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Hilma Af Klint
Hidden from view for decades, the work of Hilma af Klint (1862?1944) has captured the imagination of contemporary audiences. She is now widely regarded as a pioneer of twentieth-century abstract art. Her paintings are monumental in scale, with radiant color combinations, enigmatic symbols, and otherworldly shapes. In an era of limited creative freedom for women, her secret paintings were an outlet for her prodigious intelligence, spiritual quest, and groundbreaking artistic vision. Hilma af Klint: The Secret Paintings includes over 125 artworks, ranging from enormous canvasses to small watercolors; pages from her detailed notebooks; and a selection of photographs and other images. Five essays and an illustrated chronology reveal new research on af Klint, her practice, and her place in art history.
My First Words in Maori
"Equips your whanau with the first words you need to speak te reo at home together. With lively pictures labelled in Māori and English, each page introduces the concepts and words children use as they first begin to talk, get to know people and explore the world around them ... Scenes include: Taku Tinana/My Body, Taku Whanau/My Family, Taku Whare/My House, Wahi Takaro/At the Park, Tatahi/At the Beach, Te Marae/The Marae - and much more!"--Publisher information.
Creamy Psychology
"A career retrospective, including photographic plates and essays by the photographer and commentators"--Publisher information.
Mana Tiriti
Artists' perceptions of the Treaty of Waitangi as displayed at an exhibition held in Wellington City Art Gallery on 18 April 1990 together with 11 papers presented at forums which accompanied the exhibition. In English with some Māori text.
Now See Hear!
Now See Hear! has been assembled around the central rubric of translation, and essays address translations between art, language, advertising, television, graphic design, comics, video, film, history, art-history, signs and symbols, landscape and architecture, within the context of the current conditions of the market place.
High Wire
High Wire brings together Booker finalist writer Lloyd Jones and artist Euan Macleod. It is the first of a series of picture books written and made for grownups and designed to showcase leading New Zealand writers and artists working together in a collaborative and dynamic way. In High Wire the narrators playfully set out across the Tasman, literally on a high wire. Macleods striking drawings explore notions of home, and depict homeward thoughts and dreams. High Wire also enters a metaphysical place where art is made, a place where any ambitious art-making enterprise requires its participants to hold their nerve and not look down. Its a beautifully considered small book which richly rewards the reader and stretches the notion of what the book can do.
Louise Henderson
In the story of New Zealand art, there's no one quite like Louise Henderson. A painter trained in embroidery and design. A French woman who found freedom to be herself in New Zealand. A modernist who looked to European tradition for inspiration. And a pioneer of abstraction who remained engaged with the world around her. The first substantial book on Henderson - and the only publication to illustrate artwork and archival material from across her seven-decade career - Louise Henderson: From Life connects this extraordinary artist with an international discussion about women modernists and confirms her importance in New Zealand's visual culture.
Eavesdropping
The earliest references to eavesdropping are found in law books. According to William Blackstone's Commentaries on the Laws of England (1769), 'eavesdroppers, or such as listen under walls or windows, or the eaves of a house, to hearken after discourse, and thereupon to frame slanderous and mischievous tales, are a common nuisance and presentable at the court-leet'. Today, however, eavesdropping is not only legal, it's ubiquitous - unavoidable. What was once a minor public-order offence has become one of the key political and legal problems of our time, as the Snowden revelations made clear. 'Eavesdropping' addresses the capture and control of our sonic world by state and corporate interests, alongside strategies of resistance. For editors James Parker (Melbourne Law School) and Joel Stern (Liquid Architecture), eavesdropping isn't necessarily malicious. We cannot help but hear too much, more than we mean to. Eavesdropping is a condition of social life. And the question is not whether to eavesdrop, therefore, but how. -Front flap.
Unseen City
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