A comprehensive overview of the oeuvre of Belgian painter Jan Van Imschoot A comprehensive overview of the oeuvre of Belgian painter Jan Van Imschoot (b. 1963), whose contemporary work builds bridges to predecessors such as Caravaggio, Tintoretto, Goya, and Manet. Van Imschoot's painting consciously opts for a clear, sometimes contradictory and ironic style. The directness of his decisive brushwork and his balanced yet audacious use of color is strikingly contemporary, while his work draws on historical themes from literature and art history. In this way, Van Imschoot engages in a continuous dialogue with the past, in which he, with a dose of cynicism, often targets phenomena or figures that find themselves on the fringes of (contemporary) society. Bringing together more than 220 works by Van Imschoot with five accompanying texts, this book gives fresh insight into the painting practice of this Belgian master. Distributed for Mercatorfonds

The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.

When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the Sao Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focus scrutinizes Wilhelm Noack oHG (2006) as an example of material cinema. Artist's Choice is a extract from Flann O'Brien's 1996 novel The Third Policeman, a fantastical conversation about bicycles swapping atoms with their riders. Artists Writings include five project statements, all of which consist, in varying proportions, of history, science and speculative fiction.

A leading figure of photorealist painting, Franz Gertsch (born 1930, Switzerland) has created monumental portraits of charismatic youths and meditative depictions of nature in vivid and pains- taking detail for over fifty years. Polyfocal Allover surveys Gertsch's paintings from 1970 to 1982 and woodcut prints from 1979 to 2019, reflecting a vision in which all that lies within the frame is accorded equal value. The essays, interviews, and conversations in this publication bring further definition to the lives and landscapes Gertsch renders with such virtuosic, eerie precision.

Charles Le Brun's drawing manual on human emotions has been used for centuries by artists and students as a model for depicting facial expressions. In David Schutter's work, Le Brun's manual is set to a different direction--a series of abstract drawings recalling vestiges of the human face animated by emotion. But Schutter's drawings are neither copies nor portraiture. Rather, they are reflections on how Lebrun's renderings were made. Collected here, Schutter's work recreates not the subject matter but the very values of Lebrun's drawings--light, gesture, scale, and handling of materials. The cross-hatching in the original was used to make classical tone and volume, in Schutter's hand the technique makes for unstable impressions of strained neck and deeply furrowed brow, or for drawing marks and scribbles unto themselves. As such, these drawings end up denying a neat closure--unlike their academic source material--and render unsettling states of mind that require repeated viewing. Accompanied by essays from art critic Barry Schwabsky and Neubauer Collegium curator Dieter Roelstraete, The Escape will appeal to students, critics, and admirers of seventeenth-century, modern, and contemporary art alike.

Catrin Huber (*1968) works with architectural, fictional and imagined spaces as well as with site-responsive practices. Fascinated by ancient Roman wall painting, she developed site-specific installations in a topical dialogue with two Roman houses at the world-heritage sites of Herculaneum and Pompeii. This intricately designed book presents Huber's versatile spatial interventions, discusses the complex relation between her installations and their respective archaeological settings (local/temporal), and re-evaluates the daring concept of a historiographic turn within the arts. Text in English, German and Italian.

Contemporary art is often obsessed with the new, but it has recently begun to turn to projects centering on research and delving into archives, all in the name of seeking and questioning historical truth. From filmmakers to sculptors to conceptualists, artists of all stripes are digging into the rubble of the past. In this catalog that accompanies an exhibition at the Museum of Contemporary Art Chicago in the fall of 2013, Dieter Roelstraete gathers a diverse range of international artists to explore the theme of melding archival and experiential modes of storytelling - what he calls "the archaeological imaginary" - particularly in the wake of 9/11. The Way of the Shovel offers a well-constructed balance among excursions into the situation of contemporary art, broad philosophical arguments around the subjects of history and the archive, and cultural analysis. Roelstraete's opening essay maps the critical terrain, while Ian Alden Russell explores the roots of archaeology and its manifestations in twentieth-century art, Bill Brown examines artistic practices that involve historical artifacts and archival material, Sophie Berrebi offers a critique of the "document" as seen in art after the 1960s, and Diedrich Diederichsen writes on the monumentalization of history in European art. The book features work by both established and young artists, and thoughtful entries by Roelstraete accompany the exhibition catalog, along with statements from artists Moyra Davey, Rebecca Keller, Joachim Koester, Hito Steyerl, and Zin Taylor. The first exhibition to showcase this innovative approach to some of the most intriguing art of the past decade, The Way of the Shovel is indispensable for anyone seeking to understand the forces driving contemporary art.

Drawing on draftsmanship, painting, literature, and installations, Michael Tedja's oeuvre erupts into a flamboyant and visually playful whole. His boisterous storms of imagery recall the CoBrA movement of artists from Copenhagen, Brussels and Amsterdam briefly banded together after World War II. Aiming to banish bourgeois rituals as well as theorizing around avant-garde art, they embraced expressionist spontaneity, an unrestrained use of vivid colors, folkloric elements, handwriting and graffiti. But Michael Tedja has taken out the folkloric and anti-intellectual, his painting is a kind of IQ test. With abstract and figurative visual vocabulary complementing each other, Tedja's imagery is expressive and linguistic, full of references and autobiographical elements. This monograph encompasses large-scale paintings, his overwhelming installation of large drawings Hypersubjective, as well as The Color Guide Series. Here, Tedja deploys textured paint, crayon and chalk on commercial paper stock-the color bars printed along the paper's edge are left exposed-turning mass-produced standard into something decidedly unique. Yet by constantly recycling and repurposing images, Tedja explores the alterability of meaning within the visual context of globalization.

"Afterall", a journal of art, context and enquiry, offers in-depth considerations of the work of contemporary artists along with essays that broaden our understanding of it. "Issue 28" maps a history of objects, photography, and experience. The articles include Brazilian artist Ricardo Basbaum writing about the move to activate the audience in contemporary art, Pablo Lafuente dissecting the role of the object in participatory practices, an exploration of Emily Wardill's elusive films of objects and ossified social relations, a look at the photographic and sculptural practice of Jean-Luc Moulene, and discussions of the work of 1970s Chicago collective "AfriCOBRA" and the return of modernism in the work of Carol Bove, Mathias Poledna, and others. "Issue 29" looks at the artistic economy and the different means that artists have of approaching the economy as opposed to the market. Essays include examinations of Eugenio Dittborn's channelling of modes of distribution; Moyra Davey's investigations into value; Dierck Schmidt's political and economic histories; R. Kelly's hip-hopera, "Trapped in the Closet"; and the Chinese exhibition "This Useful Life".

"Afterall" is a journal of art, context, and inquiry that not only offers in-depth consideration of contemporary art from around the world, but also insightful contextualization of works from a diverse array of artists. Articles on art history and critical theory further serve this goal and round out each issue. Scholarly, but never pedantic, "Afterall" appeals not only to the academic interested in rigorous dialogue about art, but also to any general reader who is concerned with the situation of art and artists in our world. "Issue 27" examines mapping and dissemination in the art world and beyond. Featured artists include Andrea Zittel, Jef Geys, Minerva Cuevas, and the publishing and printing collective Dexter Sinister, while contextual essays look at Phil Collins' new film, "Marxisme"; French feminist video collectives of the 1970s; and Suzanne Lacy's influential book "Mapping the Terrain: New Genre Public Art".