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British Art Show 9
An unrivaled survey of contemporary art from the UK Taking place every five years, the British Art Showis the largest touring exhibition of contemporary art in the UK. This catalog features artworks from its ninth edition, by artists including Hurvin Anderson, Michael Armitage, Simeon Barclay, Heather Phillipson and Alberta Whittle.
Making Books: A guide to creating hand-crafted books
This is a modern, stylish and practical guide to the traditional craft of bookbinding, written by the founders of the London Centre for Book Arts, a destination workshop space that attracts visitors from all over the world.
Bridget Riley
Bridget Riley: Perceptual Abstraction explores Bridget Riley's longstanding relationship with the United States, beginning in 1965 with the inclusion of her works in the pivotal exhibition, The Responsive Eye, at the Museum of Modern Art in New York. Accompanying the exhibition catalogue are essays by Maryam Ohadi-Hamadani and Rachel Stratton, along with an original reflection by the artist.
Postwar Modern
This landmark volume offers a major re-assessment of the art that emerged in Britain in the twenty years following the end of the Second World War: a period of anxiety, profound social change and explosive creativity. Published to coincide with the Barbican Centre’s 40th anniversary, it draws together the work of fifty artists, exploring a period straddled precariously between the horror of the past and the promise of the future. Spanning painting, sculpture, architecture, ceramics and photography, Postwar Modern will explore a rich field of experiment which challenges the idea that Britain was a cultural backwater at this time. Through new texts by Jane Alison, Hilary Floe, Ben Highmore, ...
Chekhov's First Play
‘I’m having absolutely nothing to do with the theatre or the human race. They can all go to hell.’ – Anton Chekhov During the turmoil of the Russian Revolution in 1917, Maria Chekhov, Anton’s sister, placed many of her late brother’s manuscripts and papers in a safety deposit box in Moscow. In 1921 Soviet scholars opened the box, and discovered a play. The title page was missing. The play they found has too many characters, too many themes, too much action. All in all, it’s generally dismissed as unstageable. Like life. A new play by Dead Centre, creators of the OBIE / Fringe First winning LIPPY.
No Ruined Stone
No Ruined Stone is a verse sequence rooted in the life of 18th-century Scottish poet Robert Burns. In 1786, Burns arranged to migrate to Jamaica to work on a slave plantation, a plan he ultimately abandoned. Voiced by a fictive Burns and his fictional granddaughter, a "mulatta" passing for white, the book asks: what would have happened had he gone?
Democratic Art
At its height in 1935, the New Deal devoted roughly $27 million ($320 million today) to supporting tens of thousands of needy writers, dancers, actors, musicians, and visual artists, who created over 100,000 worksbooks, murals, plays, concertsthat were performed for or otherwise imbibed by millions of Americans. But why did the government get so involved with the arts in the first place? Musher addresses this question and many others by exploring the political and aesthetic concerns of the 1930s, as well as the range of responsesfrom politicians, intellectuals, artists, and taxpayersto the idea of active government involvement in the arts. In the process, she raises vital questions about the roles that the arts should play in contemporary society."
