselves. In a book rich in new research and fresh thinking, a well-known art historian proposes six modalities of organic and vital life that pervade the radical experiments of modern art: the organic, the biomorphic, the ambiguous, the monstrous, the dialectical, and the liquid.

A fascinating journey through Western art from the 1910s to the 1960s, charting how artists wrestled with the headlong changes of a turbulent and conflict-ridden world From the chaos of the First World War to the ravages of the Second, from the Great Depression to the rise of consumer culture, artists we call "modern" faced the challenge of responding imaginatively to utterly new circumstances of life. Original thought, startling artistic techniques, and new attitudes to experimentation were required to produce exceptional and timely work. Make It Modern guides the reader through the art of the modern world. Works of celebrated artists, from Pablo Picasso and Wassily Kandinsky to Frida Kahlo, Jackson Pollock, and Yayoi Kusama, alongside a panoply of undervalued or less-known figures, populate this decade-by-decade narrative. Make It Modern tells an unforgettable story of how art was changed forever.

This centennial catalogue celebrates the remarkable achievements of the Whitechapel Gallery between 1901-2001. Featuring essays by Jonathan Jones, Jeremy Millar, Guy Brett, Mark Francis, Catherine Lampert, Jon Newman, Juliet Styen, Marco Livingstone, Felicity Lunn, Paul Bonaventura, Rachel Lichtenstein and Alan Dein, Janeen Haythornthwaite and Brandon Taylor. Artists surveyed include Ian McKeever, Tim Head, Alfredo Jaar, Ian Breakwell, Susana Solano, Cathy de Monchaux, Tunga, Boyd Webb, Matthew Higgs and Paul Noble, Zarina Bhimji, Hamish Fulton and John Murphy

Validation equals survival. This one point summarizes what this book is about. It is an attempt to put into context the struggle that has occurred within and outside of the gay community for equality, justice and substantiation. This book will seek to paint a picture of homo-sexism through various institutions in this country that shape societal views and perceptions. I define homo-sexism as discriminatory or abusive behavior towards members of the homosexual orientation- including from within the gay community. No where have I seen this term used or defined. Why not? Homo-sexism exists and I believe because it has not been defined, it will continue to exist. Have we jumped defining basic terms in light of more dramatic terms, such as hate crimes or homophobia? Homo-sexism is not the same as homophobia. Homophobia describes a fear against same-sex preferences that can lead to homo-sexism and ultimately hate crimes. There is a process. It is appropriately used to legally and culturally define the use of one's gender against the individual or group, but does not include homosexuality. It is because there is so much passion, several issues exude at once. Because of this multiple exudation, this project began out of frustration and utter invalidation. How is that for a motivation? Many friends and students have directly or indirectly encouraged me to go forward with my ideas. This book examines the struggles one gay man has in his life and uncovers the truth it holds as he combats love, disease and society.

When Constructivism emerged shortly after the Russian Revolution, its central principles concerned structure and efficiency in the work of art and the nature and properties of materials. In a series of eight essays, Brandon Taylor examines the origins of these principles and their extraordinary consequences for the rest of modern art. Even before Constructivism, structure was a vital ingredient in Cubist art. After it, ideas about faktura or the "madeness" of an art object-and about its rational organization-became stock-in-trade for De Stijl in Holland and Art Concret in France and bore decisively on other currents such as Surrealism and abstract art. After 1945, artistic movements including Systems, Kinetic and Minimal Art were all touched by the long reach of Constructivist ideals. Recent art has proved no exception. Taylor shows that casual attitudes to materials, even the collapse of Constructivist ideals, have helped form the artistic tenor of our times.