As art critic of The Spectator, Andrew Lambirth’s reviews and articles have been entertaining and informing readers of the magazine since 1996. As he himself has written : “The coverage that this magazine, a weekly, gives to the arts is far wider than many daily newspapers. I wish more arts editors would take the initiative to cover a greater range of exhibitions than just the obvious.”
With Jacques-Louis Daguerre, William Talbot Fox, Etienne Jules-Marey and William Blake as his predecessors, Adam Fuss creates photograms and daguerreotypes that evoke a general poetic and spiritual vision akin to urbanites of the 1800s, people who have lost contact with nature and God. While technically seeking to refine the beginnings of photography, Fuss attempts, in the 100 new works presented here, to record life and death. Colorful spirals created by pendulums lead into great depths; snakes create geometric waves in water; loving pairs of rabbits appear in silhouette; a hunched woman cries; sunflowers sprout withered leaves and broken stems; otherwise placid water bears the concentric marks of water drops; the shadows of silvery children’s clothing hover in mid-air; light reflects on birds in flight–and all, for Fuss, mark the simultaneous presence and absence of the corporeal under the title My Ghost.
Across almost 50 years, Winston Churchill produced more than 500 paintings. His subjects included his family homes at Blenheim and Chartwell, evocative coastal scenes on the French Riviera, and many sun-drenched depictions of Marrakesh in Morocco, as well as still life pictures and an extraordinarily revealing self-portrait, painted during a particularly troubled time in his life. In war and peace, Churchill came to enjoy painting as his primary means of relaxation from the strain of public affairs.
In his introduction to Churchill: The Statesman as Artist, David Cannadine provides the most important account yet of Churchill’s life in art, which was not just a private hobby, but also, from 1945 onwards, an essential element of his public fame. The first part of this book brings together for the first time all of Churchill’s writings and speeches on art, not only ‘Painting as a Pastime’, but his addresses to the Royal Academy, his reviews of two of the Academy’s summer exhibitions, and an important speech he delivered about art and freedom in 1937.
The second part of the book provides previously uncollected critical accounts of his work by some of Churchill’s contemporaries: Augustus John’s hitherto unpublished introduction to the Royal Academy exhibition of Churchill’s paintings in 1959, and essays and reviews by Churchill’s acquaintances Sir John Rothenstein, Professor Thomas Bodkin and the art critic Eric Newton. The book is lavishly illustrated with reproductions of many of Churchill’s paintings, some of them appearing for the first time. Here is Churchill the artist more fully revealed than ever before.
A celebration of the creativity of graffiti artists from all over the world. Ever controversial, graffiti or street art has become a significant art form and continues to evolve and transform urban landscapes in cities around the globe. Compiled by an insider on the New York graffiti scene, KET, this is a collection of the work of some of the world’s top graffiti artists. Showcases work from artists such as Banksy (London), Can2 (Munich), T-Kid (New York), Os Gemeos (Sao Paolo) and many more. Graffiti Planet is a perfect companion to this dynamic and vibrant art form.
In a world where we can find information, images, documentation, opinions on almost anything, we assume that modern works of art are easily preserved; that their whereabouts can be readily established thanks to sophisticated documentation systems; and that in general they are not subject to loss or destruction. But many important works have disappeared over the last century in a variety of ways including war, theft, natural catastrophe and carelessness. Most significantly, loss itself has been a major theme within modern and contemporary art, with elements of transience central to the practice of many well known figures. Grouped into ten sections – Discarded, Missing, Rejected, Attacked, Destroyed, Erased, Ephemeral, Transient, Unrealised and Stolen – this unique survey includes forty case studies looking at the stories behind lost works of art, ranging from the shunning of Epstein’s British Medical Association sculptures in 1908, to Michael Landy’s 2001 project Break Down, where he systematically destroyed every one of his possessions.
These publications are compiled similarly to a traveler’s scrapbook and they are essential reminders to all who have been traveling or only encourage the desire to travel may it be either the historical, architectural and religious aspects, or travel to discover the world. The photographs and illustrations convey the reality of everyday life without any pretension but have been put together as a travelogue which each and everyone one of us could have compiled. Local authenticity, the visitor’s point of view, colors and more colors, curious tourists, experienced travelers. And above all passionately original photographers, creators of ambience, visual artists!
Taken by renowned photographer Kevin Cummins and featuring hundreds of previously unseen images, Alone and Palely Loitering chronicles Morrissey’s world as he emerged from The Smiths and established himself as a solo artist.
Breathtaking photographs cover chaotic live performances, intimate portrait sessions and snatched moments backstage and on tour over a ten-year period. Cummins provides insightful commentary on the art of photography and what it was like to work and travel with Morrissey.
The book also includes portraits of from fans around the world with Morrissey-inspired tattoos, featuring an essay by literary academic Dr Gail Crowther exploring how this art form is used to display devotion to a unique musician.
Over a decade after Sensation and the advent of the YBAs, a new generation of artists has arrived, whose work collectively reveals an arresting insight into the future of contemporary art in Britain. In Orwell’s novel Nineteen Eighty- Four, Newspeak is the only language in the world whose vocabulary gets smaller every year. This book turns that Orwellian vision on its head, showing that the range of visual languages being exploited and invented by these artists is in fact expanding and multiplying. Through sculpture, painting, photography and installation, they explore such issues as class, consumerism and the phenomenon of instant success culture, often with a distinctly British dry wit.
PICTURING PRINCE sees the late icon’s former art director, STEVE PARKE, revealing stunning intimate photographs of the singer from his time working at Paisley Park. At least half of the images in the book are exclusively published here for the first time; most other images in the book are rare to the public eye.
Alongside these remarkable images are fifty engaging, poignant and often funny written vignettes by Parke, which reveal the very human man behind the reclusive superstar: from shooting hoops to renting out movie theatres at 4am; from midnight requests for camels to meaningful conversations that shed light on Prince as a man and artist.
STEVE PARKE started working with Prince in 1988, after a mutual friend showed Prince some of Steve’s photorealistic paintings. He designed everything from album covers and merchandise to sets for Prince’s tours and videos. Somewhere in all of this, he became Paisley Park’s official art director. He began photographing Prince at the request of the star himself, and continued to do so for the next several years. The images in this book are the arresting result of this collaboration.
Print and Production Finishes for CD and DVD Packaging delves into the physical packaging for CDs and DVDs, exploring formats, bindings, casings, materials, textures and finishes. From movie to music packaging, the book explores the creative inspiration behind the package, including artwork, typography, materials, printing techniques and formats. It also goes into detail about practical considerations and restrictions, such as record company stipulations and the inclusion of essential materials and budgets.
With informative text and specially commissioned full-colour photos, Print and Production Finishes for Packaging shows, at a glance, the different effects that can be created, and the key print and production techniques used to achieve them. Work across all budgets and production/print runs is featured, revealing the skills and techniques that grab the target audience’s attention and sell. For print and production finishing ideas on everything from boxes, cartons, bottles, tubes, cans, packs, tubs, jars, multi-packs, clamshells, blister packs, CDs or DVDs, gift packs, and a variety of other more unusual or innovative formats, Print and Production Finishes for Packaging is an indispensable ideas sourcebook and practical guide to finishes, surface graphics, detailing, and materials that help make packaging stand out from the crowd including foil blocking, pigment blocking, thermography, varnishing, laminating, embossing, debossing, die-cutting and laser-cutting; specialist inks, including metallics and fluorescents; different papers stocks and other materials; lenticular printing, and so on. By analysing the best in the business, this book gives readers a thorough understanding of materials, and of the print and production finishes that can be applied to any job.
Reservoir showcases Alice Mahers never-before-seen collection of sketchbooks and notebooks that span her entire career. These colourful, playful and evocative documents are placed alongside some of Mahers pivotal artworks, inviting the reader to examine how the artist drew from her reservoir of sketches, musings and ideas to form the cornerstones of her renowned artistic career, and to examine the complex relationship between inspiration and nished pieces. Beautifully crafted and designed with a full and innovative engagement with the material, Reservoir draws from Alice Mahers famed body of work to become a work of art in itself.
Robert Barry was one of the four participants in the historic first exhibition of concept art “January 5-31”, organised by Seth Siegelaub in New York City in 1969. Since then Robert Barry has been primarily known as one of the most important representatives of this art direction/
The present book demonstrates the development and diversity of his work which supersedes any narrow definition of concept art. Since 1963 he has made paintings, books, projections, soundpieces, spacial installations, large wallpieces and window-pieces. Many of these works are reproduced in this book for the first time. In all of them one recognises a consequence and individuality which shows Barry to be one of the most important artists of his generation in America.
Jazz legend Sonny Rollins will celebrate his 80th birthday this fall, and Saxophone Colossus will be published to mark this occasion and honor his incredibly prolific career. This intimate appreciation combines the images of John Abbott, who as Rollins’s photographer of choice for the past 20 years has captured the saxophonist at home and at work, and the essays of Bob Blumenthal, a jazz critic who has chronicled Rollins and his art for nearly four decades. Sonny Rollins has been at the center of jazz and its evolution virtually from his birth. Growing up in Harlem in the heyday of swing and coming of age as the first wave of modernists announced their discoveries, he quickly found himself sharing bandstands with his idols and making music of his own that continues to influence and inspire. Saxophone Colossus, named for the 1956 masterpiece of the same title, is Abbott and Blumenthal’s tribute to Rollins’s music and spirit.
In this innovative book of poetry from the editor of “Heart to Heart”, forty poems from around the world speak about specific works of art. Included on every spread is the poem in its original language, an English translation and the piece of art that the poem is about. Readers will look at art and poetry in a new way in this multi-cultural selection! It includes a biography (brief) of each author, translator and artist.
From Banksy to Blek le Rat, JR to Futura, the street art phenomenon is sweeping the globe. With people turning up in their thousands to view the first street art exhibition at the Tate Modern in 2008, and with celebrity endorsements from the likes of Brad Pitt to Damon Albarn, street art has captured the imaginations of art-lovers everywhere. In this exciting and fresh follow-up to the highly successful Graffiti Planet and Graffiti Planet 2, expert KET brings together another 100 awe-inspiring and extraordinary examples of urban art from around the world. Street Art is a great introduction and the perfect companion for anyone excited by this imaginative and highly prevalent art form.
Desmond Morris, bestselling author and internationally renowned anthropologist, offers a unique appeciation of art – from the most ancient artefact to contemporary event art. Featuring more than 350 illustrations of international art, plus 12 video clips, he combines his deep understanding of human behaviour and his love of art to create a narrative of the evolution of artistic endeavour over three million years.
In the early 1930s Clare Leighton began work on a sequence of wood engravings depicting traditional farming in England over the course of a calendar year. The country was in the grips of the Great Depression. Unemployment had doubled. Hunger marches were beginning to spread through towns and cities. Machines were replacing men and women on the land.
Clare Leighton (1898-1989) was born in London and studied at Brighton, Slade and Central schools of art. Travel in Europe nurtured an empathy for rural workers and their culture, reflected in much of her work. An accomplished writer, Clare Leighton was encouraged to write a series of sketches to accompany the twelve engravings she produced. The Farmer’s Year was the result, published in 1933 to great acclaim in Britain and North America, running to three impressions by February 1934.
Though images of women were ubiquitous in the Roman world, these were seldom intended to be taken simply at face value. The importance of marriage, motherhood and political stability was often conveyed to the Roman people through carefully constructed representations of the women of the ruling house. Mythological representations were used to present moral and political lessons to the women of Rome. Roman society was, on most levels, male dominated and women’s roles were sometimes subordinate to political and cultural needs and imperatives. Images of mortal women – empresses and other female members of the imperial family, elite women from around the empire and working women from Rome, Ostia, Pompeii and elsewhere – are analysed alongside images of goddesses and personifications and of complex mythological figures such as Amazons. This is the first general book to present a coherent, broad analysis of the numerous images of women in Roman art and to interpret their meaning and significance, all set against the broader geographical, chronological, political, religious and cultural context of the world of the Roman republic and empire and of Late Antiquity.
Who was the model for Vermeer’s Girl with a Pearl Earring? How were the Nazca Lines- the giant drawings scrawled across Peru’s desert coast- created? Why is Botticelli’s The Birth of Venus an ingenious example of mathematic computation? Travelling across centuries and continents, this collection of forty enigmatic artworks and artists examines secrets that have confounded experts and amateurs alike. Presented in beautiful colour spreads, each work or artist is profiled in an absorbing and accessible commentary that draws on the latest research. While some of these mysteries have been solved, many others continue to stump even the most learned scholars. Find out what they know – and what they don’t – in this compelling collection that will deepen readers’ appreciation of some of the world’s most recognisable masterpieces.
As lyrical and precise as Fowles’ novels, The Tree is a provocative meditation on the connection between the natural world and human creativity, and also a rejection of the idea that nature should be tamed for human purpose.
Unmade Up features much previously unseen artwork and photography of the enigmatic singer David Bowie, by his go-to artist of his heyday, Edward Bell. His commissions included the sleeve for Bowie’s 1980 album ‘Scary Monsters (and Super Creeps)’ which featured the number one single ‘Ashes to Ashes’. Bowie later bought all of Bell’s artwork for his private collection. “David Bowie: He soared, his eagle eye spied everything. His magpie nature urged him to plunder with ruthless perception. The Chameleon absorbed, then radiated, colours eclipsing. A butterfly mind, alighting, random and eclectic. Courageous, enigmatic, outrageous, and contradictory, he was Star Man, Elephant Man, a Diamond Dog, Tin Machine, the mythological peacock of incorruptible flesh.
This account of my relationship with the man is written from the perspective of one who was of Bowie’s generation but preferred to listen to The Rolling Stones: who had been to art school, freelanced as a photographer and illustrator for magazines – Vogue, Tatler, The Sunday Times – a visual person, rather than musical. I greeted the shock of David’s death at first with a faint, sad shrug; the full impact was slow to dawn. If a drowning man is said to see his whole life experience on an instant in total recall, I was to experience a small death that lingered, and as it did so, forgotten incidents gradually returned with an extraordinary clarity. I felt compelled to write them all down, with the desire to share them.”