Bøger udgivet af Ridinghouse

When Charles Harrison died in 2009, the British art world lost a pivotal figure. Fromcurating the groundbreaking 1969 exhibit, ''When Attitudes Become Form'' at London's Institute ofContemporary Art; to co-writing the hyper-influential, three-volume work Art in Theory; toteaching art history to thousands in much-admired ''plain English'': Harrison's influence on theBritish art scene cannot be overestimated.This collection of autobiographical interviews - a fitting tribute to Harrison - opens a windowinto the thinking of the tireless critic and riveting professor who railed against second-rate art withhis trademark motto, ''Better fewer, but better.'' Looking Back offers an unprecedented opportunity to experience one of the art world giantsof our time.Interviews with Jo Melvin, Teresa Gleadow, Pablo Lafuente, Juliette Rizzi, Sophie Richard,Elena Crippa, Christopher Huer and Matthew Jesse Jackson.

For the first time, this large-format volume brings together John Stezaker's uniquesilkscreen works executed between 1977 and 1994. Stezaker is best known forhis intimate collages of film stills, postcards and other found imagery; these mid- tolarge-scale silkscreens add a new, fascinating perspective to the perception of thisinventive British arti

Critic, novelist and cultural voyeur Michael Bracewell is not a writer who's easy to classify. Born in 1958, a veteran of the British punk scene, he is a shockingly wide-ranging intellect whose influences range from Oscar Wilde to Patti Smith to electronic music artist Goldie. One of the most influential commentators on modern and contemporary art, a regular contributor to Frieze since its inception, Bracewell also has won awards for fashion writing. In an engaging collection from the outstanding British art publisher Ridinghouse, Bracewell explores connections between the visual arts, pop music, modern iconography and various sub-cultures. These finely crafted essays appraise the vision and ideas of individual artists and the relation of their work to its broader cultural context. Bracewell has written extensively on artists including Gilbert & George, Richard Hamilton, Bridget Riley, Wolfgang Tillmans, Anish Kapoor, Keith Coventry, John Stezaker, Glenn Brown and Damien Hirst. Reading Bracewell is sheer pleasure. His British colleagues describe his work as "lyrical" and "inspired." One critic calls him "the poet laureate of late capitalism," while another says his prose "shimmers with metaphysical warmth." Even allowing for critical exaggeration, there's no question this is a writer of huge talent, with a lot to say.

Photographing white single squares and rectangles found in urban areas, David Batchelor's Found Monochromes project expands the artist's interrogation of colour, skill and the cityscape. Since 1997, David Batchelor has been photographing single square and rectangle planes of uninterrupted white that he passes as he walks through London and places he visits. The images are informal and impromptu; shot from a uniform distance the white planes are seen on a diversity of backdrops: brick walls, car doors, metal fences and more. Batchelor began this body of work after considering the history of the monochrome in painting, and the lack of skill associated with them in the work of Yves Klein and Ad Reinhardt, amongst others. Bringing together the largest group of photographs from this series, a conversation between the philosopher Jonathan Rée and the artist focuses on the importance of monochromes to ideas of modernity, artificiality and the city.

An indispensable guide for artists, teachers and students, this volume of interviews focuses on artists teaching in Europe, bringing to light their often heroic endeavours to survive within the world of art education. The interviews provide an intriguing and welcome insight into the world of teaching, as well as the individual character of the artist-teacher. Offering a wide range of perspectives on the frequently contentious and widely discussed teaching of art, the teachers share their experiences and the rewards of their dual-roles. The artists have been selected from a variety of institutions including Central St Martins, London; Glasgow School of Art, Glasgow; Städelschule Frankfurt, Frankfurt; and Kunstakademie Münster, Münster. Brought together here, each artist represents a different approach to teaching.

This publication introduces a never-before-exhibited series of works by the late British artist John Latham (1921-2006). Accompanying a solo exhibition at Karsten Schubert, London, the group of work features spray painted and twisted canvas on wooden stretchers. The works challenge the conventional relationship between canvas and stretcher, turning the traditional site of the painting into a sculptural field. Reproductions of the 'Canvas Events' series (1994) are accompanied by a conversation between the artist, Hans Ulrich Obrist and Barbara Steveni, in which they discuss the artist's career as a whole.

Made across a 32-year span, the works in Tabula Rasa unite the central themes in the art of celebrated British artist John Stezaker, from the capacities of collage to the current flow in an age of mass media. This volume brings silkscreens on canvas from the early 1990s and film still collages from the 1990s and 2009 together for the first time. Accompanying full-colour illustrations and a series of installation views of Stezaker's work at The Approach, London, an essay by art critic and cultural commentator Michael Bracewell looks at the connections within Stezaker's practice, centering on notions of screens, voids and cut-outs.

Best known and celebrated for his painting, Glenn Brown's new etchings are an exciting change in medium that further establish his fascination with surface texture and mark-making. The artist's first ever group of etchings offers a striking approach to the portrait and its history, drawing upon portraiture of the past by repeated layering of single or multiple portraits by Urs Graf, Rembrandt and Lucien Freud. Engaging with concepts of duplication and appropriation, the beautifully layered portraits are at once recognisable and completely unfamiliar. An essay by John-Paul Stonard accompanies reproductions of the twenty-one black and white prints.

Through an extremely restricted vocabulary, Robert Ryman became a leading figure on the fringes of Minimalist and Conceptual art. This anthology of essays reviews and charts the evolution of the artist's critical reception. A comprehensive selection of over 60 essays and exhibition reviews has been collated into one volume, including texts by some of the most influential art historians and critics. The writings look at Ryman's work within the context of the 'challenge to painting' in the 1960s, as well as the artist's work in relation to other influential painters in art history. Drawing upon the words of key contemporary thinkers, an introduction by Vittorio Colaizzi explores the importance of elements of 'support, colour, brushstroke' in Ryman's paintings.

From the opening of The Louvre to the launch of Tate Modern and beyond, this accessible publication traces the development of the museum and its evolving role within society.

Bringing together over 20 gouache studies by celebrated British Op artist Bridget Riley, along with an artist interview, this catalogue explores Riley's process and the effects of her decision making.

Famous for destroying everything he owned, this first major monograph of Michael Landy's work surveys both his large-scale installations and lesser-known sculpture to illustrate the artist's joyful inventiveness. Richly illustrated in full colour, this book surveys his earliest work, including lesser-known sculptures - such as Sovereign shown at Freeze in 1988 - to large-scale installations Market, Closing Down Sale and Scrapheap Services. Other works discussed in detail include the infamous Break Down, where Landy destroyed all 7,227 of his possessions in a department store on Oxford Street, London; Semi-detached, where Landy constructed a full-scale model of his family home at Tate Britain, London; and the project H2NY where Landy made 168 drawings based on a Jean Tinguely sculpture. With over 800 colour illustrations and four newly commissioned texts, this volume provides a comprehensive insight into Landy's work

Continuing Albert Oehlen's interest in posters, this volume contains loose, unbound images of ten paintings contained within a large fold-out poster set designed by the artist. Closely associated with the Cologne art scene and the Neue Wilde movement, Oehlen was also formally a member of the Lord Jim Lodge along with Martin Kippenberger, among others. The artist's latest series of paintings vividly merge image, text and symbol in an explosive form that Oehlen has called 'free collage'. Combining oil, inkjet print collage and spraypaint on canvas, Oehlen's paintings are characterised by dirty smears at their centre; reflecting the artist's ability to interrogate the possibilities of painting and challenge the viewer's reading of visual language.

Art historian Penelope Curtis examines the relationship between sculpture and architecture in the mid-twentieth century to explore how modernist architecture affects the display of sculpture, as well as how sculpture enhances those spaces.

Richard Pattersons complex, multilayered paintings sit firmly within