Bøger udgivet af Art / Books

A one-of-a-kind book: a unique portrait of an extraordinary and beautiful but out-of-the-way place that many garden lovers struggle to reach, as seen through the perceptive eyes of an artist and writer.

An intimate collection of private photographs of artists and writers, friends and family by a legendary art dealer John Kasmin, known to all simply as Kasmin, was the most important dealer in contemporary art in Britain in the 1960s. At the eponymous Kasmin Gallery on New Bond Street, he worked with many of the leading British and American artists of the day, notably Barnett Newman, Helen Frankenthaler, Frank Stella, Robyn Denny, Gillian Ayres, Howard Hodgkin, and David Hockney. In the process, he transformed the London art world and became almost as recognized as his gallery artists. Less well known is that Kasmin was also a trained photographer, having started his working life as an assistant to the celebrated portrait photographer Ida Kar. Throughout his life he has always carried his camera with him, constantly photographing - and being photographed with - his bohemian artist and writer friends and family members. This remarkable book is the first time he has shown a collection of intimate and private photographs. We see Newman, Frankenthaler and others in their studio; we join Hockney as he travels, works, and holidays with Kasmin and their shared circle. We follow Kasmin as he and his close friend the travel writer Bruce Chatwin voyage to Africa and the Caribbean. Each image, whether a posed portrait or a hastily grabbed snapshot, reveals something new, something private about some of the best known names in postwar art and the world in which they lived and worked. Art historian and curator Chris Stephens writes about Kasmin's circle of artists and friends in the 1960s and 1970s, while his long-time friend Judith Goldman writes a more personal account of Kasmin and his life.

The complete prints and multiples of one of Britain's most influential artists. Sir Michael Craig-Martin is one of Britian's most celebrated and influential artists working today. To coincide with a major retrospective exhibition at the Royal Academy, this volume is the catalogue raisonné of Craig-Martin's entire work in print and multiples. Having produced his earliest prints in the late 1960s and early 1970s, the artist has made printmaking an important part of his practice for the past thirty-five years, alongside his distinctive wall pieces, paintings, and sculptures. Screenprints, letter-press, pigment prints lightboxes and computer works all present his familiar signature style of everyday objects drawn in outline and often in intense saturated colours. A text by the acclaimed writer Michael Bracewell considers the significance of prints and printmaking in Craig-Martin's work. Featuring high-quality reproductions of almost 300 works, this book is the complete resource for specialist and general reader alike.

Clare Woods RA (b.1972) is one of the most sought-after painters working in Britain today. Her highly colouristic paintings hover between abstraction and representation, expressing both a poetic romanticism and an unnerving psychic charge. Her distinctive style is informed by her background in sculpture. She uses large, bold and gestural brushstrokes of thick, fluid paint to make still life and figurative paintings that are usually based on photographs of real objects and people, but enlarged, cropped, and distorted almost to the point of illegibility. Much of her recent work is concerned with the fine line between mortality, fragility, sickness, and health, while at the same time creating a psychological space that is shared and inhabited by artist and viewer alike. This book follows her previous monograph Strange Meetings, published by Art / Books in 2016. It includes all the artist's most important paintings of the past decade, as well as the many prints and collages that have grown out of her painting practice in recent years. Critic and art historian Charlotte Mullins writes a lively and accessible introduction to the artist's work, while psychoanalyst Darian Leader considers the psychological charge of its defamiliarising and estranging effects. Commentaries from Woods herself throughout provide the artist's own insights into the meaning of individual works.

This beautiful book is a demonstration of painting's power to evoke emotion and sensation even when on the smallest of scales. British artist Vicken Parsons (b.1957) makes small, intimate paintings on wood panel using thin layers of oil paint. Her subjects are usually partial views of interior spaces or landscapes, some remembered and others imagined. Details of rooms such as corners or doorways or glimpses of fleeting clouds conjure up worlds that are expansive yet claustrophic. Her paintings are quiet and meditative in mood, but also richly evocative, drawing in the viewer through their expressive brushwork, instinctive interplay of colour and light, and unnerving tension between surface and depth. Parsons' work has beguiled and inspired writers from the fields of art, psychoanalysis, and literature to attempt to interpret it, to distill it, for more than twenty years. Their responses to her 'visual poems' are gathered here for the first time, in the artist's only retrospective monograph. All of her most celebrated paintings are reproduced, alongside some of her drawings, until now never shown, and sculptural works - or 'painted objects' as she calls them - that see the artist extend her pictorial investigation of space, reflection, and illusion into three-dimensional form. Studio photographs show some of the work in progress. Contributors include: Michael Archer, David Batchelor, Iwona Blazwick, Darian Leader, Richard Morphet, Anna Moszynska, Charlotte Mullins, Annushka Shani, Rachel Spence, Edmund de Waal.

From the early decades of the twentieth century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics. In the wake of the recent global crisis there has been a resurgence of interest in Marx. This collection of essays, a festschrift in honor of leading Marxist art historian Andrew Hemingway, brings together 30 academics who are reshaping art history along Marxist lines. The essayists include Matthew Beaumont, Warren Carter, Michael Corris, Gail Day, Paul Jaskot, Stewart Martin, Frederic J. Schwartz, Caroline Arscott, Steve Edwards, Charles Ford, Brian Foss, Tom Gretton, Alan Wallach, Michael Bird, Martin I. Gaughan, Barnaby Haran and Fred Orton, among others.

Anita Klein is an artist of the everyday and the personal. For more than forty years, she has produced thousands of paintings, prints, and drawings depicting her immediate family - husband, daughters, grandchildren, and herself - going about the very ordinary activities of daily life: watching television, cooking, reading, driving to school, soaking in the bath, getting dressed, cleaning the house, choosing a pet, going on holiday, or just cuddling up and sharing tender moments with loved ones. She captures these seemingly unremarkable domestic scenes with such humour, sensitivity, and beauty to create an intimate visual journal with which everyone can identify. Influenced by Italian Renaissance fresco painting, her direct style pares down forms into strong and simple shapes, transforming the images into contemporary secular icons that reveal a joyful and unselfconscious delight in the common 'dailiness of life'. Witty, charismatic, warm, and poignant, Klein's pictures depict a specific family, but her diaristic archive of life's small and familiar moments tells a universal story. This book is a selection of five hundred and fifty of Klein's best-loved prints. It presents a charming chronological record of the family's day-to-day life through the decades, seen from the artist-mother's perspective, as they grow and change in their respective roles within the household. We can also follow her development as a printmaker, from the simple monochrome drypoints in the 1980s, a consequence of the practical and financial demands of being a young stay-at-home mum, through to the more colourful and elaborate prints of recent years. A personal appreciation of Anita Klein's work by acclaimed poet Hollie McNish opens the volume, while texts by Rebecca and Vincent Eames, who have collaborated with the artist for more than two decades, and critic Mel Gooding provide an introduction to her practice. Klein herself gives recollection and further detail with short commentaries on the images and the occasions that they depict, and poems contributed by Dame Carol Ann Duffy, Hollie McNish, and Wendy Cope complete this delightful publication.

This publication considers Josef Albers' early development as an artist, beginning with the pre-Bauhaus years when he worked as an elementary school teacher in his native Bottrop in Western Germany, while sketching the landscape and architecture of his home town and studying courses in art by night. With a particular focus on works on paper, the book reveals not only the unappreciated naturalistic origins of his art, but also his ongoing interest in producing organic, surrealistic forms alongside the geometric abstraction for which he is best known. It presents dozens of prints, paintings and drawings from the first half of his career, as well as previously unseen photographs of the artist at work and on research trips to the ancient sites of Mexico where he found important sources of inspiration for his art and theories. With texts by two recognized Albers scholars, this volume offers a fresh and surprising view of a celebrated pioneer of modernism. --

Terence Donovan was one of the foremost photographers of his generation among the greatest Britain has ever produced. This book reveals how Terence Donovan constant invention and experimentation not only set him apart from his contemporaries, but also influenced generations to come.

Sir Nicholas Serota CH is the chair of Arts Council England and the former director of Tate. Liz Gilmore is Director of Hastings Contemporary. Victoria Howarth is Curator at Hastings Contemporary. John McEwen is a writer and art critic. He is the former art critic of the Spectator and the Sunday Telegraph, the arts editor of The Field, and a founder of The Oldie.

Artists Heather and Ivan Morison and their studio have established an ambitious collaborative practice that transcends traditional divisions between art, architecture, theatre and activism. Their work is often performance-based and site-specific, existing as one-off events, social projects or large-scale installations and buildings in public spaces. In particular, they are known for their architectural structures that relate to ideas of escape, play, shelter and refuge, the transformation of the modern city, and the function of civic communities. Their central preoccupation has always been how we navigate catastrophe and the violence of change. More recent works have moved from a wider collective view to how individuals deal with moments of personal calamity. Frequently working with governments, business and community groups, the Morisons see their role as making art that enables others to see the world and themselves afresh, to lift themselves out of the everyday, and to transform the places in which they live. Love Me or Leave Me Alone presents a journey through the past decade of Studio Morison's practice, with an emphasis on their pavilions, escape vehicles and public art works. It shows how the artists engage with materials, histories, sites and processes, as well as other areas of creativity, thought and commerce, to directly address the major societal questions of our time. Texts by curators Claire Doherty and Gavin Wade, detailed project descriptions, and contributions by some of the commissioners, architects, sci-fi writers and others with whom the Morisons have collaborated are accompanied by the duo's own reflections on each work. Beautiful and inspiring, this stunning and timely volume shows some of the ways that artists can be active agents of change, bringing meaning, beauty and purpose to everyday life and creating a blueprint for happiness.

Carton Moore Park (1877¿1956) was a British painter, illustrator and teacher, born in Scotland. He studies at the Glasgow School of Art between 1893 and 1897. During the 1890s, he was best known for his illustrations of animals, which appeared in Glasgow Weekly Citizen and Saint Mungo . His illustrated books were An Alphabet of Animals , Book of Birds and A Book of Elfin Rhymes . He lived in London until 1910, when he emigrated to New York, where he spent the rest of his life.

A beautiful facsimile of the earliest English translation of Gauguin's frank and entertaining memoir, written just before he died, in which he reveals his most inner thoughts on art, life and love Unappreciated in his own lifetime, Paul Gauguin is now recognized as one of the giants of French post-Impressionism and a pioneer of early modernism. A rebel in both art and life, he rejected his bourgeois upbringing and comfortable stockbroker's job to devote his life to painting. Eventually, dismayed by the 'hypocrisy of civilization' and in search of a primitive idyll, he left his wife and children behind in Paris and took up residence in the South Seas, first in Tahiti and, later, in the Marquesas Islands. He would never return to Europe. In the final months of his life, he wrote this witty and revealing autobiographical memoir with the request that it be published upon his death. It first appeared in the original French in 1918, and was translated into English three years later. As his son Émile wrote in the preface, 'These journals are an illuminating self-portrait of a unique personality.... They bring sharply into focus for me his goodness, his humour, his insurgent spirit, his clarity of vision, his inordinate hatred of hypocrisy and sham.' Wide-ranging and elliptical, these candid reflections reveal Gauguin's inner thoughts about many subjects, including frank views on his fellow artists back in Paris, his turbulent relationship with Van Gogh, and the charms of Polynesian women, while providing glimpses into his often far-from-idyllic life in the islands. This beautiful facsimile reproduces the first American translation of the journals, a rare limited edition privately published in New York in 1921 for a select group of subscribers. With full-page sketches by the artist, these entertaining and enlightening musings give us a unique insight into Gauguin the man and the artist.

Prominent Iraqi-American artist-provocateur Rakowitz invites 40 acclaimed chefs and food writers to create mouthwatering savory and sweet dishes using date syrup. Date syrup has been central to Iraqi cooking and home life for centuries.

Comprehensive overview of the work of photographer Edward Woodman. Captures the rise of contemporary British art and the changing nature of London since the 1970s.

A beautiful centenary facsimile of a rare early book on the father of modern sculpture. This centenary facsimile edition faithfully reproduces a 1918 volume published immediately in the wake of the death of Auguste Rodin (1840-1917), one of the first volumes on the French sculptor in the English language. With an essay by young American artist and critic Louis Weinberg, it presents almost 70 of Rodin's works in a beautifully designed, high-quality clothbound format that will appeal to a contemporary audience. In a career that spanned the late 19th and early 20th centuries, Rodin rebelled against the idealized forms and practices of traditional art and paved the way for the birth of modern sculpture. The hallmarks of his style--its highly eroticized, sometimes explicit character, his use of incomplete figures, his emphasis on formal qualities rather than on narrative, and his desire to retain the marks of the sculptural process--were considered revolutionary at the time. As a result, his intense, evocative works courted controversy after controversy, inspiring violent hatred and ardent admiration in equal measure. By the end of his life, however, his reputation was established and he had become one of the most celebrated and sought-after artists in the world. This book is a perfect gift, collectible and keepsake for any Rodin enthusiast or lover of modern sculpture.

The first comprehensive monograph on this British artist, presenting over a decade of work. A witty, dark and sensitive humour runs through Des Hughes's work, delivered in a seemingly deadpan tone. His practice is an obsessive, physical enquiry into the traditions of sculpture, rethinking conventional sculptural methods and materials. Nothing is as it first appears; crudely modelled clay is meticulously cast in resin but, with the inclusion of marble dust, it could have been either carved and polished from a block of stone or fashioned from a piece of chewing gum. He collects, he dismembers, he puts things back together in fragments, or leaves pieces in an unfinished state - or just leaves them in pieces. He is a Surrealist de nos jours. At the same time, there is always a tender acknowledgment of the twentieth-century modernist canon of sculpture, and of the fragile heroism inherent in the handmade object. Alongside this sculptural work, textiles have also become a particularly potent aspect of his practice. While time-consuming, his embroidering looks spontaneous, like a hastily handwritten scrawl. His cross-stitch is self-taught and has a distinctly amateur and cartoonish appearance; raw edges and wonky lines of text give his own samplers a homespun quality. In this compelling book, Hughes leads the reader through the passages of his creative mind, offering a commentary on his most significant works. Texts by Stephen Feeke, Harry Thorne and Bruce Haines respond to particular aspects of the practice. The result is the first comprehensive monograph on the quiet revolutionary at the heart of contemporary sculpture.

The first monograph on this British painter in a decade, coinciding with a period of important international exhibitions. Constantly shifting between representation and abstraction, while referencing art, architecture and design and embracing the decorative, British artist Tim Braden's work is a celebration of the act of making things. His expressive and lushly seductive painting explores the in-between spaces between categories and states, dissolving and reassembling the world in high-key colour and vivid brushstrokes to re-present reality as something new and newly felt. His painterly works, both abstract and figurative, often depict or imagine interior spaces such as homes and studios, or gardens and landscapes, as well as individuals working, making, or looking. Found objects and images play an important role in the practice. His paintings often evolve from historical photographs, book and magazine covers or anecdotes involving celebrated twentieth-century artists and designers such as Wassily Kandinsky, Paul Klee, Sonia Delaunay and painter-turned-Modernist architect Roberto Burle Marx. Braden also plays with scale and expectation, creating 'found' abstract compositions from cropped fragments of his own figurative works that are then realized as oversized paintings on canvas or small oil sketches on card. Assembling a body of work produced over the last decade, Tim Braden: Looking and Painting is the first monograph on the artist in ten years. It draws together the many themes and styles of his work, and includes many paintings that have never been shown in public previously. The book includes a response to Braden's work by Jennifer Higgie, editor of Frieze magazine, and contributions by Christopher Bedford, director of the Baltimore Museum of Art and Dominic Molon, curator at the Rhode Island School of Design Museum.

This 150th anniversary facsimile edition faithfully reproduces an abridged version of the edition published in 1910. Beautifully produced on high-quality paper, this perfect gift for young girls presents the story in an easy-to-read format, with color illustrations by Australian artist Little.