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The Naked and the Nude
A fresh, fascinating appraisal that is the first study of the nude in photography as seen through the social customs, manners and taboos that shaped the art. 20 full-color and 200 black-and-white photographs.
On Being an Artist
Celebrated artist and influential teacher Michael Craig-Martin's first book is a lively mix of reminiscence, personal manifesto, anecdote and advice for the aspiring artist in a new paperback edition Few living artists can claim to have had the influence of Michael Craig-Martin. Celebrated around the world for his distinctive work, and with major retrospectives, high-profile commissions and numerous honours to his name, he has also helped nurture generations of younger artists, among them Julian Opie, Damien Hirst, Sarah Lucas, Liam Gillick and Gary Hume. Often described as the godfather of the YBAs, he taught by combining personal example and individual guidance, offering students encourage...
The Camera at War
Covers the range of war photography from Matthew Brady's classic Civil War photographs to the work of contemporary photographers, tracing the photographer's role from that of a distant witness to that of an intimate companion
Portrait of the Artist
For more than 30 years, from 1962 to 1995, Jorge Lewinski photographed the most important artists working in Britain, Europe, and the U.S., from Francis Bacon and Henry Moore to Carl Andri, Claes Oldenburg, Marcel Duchamp, Nikki de Saint Phalle, and Jean Tinguely. Here, over 150 of these stunning portraits, selected from his archive, show the range of his considerable output. As a teacher, Lewinski often told his students not to look just at the face but always to look behind. His images invariably show artists in their studios, giving an insight into their creative processes and working lives. Because he often returned to photograph the same artist over a number of years, these portraits catalogue not only the lives of the artists themselves but also the changing styles of art during the period. The book is an important and fascinating document of an exciting period in the history of art.
London Calling
Between the postwar years and the 1980s in Britain, and in particular in London, a number of figurative painters simultaneously reinvented the way in which life is represented in art. Focusing on the depiction of the human figure, these artists rendered the frailty and vitality of the human condition. Offering a fresh account of developments that have since characterized postwar British painting, this catalogue focuses on Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, R. B. Kitaj, and Leon Kossoff— artists who worked in close proximity as they were developing new forms of realism. If for many years their efforts seemed to clash with dominant tendencies, reassessment in recen...
James Joyce's Odyssey
Re-creates Joyce's Dublin of the early twentieth century, comparing it with the modern city, with detailed maps that follow the routes of the principal charachers of "Ulysses" in their travels around Dublin
Framing the Victorians
A wide-ranging exploration of the complex and often conflicting discourse on photography in the nineteenth century, Framing the Victorians traces various descriptions of photography as art, science, magic, testimony, proof, document, record, illusion, and diagnosis. Victorian photography, argues Jennifer Green-Lewis, inspired such universal fascination that even two so self-consciously opposed schools as positivist realism and metaphysical romance claimed it as their own. Photography thus became at once the symbol of the inadequacy of nineteenth-century empiricism and the proof of its totalizing vision. Green-Lewis juxtaposes textual descriptions with pictorial representations of a diverse a...
London's New Scene
A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of “creative Britain” as a national brand—all nurtured and promoted the emergence of London as “a new capital of art.” Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art.
Blake 2.0
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
