As We Like It: Jewellery and Tableware 1988-2008
R815Since the Goldsmithing and Watch-making School in Pforzheim was founded in 1988, it has earned a deserved reputation as being state-of-the-art in training future makers of jewelry and tableware.
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Since the Goldsmithing and Watch-making School in Pforzheim was founded in 1988, it has earned a deserved reputation as being state-of-the-art in training future makers of jewelry and tableware.
One of the tragic spinoffs of the apartheid policy has been the dehumanization of millions of black migrant workers who have been confined to single-sex hostels for most of their adult lives.
This book is dedicated to the work of Ato Malinda who lives and works in Nairobi. Malinda has created a significant corpus of work which stands almost alone in the art world of East Africa.
800×600 Volume 4 is dedicated to the work of Ato Malinda who lives and works in Nairobi. Malinda has created a significant corpus of work which stands almost alone in the art world of East Africa. She is a performance artist, also working with the media of video, photography, installation and painting. Her work is…
A major influence on the development of art nouveau, Beardsley’s distinct style has resonated with subsequent generations. In 1966 he was the subject of a large monographic exhibition at the V&A, which triggered a revival and proved seminal for psychedelic pop culture and design. Beardsley’s drawings remain a key reference in body art today and retain great popular appeal.
Audrey Ngcaba worked as a nurse for 36 years in the public health system in South Africa. At the age of fifty-five, Ngcaba decided to take an early retirement after an ongoing frustration with her working environment. “I retired early because of insufficient human resources. There were not enough materials to work with, no gloves, no fluids for putting up drips. I tried for years and years but couldn’t work under theses conditions…When I retired I thought I’ve done my part. I’ve compromised and improvised up to a point…and then I had enough.”
The publication includes articles written by the three young writers, Siya Masuku, Lukho Witbooi and Nolan Stevens, alongside texts by Sassen and Jamal, spanning the history of the Bag Factory Artists’ Studios to the contemporary themes emerging out of interviewed artists’ work. Stevens gives an overview of the institution through comparing the work of younger and older artists working in the studios. Masuku looks at the work of female artists in the space, past and present, and Witbooi does an in-depth analysis of Onyis Martins work, which evokes themes of memory and loss.
Written and illustrated in 1973 by one of South Africa’s most famous artists, Gerard Sekoto, Shorty and Billy Boy, is a book for children as well as art lovers and collectors. The manuscript forms part of a private collection of Sekoto’s sketches, artworks, letters and memoirs.
Whether as performers or as spectators, more people enjoy dance today than ever before. Its extraordinary range extends from classical ballet and baroque court spectacles to avant-garde modern dance, tap, and ethnic dancing.
Banksy’s identity remains unknown, but his work is unmistakable—with prints selling for as much as $45,000.
One of a series exploring the lives and work of major artists associated with St Ives, this is a study of Barbara Hepworth and her work as a sculptor, which spanned five decades. Her art is discussed in the light of her contemporaries, including Henry Moore and Ben Nicholson, her second husband.
Barbara Hepworth’s work and ideas are illuminated in her own lucid and eloquent words in this first collection of her writings and conversations. The collection makes available much that is out of print and inaccessible, and includes a significant number of unpublished texts. It is a surprisingly large body of work, and it spans almost the whole of Hepworth’s artistic life. Her gift for language and desire to communicate to a public are evident throughout. Alongside the writings are Hepworth’s lectures and speeches, a selection of interviews and conversations with writers and journalists, and radio and television broadcasts
This catalogue, was published to accompany Barthélémy Toguo’s first solo exhibition with Stevenson gallery. The exhibition, which took place in May 2014, used the title of an immersive installation in which small drawings are displayed atop 35 music stands.
An icon of 1980s New York, Jean-Michel Basquiat (1960–1988) first made his name under the graffiti tag “SAMO,” before establishing his studio practice and catapulting to fast fame at the age of 20. Although his career lasted barely a decade, he remains a cult figure of artistic social commentary, and a trailblazer in the mediation of graffiti and gallery art.
Jean-Michel Basquiat was only twenty-seven when he died in 1988, his meteoric and often controversial career having lasted for just eight years. Despite his early death, Basquiat’s powerful ouvre has ensured his continuing reputation as one of modern art’s most distinctive voices. Borrowing from graffiti and street imagery, cartoons, mythology and religious symbolism, Basquiat’s drawings…
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