Contemporary Art: World Currents argues that, in recent decades, a worldwide shift from modern to contemporary art has occurred. Artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences and its challenging complexities. This book shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s.
Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. Attention is paid to step-by-step guidance through the many stages of the process.
This book offers practical help and guidance to aspiring illustrators. All areas of the job are covered – how to create a portfolio; the most effective ways to approach would-be clients; how to prepare for meetings and negotiate contracts; and how to handle, deliver, and bill a job. There is advice on how to avoid the pitfalls that can undermine crucial first impressions; how to set up a studio; and how to maintain a flow of work and manage one’s time and cash. Success in self-promotion, creating websites, self-publishing, and the pros and cons of agents are all explored.
In the footsteps of Mr Andersson: Milestones in Swedish-Namibia relations tells the story of the extraordinary relationship between Sweden and Namibia. It begins in the middle of the nineteenth century, when a Swedish explorer, adventurer, entrepreneur and arms dealer drew the earliest known maps of the areas now known as Namibia, northern Botswana and southern Zimbabwe.
Amy Dempsey unravels the all-too-often daunting language of modern art by mapping the styles, schools and movements that help us understand modern and contemporary art, from Impressionism in the 19th century to Destination Art in the 21st.
‘Nature/Structure. There is no more to say. In my pictures I reduce to that. But ‘reduce’ is the wrong word, because these are not simplifications. I can’t verbalize what I am working on: to me, it is many-layered by definition; it is what is more important, what is more true’ – Gerhard Richter
Prints and Their Makers takes you behind the scenes to witness the creative process at the world’s top printmaking workshops. Master printer Phil Sanders offers an in-depth look at this versatile medium and places contemporary prints and practices in the context of traditions and techniques developed over more than a thousand years.
This sweeping overview of Rembrandt’s extraordinary achievement as a draughtsman fills a gap in the otherwise enormous literature on the artist. Beautifully illustrated, mostly in colour, the more than 150 drawings – culled from a corpus of some 800 – are discussed in detail.
The latest instalment of this indispensable survey of contemporary drawing, chosen by the world’s leading art experts
Over the past 50 years, drawing has been elevated from a supporting role to a primary medium, ranking alongside painting as a central art form. Since the publication of Vitamin D (2005) and D2 (2013), contemporary artists have continued to explore drawing’s possibilities – from intimate to large-scale works, in a diversity of mark-making processes and materials. Vitamin D3 showcases more than 100 such artists, nominated by more than 70 international art experts.
Spring Will Come is the life story of William Zulu, highly acclaimed for his evocative art-works. It recounts with zest and humor the events of his life, his unfolding artistic development and the world of deep rural Africa in which he is rooted.
A complement to the landmark The Art Book, The 21st-Century Art Book is an accessible guide to best contemporary art made since 2000. Showcasing over 280 artists in alphabetical order, it place established figures like Jeff Wall, Marlene Dumas and Maurizio Cattelan alongside the rising stars of the next generation such as Camille Henrot and Haroon Mirza.
This stunning book is a beautifully produced near-facsimilie of J.M.W. Turner’s sketchbook collecting and reproducing Turner’s ‘Wilson’ studies. It even includes the section in which Turner used his sketchbook upside down in his haste to sketch!”
The profound and lyric photographs of Ralph Eugene Meatyard open us up to at least a double world, a world where all that is invisible, or only felt, or only dreamed, is as true, or as possible, or as necessary, as the ground which holds us down…In this book, these particular images are at least double exposures, and it would be tempting to stop there, in the twofold world of double vision