Can a sculpture be a river? Can contemporary art unite conflicting systems of belief? Do other species appreciate culture? And can public art revive communities and ecosystems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architecture and botany to create immersive spaces of contemplation. In this publication an international roster of curators, art critics, philosophers, architects and scientists discuss the social and ecological potential of art in urban and rural space.

Carlos Bunga's sculptural and painterly structures propose architecture as body and mindscape. Using only cardboard and paint, Bunga creates fantastical buildings, furniture-like sculptures and paintings as immersive environments. This book surveys his actions and performances, and documents over a decade of installations. Enacting cycles of construction and destruction, Bunga explores states of dispossession and nomadism; the nature of spatial experience; and the creative and symbolic potential of ruin. With essays by Iwona Blazwick, Carlos Bunga, Nuno Faria, Inês Grosso and Antony Hudek.

Can a sculpture be a river? Can contemporary art unite conflicting systems of belief? Do other species appreciate culture? And can public art revive communities and ecosystems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architecture and botany to create immersive spaces of contemplation. In this publication an international roster of curators, art critics, philosophers, architects and scientists discuss the social and ecological potential of art in urban and rural space.

In May 2010, Glasgow-based sculptor Claire Barclay made an installation titled "Shadow Spans" for the Whitechapel Gallery in London. Barclay attached clothes, birdcages and other objects to frames recalling windows and doors, suggesting a collapsed interior, which several dancers use as a set throughout the work's year-long installation. This volume records the occasion.

Accompanying a major large-scale thematic exhibition at Whitechapel Gallery, this extensive catalogue charts the artists' studio through the last century: as a laboratory or stage set; as place of refuge, or a public space; as a site of resistance or an arena for communal activity. Featuring over 80 artists and collectives from around the world, the catalogue will focus in two sections on 'the public studio' and 'the private studio', accompanied by six thematic essays and full colour plate sections of works by Brancusi, Fischli & Weiss, Roni Horn, Bruce Nauman, Cindy Sherman, Andy Warhol, Nikhil Chopra, Gutai Group, Inji Efflatoun, Francesca Woodman, Ai Weiwei, Marisa Merz, Faith Ringgold and Francis Bacon, amongst many others.

Working towards the melding of her artistic work and the discipline of architecture, Cristina Iglesias has long been preoccupied with exploring notions of space and of a space within a space. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, with data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively consuming as the viewer approaches them. This publication is the first mongraph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech.

Following the first display at Whitechapel Gallery of works selected by artist Ida Ekblad from Norway's Christen Sveaas Art Foundation, the second display will be selected and curated by artist Pauline Olowska.

This is the first major survey in English of the work of Katharina Fritsch, one of the most important artists to emerge in Europe in the last 20 years.

Ranging from the colossal to the miniature, Fritsch's sculptures and installations bring to life figures and objects that already exist in our imaginations. Using modern manufacturing techniques, Fritsch fabricates people and things that seem to have their origins in mythology, literature, and religion; they hover between purity and danger, innocent yet also unnerving. Combining a singular inner vision with an absolute material precision, Fritsch's sculptures border on the surreal.

Katharina Fritsch lives and works in Dusseldorf. Her work was the subject of a retrospective exhibition at the San Francisco Museum of Modern Art in 1997; she has also exhibited at the Venice Biennale, the White Cube in London, and the Matthew Marks Gallery in New York.

The latest curatorial partnership between Whitechapel Gallery, London and The Gallery at Windsor features one of the most significant and influential American artists of our time, Jasper Johns. In dialogue with the artist Robert Rauschenberg and his friends the composer John Cage and choreographer Merce Cunningham, Johns evolved a new language in art in the 1960s. As all four artists became immersed in dance and performance, the body itself entered Johns' work, at first as fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchings. Johns' prints overlay images and textures to stress process, and at the same time reflect the way our consciousness overlaps memory and perception. The Gallery at Windsor presents `the body' as it has appeared in Jasper Johns' lithographs and etchings created with Universal Limited Art Editions (ULAE) print studio from the 1980s to the present. This exhibition is organised by the Whitechapel Gallery, London, where Jasper Johns had his first UK show in 1964. It is curated by Iwona Blazwick and Bill Goldston in partnership with Hilary Weston and with the artist. In 1960, Russian emigree Tatyana Grosman invited Johns to transform his legendary paintings into equally radical works on paper. As co-founder of ULAE with her husband Maurice Grosman, Tatyana invited a host of young artists to the modest cottage in Long Island that was ULAE headquarters. As one artist recommended another, the ULAE press came to make prints with some of the most important artists of the time. Today, under the leadership of Bill Goldston, ULAE continues to make prints with living artists that are held in major museum collections. Awarded the Presidential Medal of Freedom in 2011, Jasper Johns has been the subject of major retrospectives and is one of the most influential American artists of his generation. Yet he continues to experiment, pushing the boundaries of printmaking today. The publication features an essay by Iwona Blazwick 0-9 uses of the body, in which Johns' interest in the body is explored through ideas such as form, sign, being, performance, memory and icon. The illustrated plate section contains all 30 works in the exhibition. There is a Q&A between Candy Stobbs and Director of ULAE, Bill Goldston which looks at the historic art of printmaking and the longstanding creative relationship between Jasper Johns and ULAE. Also included is a section of archival images from ULAE which includes historic portraits of Jasper Johns and his contemporaries.

A new work by Vancouver conceptualist Rodney Graham (born 1949) is always guaranteed to surprise and amuse in equal measure. Indeed, the idea of amusement, espoused by Duchamp as an aesthetic aspiration, is expanded by Graham in "British Weathervanes" to include the idea of folly, as espoused by the sixteenth-century humanist scholar Erasmus, author of "The Praise of Folly" (1511). Graham's Erasmus weathervane, made for the cupola o f the Whitechapel Gallery in London, shows the author, modeled by the artist, reading a book while riding a horse backwards (elaborating on the anecdote that Erasmu swrote "The Praise of Folly>/I>on horseback). Erasmus' weather-blown obliviousness continues Graham's inquiry into involuntary journeys and cyclical and backward motion. This beautifully produced artist's book derives its design from the1940s series Britain in Pictures and contains photographs, drawings, essays on the project alongside a letter by Erasmus.

Gillick is renowned for his brightly coloured Plexiglas and aluminium installations that mediate the visual languages of architecture, design and sculpture. The Wood Way is a sequence of propositions about the built world and the political ethics surrounding it. The structures refer to an evolving urban landscape, which is subject to negotiation, renovation and a continual state of change. The exhibition title is derived from the German word 'Holzweg' and refers to deliberately or mistakenly taking the wrong route and ending up in the woods. In the context of the exhibition this literally refers to the complex system of exposed wooden panels in which the work is situated and reflects the duality of Gillick's scepticism and excitement for the built environment and how we operate within it. [Born in 1964, Gillick studied at Goldsmith's College and progressed to exhibitions across Europe and the USA. As a writer and curator, Gillick has collaborated with artists, writers, architects and designers. Recent UK projects include a commission for Tate Britain and a solo exhibition at the Arnolfini in 2000. He currently lives in London and New York.]