Hardback. Condition: New. For its 34th Curve commission (2021), the Barbican presents the first major London solo exhibition by Mumbai-based artist Shilpa Gupta, whose celebrated practice explores physical and ideological boundaries and how, as individuals, we come to feel a sense of isolation or belonging.Gupta presents and builds on her acclaimed project For, In Your Tongue, I Cannot Fit (2017-18), an experiential sound installation of 100 microphones suspended above 100 metal spikes, each piercing a page inscribed with a fragmented verse of poetry by a writer who has been imprisoned for their work, writings or beliefs. Spanning the eighth to the 21st centuries, the soundscape alternates between languages, each microphone uttering verses of poetry, echoed by its 99 counterparts. Giving a voice to those who have been silenced, Gupta's haunting installation highlights the fragility of personal expression while raising urgent questions of censorship and resistance. Gupta also presents new drawings and sculptures that reflect on issues of confinement and the right to free expression. The book includes a loose-insert postcard featuring a poem in Urdu and English by the revolutionary Pakistani poet Faiz Ahmad Faiz.
Hardback. Condition: New. For its 34th Curve commission (2021), the Barbican presents the first major London solo exhibition by Mumbai-based artist Shilpa Gupta, whose celebrated practice explores physical and ideological boundaries and how, as individuals, we come to feel a sense of isolation or belonging.Gupta presents and builds on her acclaimed project For, In Your Tongue, I Cannot Fit (2017-18), an experiential sound installation of 100 microphones suspended above 100 metal spikes, each piercing a page inscribed with a fragmented verse of poetry by a writer who has been imprisoned for their work, writings or beliefs. Spanning the eighth to the 21st centuries, the soundscape alternates between languages, each microphone uttering verses of poetry, echoed by its 99 counterparts. Giving a voice to those who have been silenced, Gupta's haunting installation highlights the fragility of personal expression while raising urgent questions of censorship and resistance. Gupta also presents new drawings and sculptures that reflect on issues of confinement and the right to free expression. The book includes a loose-insert postcard featuring a poem in Urdu and English by the revolutionary Pakistani poet Faiz Ahmad Faiz.
Paperback. Condition: New. During Law's stay at St Ives in the late 1950s, the artist developed a series of Field drawings that reduced elements observed in the surrounding landscape - the sun, trees and clouds - into a set of abstract signs held within a rhomboid frame. The series was, in Law's words, 'about the position of myself on the face of the earth and the environmental conditions around me'. Using a thickly drawn line to contain and delimit the almost-blank pictorial field, Law refined his early abstract language in subsequent monochrome works, from 'open' and 'closed' drawings to the monumental paintings of the Mister Paranoia series. Published to accompany a 2015 exhibition of the same name, this volume draws together over 20 works by leading British minimalist Bob Law (1934-2004), providing a concise overview of the artist's career. This fully illustrated catalogue includes an essay by Douglas Fogle that includes new scholarship on the artist and focuses on his pursuit of the void's poetic possibilities.
Paperback. Condition: New. "As an art critic, [Hickey] doesn't do what most people want from art criticism. He doesn't provide his readers with a neat intellectual framework through which to view everything they see, like a Clement Greenberg or a Michael Fried, and he doesn't really do beautiful description either . Instead, Hickey gives you intricately structured argument and gorgeous prose . Reading him you want to forget that the art market is a game of Hungry Hungry Hippos between Ukrainian oligarchs and Qatari princesses . You want to be the thing you advocate; you want to ride the wave, mount the dais, and speak the truth." - Los Angeles Review of BooksArguably one of the most astute critics working today, Dave Hickey's multi-decade career as a leading cultural commentator is characterised by his blend of high and mass culture and his fervent critique of the celebrity-driven culture of the 21st-century art world. Following his 2012 announcement of self-imposed exile from art criticism, this new body of essays once again questions and challenges the cultural status quo. With his trademark humour, Hickey has declared that: 'I miss being an elitist and not having to talk to idiots' in a field that, he believes, is defined by the commoditisation of art and the self-referential tendencies of criticism itself. This new body of shorter essays by the author of Air Guitar: Essays on Art and Democracy and The Invisible Dragon: Four Essays on Beauty looks at more contemporary phenomena: super-collectors, the trope of the biennale and the loss of looking.
Paperback. Condition: New. This volume documents a group of gouache studies by Bridget Riley from 1969 to 1972 that reflects a major reconfiguration of Riley's style. The shapes formed in these gouaches are arranged from a limited selection of colours - namely violet, green and pink - to explore the visual relationship between 'contrast and harmony'.Accompanying full colour illustrations, a conversation between the artist and Robert Kudielka from 1972 posits the works within the context of Bridget Riley's oeuvre.
Paperback. Condition: New. This volume draws together ten important public commissions by Tess Jaray - one of Britain's foremost painters and printmakers - through images, new and republished essays and an interview with the artist. For over three decades, Jaray's abstract painting and printmaking has been complemented by a series of public art projects that extends her investigation of architectural space and perspective, taking it out of the studio and into our shared spaces. Considering the dynamics of form, pattern and colour, Jaray's public art transforms its architectural surroundings with sequences of interlocking geometric shapes. Working primarily with materials such as brick, stone and metal, the forms of Jaray's public squares are often held in an equilibrium of movement and stillness. This publication features an essay by the art critic Charles Darwent that situates Jaray's projects within the tradition of twentieth-century public art, an interview with the artist by Doro Globus, as well as historic statements by Richard Cork and Glyn Emrys, among others.
Paperback. Condition: New. Lumen, a survey of the four-decade career of British-Indian artist Sutapa Biswas, accompanies two solo exhibitions of the artist's work held in 2021-22. Biswas emigrated from India to the UK with her family in the 1960s. Taking the long histories of colonialism together with personal memories, Biswas's art meditates on questions of migration, identity and belonging. Her practice has consistently interrogated Western tradition and discourse, pushing past absences, exclusions and limited representations to make evident the entwined histories of culture and politics. This publication details Biswas's career from its origins in the Black Arts Movement in the 1980s to her important photographic installations of the 1990s and her subsequent major moving-image works, including her newly commissioned film Lumen. The first substantial publication on the artist in over 17 years, it features two new conversations with the artist and two commissioned essays. It also includes a republication of Griselda Pollock's important text on Biswas's work, along with a postface reflecting on their relationship in the decades since the essay's original publication. Published on the occasion of the exhibition: Sutapa Biswas: Lumen BALTIC Centre for Contemporary Art, Gateshead (26 June 2021-22 March 2022) and Kettle's Yard, University of Cambridge (16 October 2021-30 January 2022).
Paperback. Condition: New. From the opening of The Louvre to the launch of Tate Modern and beyond, this accessible and succinct publication traces the development of the museum concept - encompassing curatorial, scholarly, political and cultural spheres - and its evolving role within society. In the first section, Schubert looks at the complex history of the museum in specific cities at critical moments, for instance New York between 1930 and 1950 as the Metropolitan Museum of Art expanded and the Museum of Modern Art was founded. The second section focuses on the success and unprecedented development of the museum in the 1980s and 1990s in Europe and the United States, highlighting the need for cities and institutions to revise their programmes in response to a surge of interest in the arts. The final section looks at the museum's predicament nearly a decade after The Curator's Egg was originally published in 2000, exploring the museum's evolution in a post-9/11 environment.
Paperback. Condition: New. Kettle's Yard, Cambridge, exhibition catalogue on the internationally renowned Chinese artist Ai Weiwei (b. 1957, Beijing) in which new and existing work will be shown alongside historic Chinese objects. The exhibition will explore notions of truth, authenticity and value, as well as globalisation, the coronavirus pandemic and the current geopolitical crisis. Ai Weiwei will reflect upon the liberty in the West, in contrast to China and other authoritarian regimes, to question truth and authority, express doubt and seek transparency in political matters. However, in relation to art appreciation, the Chinese have a long tradition of a more fluid and less fixed view in relation to authenticity than is the case in the West, often valuing the act of copying.
Paperback. Condition: New. '"As Paul Moorhouse shows in this thorough and sensitive first biography, which concentrates on [Riley's] early years up to the age of thirty-four, it was only after many false starts, bracing shocks and firm decisions that Riley found her way as an abstract painter in the early 1960s with her eye-dazzling lines, squares, curves . in ultra-hard-edged black-and-white". -Times Literary Supplement"In "Bridget Riley: A Very Very Person - The Early Years," Paul Moorhouse . homes in on the period between the artist's childhood and her earliest success, and makes a surprising but compelling case for the influence of landscape on Ms Riley's distinctive style." -Wall Street Journal"An entertaining and informative text that adds greatly to our understanding of a very prominent and still highly intriguing British artist." -HyperallergicIn January 1965 the international art world converged on New York to pay homage to a brilliant new star. The glittering opening of The Responsive Eye, a major exhibition of abstract painting at the Museum of Modern Art, signalled the latest phenomenon, op art - and its centre of attention was a young painter named Bridget Riley, whose dazzling painting Current appeared on the cover of the catalogue. Riley's first solo show in New York sold out, and, following a feature in Vogue magazine, the Riley 'look' became a fashion craze. Overnight, she had become a sensation, yet only three years earlier, she was a virtual unknown. How did success arrive so suddenly?Authored by the acclaimed curator and writer Paul Moorhouse, A Very Very Person is the first biography of Bridget Riley and addresses that tantalising question. Focusing on her early years, it tells the story of a remarkable woman whose art and life were entwined in surprising ways. This intimate narrative explores Riley's wartime childhood spent in the idyllic Cornish countryside, her subsequent struggles to find her way as an artist, and the personal challenges she faced before finally arriving as one of the world's most celebrated artists in Swinging Sixties London.
Paperback. Condition: New. Stripped of their typical narrative and commercial contexts, the fragmented collages of this collection act as visually tantalizing ciphers, reflecting the desires and imaginings of the beholder.' - Jennie Waldow, Brooklyn Rail This beautifully illustrated catalogue showcases works by British artist John Stezaker made between 1976 and 2017 and brought together in the 2018 show "Love" at The Approach, London. Stezaker is celebrated for his distinctive collage works: interruptions of, and interventions into, found images dating mostly from the mid-20th century - products of modernist culture such as film stills, press and publicity photographs, magazines and postcards. His works engage with themes such as psychological archetypes, fragmentation, identity, self and other, desire, inscrutability and enigma, glamour, fantasy, dreams and the gaze. A sense of romance pervades Stezaker's imagery. As demonstrated most dramatically by the artist's 'Love' series (2016), his work seduces and ensnares the viewer's gaze, arresting their perceptual expectations. Disquieting, poetic, compelling, glamorous and strange, the anatomies of love and desire comprising 'Love' resemble a visual encyclopaedia of human consciousness. Featuring essays by Michael Bracewell and Craig Burnett.
Paperback. Condition: New. Roelof Louw (1936-2017) created sculpture from wooden slats, cast-iron wedges, sand-blasted and painted scaffolding poles, rope and neon. He made installations using industrial rubber bands, rolled-up lead sheets, or using tape recorders and the movements of viewers around a space. His work addresses itself to our bodies and minds, implicating them in its realisation and its sites, which might be streets, parks, woods or galleries.In Soul City (Pyramid of Oranges) (1967), the work for which he is best known, the fit of an orange to a hand and the experience of eating the fruit are crucial aspects, as is the action of destroying the piece in the process. Prescient in anticipating the participatory and interactive art of the present, Louw's work remained resolutely defined as sculpture, at the artist's insistence. This was even so as sculpture became conceptual, 'dematerialised', or located in 'the expanded field', and while his art was itself a part of these shifts.Born in South Africa, Louw moved to London in 1961. Practicing in London, New York and Cape Town, Louw participated in some of the most important episodes in sculpture history of the twentieth century. As well as being the first authoritative overview of Louw's oeuvre, this book presents a new perspective on a familiar and much written about era in art.
Paperback. Condition: New. Bringing together over 20 gouache studies by the celebrated British Op artist Bridget Riley, this exhibition catalogue reveals something of Riley's process. Originally published to accompany an exhibition at Karsten Schubert, London, the studies explore the results of Riley setting circles of colours - such as turquoise, cerise and ochre - at different distances. The images are accompanied by an interview with the artist by Robert Kudielka from 1972, just following the creation of these works. In the discussion, Riley touches upon the role of her studies and the effects of her colour choices on light and movement in the picture plane.
Paperback. Condition: New. Stezaker attended the Slade School of Art in London in his early teens, he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art.Solo exhibitions for Stezaker were rare for some time, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums.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. 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.
Hardback. Condition: New. Published in association with Luxembourg + Co. on the occasion of their 2019 exhibition Reconstructing Cezanne, this catalogue features in-depth analyses of Cezanne's works on paper by Fabienne Ruppen, based on DNA examination of the papers he used for his watercolours and drawings, as well as extensive commentary on new horizons in Cezanne scholarship by expert Walter Feilchenfeldt, co-author of the artist's online catalogue raisonné.At the core of this exploration are two watercolours that Cezanne produced from a large sheet of paper, which he divided into two sections for the purpose of capturing different landscapes: the Courtauld Gallery's renowned La Montagne Sainte-Victoire, from 1885-87, and a Paysage Provençal in private ownership. Reconstructing Cezanne reunites these two works for the first time.This publication follows the decision of the Société Paul Cezanne and the family of the artist to spell the artist's name without an acute accent.
Paperback. Condition: New. During the mid-1980s, Riley introduced a new pictorial device, the rhomboid, to her then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. This allowed the artist to construct new visual relationships between divergent colours and forms, creating what she terms a 'harmony of contrasts' that animates the entire visual field. Tracking a transitional period in Riley's career, the works on paper in this volume - studies produced between 1984 and 1995 - shift from a focus on the vertical stripe to increasingly complex diagonal compositions. Illustrated in full colour, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Riley's archivists Natalia Naish and Alexandra Tommasini, situating these studies in relation to major paintings produced during this period.
Paperback. Condition: New. During the mid-1980s, Riley introduced a new pictorial device, the rhomboid, to her then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. This allowed the artist to construct new visual relationships between divergent colours and forms, creating what she terms a 'harmony of contrasts' that animates the entire visual field. Tracking a transitional period in Riley's career, the works on paper in this volume - studies produced between 1984 and 1995 - shift from a focus on the vertical stripe to increasingly complex diagonal compositions. Illustrated in full colour, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Riley's archivists Natalia Naish and Alexandra Tommasini, situating these studies in relation to major paintings produced during this period.
Paperback. Condition: New. First published to accompany a 2011 exhibition, this catalogue features three new paintings that bring Bridget Riley's exploration of the circle from the wall to the canvas, and from black and white to colour. By placing Riley's new paintings in relation to her early gouaches, this publication highlights new directions taken by the famous British artist. Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the viewer's eye to continuously adjust as the shapes grow, compress and dance across the canvas. Full-colour illustrations are accompanied by a conversation between Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve 'as a rhythmic vehicle for colour'.
Paperback. Condition: New. Dialectical Materialism: Aspects of British Sculpture Since the 1960s charts a network of relations linking the work of six sculptors: Anthony Caro, Barry Flanagan, Richard Long, William Turnbull, Rachel Whiteread and Alison Wilding. Since the 1960s, successive artists and art-critical frameworks have sought to undermine or dispense with traditional media and the boundaries between painting and sculpture, the core disciplines of modern Western art. The artists studied here are united by their commitment to sculpture as a distinct practice, but also to broadening, challenging and redefining the basis of that practice. In his essay, art historian Jonathan Vernon argues that each of these sculptors has engaged in a realignment of sculptural and material space - in removing sculpture from the disembodied, 'disinterested' spaces of mid-century modernism and returning it to a shared world inhabited by other objects, ourselves and our material interests. From the conflicts that inhere in this space, we may discern the outlines of a new idea of British sculpture since the 1960s - an idea by turns narrative, dramatic and dysfunctional.
Paperback. Condition: New. This new collection of Richard Flood's written work from over the past 40 years reveals an original and rigorous connection to the world of ideas and beauty and the critical and aesthetic experience of our present times. Drawing from his broad knowledge of history, cinema, literature, poetry, design and architecture, Flood's writings combine the autobiographical with the theoretical, presenting an intimate understanding of renowned contemporary artists.Throughout many of the essays, Flood draws on personal correspondence between himself and the artist, including an annotated conversation with Paul Thek discussing his fabricated works of wax 'raw meat' facsimiles embedded in luxurious Plexiglas cases; four interviews with Robert Gober during the 1990s, offering vivid accounts of his sculptural and creative process; and a detailed description of a portrait sitting at Michael Landy's studio. Flood's significant essay on Arte Povera, co-authored with Frances Morris, is also reproduced, providing evidence of his ability to write in multiple ways.
Paperback. Condition: New. From Bauhaus jewellery and West African textiles to contemporary portraiture and sculpture, this unique volume explores the rituals of making that underpin an artist's work. Accompanying an exhibition curated by the groundbreaking Nigerian-born British fashion designer Duro Olowu at Camden Art Centre, London, this book offers the opportunity to re-evaluate art and textiles from the nineteenth-century to the present. Olowu selects material by more than 60 artists from around the world, including rarely seen works by Anni Albers, Wangechi Mutu, Alice Neel, Chris Ofili and Irving Penn, and newer paintings by Lynette Yiadom-Boakye. By setting up unexpected dialogues between historic and contemporary artists working in a myriad of media - textile, painting, sculpture, photography and collage - Olowu reveals a shared preoccupation with themes of gender, race, beauty, sexuality and the body. The volume includes an in-depth conversation between Olowu and artist Glenn Ligon, along with texts by Jennifer Higgie and Shanay Jhaveri, that together highlight the intricate layers of history and place that influence the making of art.
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Paperback. Condition: New. Charting Richard Long's critical reception, this anthology of writings explores the artist's radical rethinking of the relationship between art and landscape.Widely considered as one of the most influential British artists of his generation, Long's practice stems from his deep love of nature and the experience of making solitary walks. He first came to prominence in the late 1960s and is part of a generation of international artists that extended the possibilities of sculpture beyond traditional materials and methods.This volume includes a coherent span of over 30 essays and reviews on the artist from the late 1960s to the present, drawn together here for the first time. Featuring the writings of renowned art historians and critics Germano Celant, Richard Cork and Charles Harrison; Nicholas Serota, chair of Arts Council England; and award-winning nature writer Robert Macfarlane, among many others.The texts are accompanied by a selection of the artist's own statements, key interviews, as well as an introductory essay by Clarrie Wallis that examines Long's unique position within postwar art history.
Paperback. Condition: New. British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.Stezaker says collage is about 'stuff that has lost its immediate relationship with the world' and involves 'a yearning for a lost world'. A collector, he works from an archive of out-of-date images - mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised - all variations on themes.Art critic David Campany says, Stezaker 'is drawn to that very slim space between convention and idiosyncrasy.'In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There's also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.
Paperback. Condition: New. The novelist, writer, curator and cultural commentator Michael Bracewell has written extensively for museums and galleries, along with art publications as diverse as Frieze and The Burlington Magazine, approaching visual art through its cultural context, the lens of the recent past and prolonged looking. Bracewell's art writing focuses on detailed descriptions of works of art, expanding their interpretation to include media, politics, music, poetry and other areas of cultural production. By exploring connections between the visual arts, pop music, modern iconography and subcultures, while appraising the vision and ideas of individual artists, he relates their work to its broader cultural context. This collection of texts reads like a history of British art (and the UK itself) from the 1950s to the 2010s, featuring artists such as Richard Hamilton, Bridget Riley, Gilbert and George, John Stezaker, Wolfgang Tillmans, Leigh Bowery, Glenn Brown and Damien Hirst. Each essay is accompanied by an illustration selected by Bracewell, and the publication concludes with a body of autobiographical writings.
Paperback. Condition: New. This new collection of Richard Flood's written work from over the past 40 years reveals an original and rigorous connection to the world of ideas and beauty and the critical and aesthetic experience of our present times. Drawing from his broad knowledge of history, cinema, literature, poetry, design and architecture, Flood's writings combine the autobiographical with the theoretical, presenting an intimate understanding of renowned contemporary artists.Throughout many of the essays, Flood draws on personal correspondence between himself and the artist, including an annotated conversation with Paul Thek discussing his fabricated works of wax 'raw meat' facsimiles embedded in luxurious Plexiglas cases; four interviews with Robert Gober during the 1990s, offering vivid accounts of his sculptural and creative process; and a detailed description of a portrait sitting at Michael Landy's studio. Flood's significant essay on Arte Povera, co-authored with Frances Morris, is also reproduced, providing evidence of his ability to write in multiple ways.
Paperback. Condition: New. Stripped of their typical narrative and commercial contexts, the fragmented collages of this collection act as visually tantalizing ciphers, reflecting the desires and imaginings of the beholder.' - Jennie Waldow, Brooklyn Rail This beautifully illustrated catalogue showcases works by British artist John Stezaker made between 1976 and 2017 and brought together in the 2018 show "Love" at The Approach, London. Stezaker is celebrated for his distinctive collage works: interruptions of, and interventions into, found images dating mostly from the mid-20th century - products of modernist culture such as film stills, press and publicity photographs, magazines and postcards. His works engage with themes such as psychological archetypes, fragmentation, identity, self and other, desire, inscrutability and enigma, glamour, fantasy, dreams and the gaze. A sense of romance pervades Stezaker's imagery. As demonstrated most dramatically by the artist's 'Love' series (2016), his work seduces and ensnares the viewer's gaze, arresting their perceptual expectations. Disquieting, poetic, compelling, glamorous and strange, the anatomies of love and desire comprising 'Love' resemble a visual encyclopaedia of human consciousness. Featuring essays by Michael Bracewell and Craig Burnett.
Paperback. Condition: New. Celebrated art critic and curator Guy Brett made a unique contribution to art criticism and exhibition making through his championing of experimental artists from across the world, writing seminal monographic essays on artists such as Susan Hiller, Rose Finn-Kelcey, Lygia Clark, Hélio Oiticica, David Medalla, Rose English, Mona Hatoum, Takis and others. The 14 essays in this book bring together a unique gathering of artists, tracing their diversity and singularity. Many of these artists make works which arise out of their responses to the situation or the environment in which they find themselves, a process that draws on the countless interactions people have and the many ways that they connect.Brett's writing has a unique tone - lucid and widely researched, free of a narrow academicism. He has published widely in the art press, addressing topics such as the relationship between art and life, ideas about the participation of the spectator, and the importance of a kind of visual wit to both artists and writers.
Hardback. Condition: New. Giosetta Fioroni is considered one of the most important figures in Italian painting of the postwar era. Her work is commonly associated with the Scuola di Piazza del Popolo group in Rome - which also included Mario Schifano, Tano Festa and Franco Angeli, among others - as well as with the advent of Pop art in Italy. Yet Fioroni's practice differs from those of her immediate contemporaries and from the overarching notion of Pop as it came to be understood in the English-speaking world. The divergences are most clearly pronounced in her persistent exploration of femininity, rooted in both her personal experiences and her interpretation of the category in popular culture.'I have worked a lot, not on feminism but on femininity', Fioroni once explained. 'I would like to maintain a distinction. In a period of lively feminism, I was interested in the look, in the atmosphere tied to femininity.' Giosetta Fioroni: Alter Ego is the first publication to focus on feminist perspectives in the work of Fioroni. It includes an exclusive interview with the artist conducted by Hans Ulrich Obrist and a scholarly essay by Anna Dumont on the subject of gendered looking in Fioroni's portraits of women.
Paperback. Condition: New. This popular collection of the best of Art Monthly's interviews since the magazine's inception in the early 1970s provides a supplementary history of twentieth-century art, from over 150 perspectives, through discussions between artists and critics.The interviews provide the most immediate access to an artist's thought processes and offer compelling narratives of changing creative activities. Many leading practitioners - from Naum Gabo to Douglas Gordon - have been interviewed, often at highly significant moments in their careers.The artist interview has occupied an important position in Art Monthly since its first issue, and the book was first published as part of the magazine's 30th anniversary celebrations in 2007.
Paperback. Condition: New. From the opening of The Louvre to the launch of Tate Modern and beyond, this accessible and succinct publication traces the development of the museum concept - encompassing curatorial, scholarly, political and cultural spheres - and its evolving role within society. In the first section, Schubert looks at the complex history of the museum in specific cities at critical moments, for instance New York between 1930 and 1950 as the Metropolitan Museum of Art expanded and the Museum of Modern Art was founded. The second section focuses on the success and unprecedented development of the museum in the 1980s and 1990s in Europe and the United States, highlighting the need for cities and institutions to revise their programmes in response to a surge of interest in the arts. The final section looks at the museum's predicament nearly a decade after The Curator's Egg was originally published in 2000, exploring the museum's evolution in a post-9/11 environment.