History of art Books

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Book SynopsisFeaturing fourteen pages of in-world content and original illustrations before giving way to blank ruled pages, this pocket-size notebook lets readers feel like they’re part of the Joker’s world. In the midst of committing another fiendish crime, the Joker jots down his deranged thoughts—until the Dark Knight arrives to foil his plans. That’s where you come in! This ruled notebook contains an original storyline and several pages of notes and sketches created by the Joker, before giving way to blank ruled pages on which you can jot your own notes. Atmospheric, engrossing, and designed with a dynamic in-universe aesthetic, this pocket-size notebook will make you feel like you’re part of the Joker’s world. THE JOKER and all related characters and elements are trademarks of and © DC Comics. WB SHIELD: TM & © Warner Bros. Entertainment Inc. (s17)

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Book SynopsisA thought-provoking art book exploring changing landscapes through the pioneering work of Canadian photographer Sylvia Grace Borda. Sylvia Grace Borda made a substantial debut into new media and photo art when she launched Every Bus Stop in Surrey, BC. With this piece, Borda reclaimed California coastal conceptual photo strategies from the 1960s and used them to document a large Canadian city by its own transit system. This marked her entry into international recognition. Since then, Borda has undertaken epic projects to re-imagine urban spaces, from the "New Towns" of East Kilbride and Glenrothes in Scotland to modernist faith buildings in Northern Ireland. In this dazzling new monograph, Sylvias exceptional body of work is examined and placed in both a regional and international context. Specifically, her practice developed in Surrey is examined in relation to art history, the Vancouver School of Art, digital media, community engagement, and projects concluded in Scotland, Northern Ireland, and Finland. Featuring essays by renowned curators, artists, and scholars -- each presenting specific perspectives on how Bordas diverse arts practice has shifted and expanded the mediums of art, photography, and social awareness -- Sylvia Grace Borda: Shifting Perspectives constructs a conversation between the remembrance of place and current narratives in art history.

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Book SynopsisWith light and shadow woven together, an unforgettable adventure awaits! Atelier Ryza: Ever Darkness & the Secret Hideout combines alchemy and combat for a unique JRPG experience. Atelier Ryza: Official Visual Collection compiles the gorgeous artwork behind this refreshing entry in the Atelier series. Included are key illustrations, character concepts, and weapon & monster designs. Also, no JRPG fan will want to miss an exclusive interview with the game’s developers, plus a new short story set in the world of Atelier Ryza.

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Book SynopsisIn this intimate investigation of the artistic process, Lezli Rubin-Kunda explores the nuanced path of creative work and the way artists make sense of home and place within their art practice and their lives. Rubin-Kunda is a multidisciplinary artist who examines these issues in her own work. But in this book, she expands her horizons, travelling across Canada to talk to more than fifty practicing artists, including Amalie Atkins, Aganetha Dyck, Francois Morelli, Simon Frank, and Sharon Alward, about their work, their creative process, and the place of "home": in their work.What emerges from these thoughtful conversations are fascinating and unexpected orientations to place, ranging from deep connections to a specific childhood home, to more conscious adoptions of place, to somewhat fluid approaches in which the very concept of "home" seems to dissolve.Moving from physical landscapes to the geography of memories and recorded histories, from territories of emotion to social environments that condition and contribute to the idea of home, Rubin-Kunda touches on indigenous approaches to ancestral homelands, the land as physical place and emotional territory, the historic role of women in creating and taking care of "home," ideas of home disconnected from place, and liberating concepts of "homelessness." Woven through these encounters with other artists are Rubin-Kunda’s reflections on her own artistic path.Candid, empathetic, and insightful, At Home explores the creative process and the ways that artists find and create meaning within a fragmented contemporary landscape.Trade Review"At Home is a valuable work of curating and reflecting on a thoughtful, intergenerational selection of artists, and a reminder of the value of the artist-curator and the exploratory nature of the curatorial process." -- Marie-Paule Macdonald * RACAR *

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Book SynopsisMaud Lewis has become one of Canada's favourite folk artists, and her buoyant winter pictures of nature, pets, farm animals, and people at work and play are among her most charming. Her hands were twisted with arthritis, but Maud earned her living by painting Christmas cards and pictures and selling them from her tiny, gaily painted one-room house beside the highway near Digby, Nova Scotia.Originally issued in 1997 and now available in this updated edition, Christmas with Maud Lewis paints a portrait of how this spirited woman celebrated the season in her life and art. Maud's vision of Christmas embraces skaters sliding every which way, passengers leaning over the box of a horse-drawn sleigh, smiling oxen in their best harness, and bluebirds beside their snow-covered house. The paintings in Christmas with Maud Lewis are from the large collection of the Woolaver family.

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Book SynopsisTwo wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876–1919) and Arthur Lismer (Canadian, 1885–1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port’s activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists’ meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d’Halifax un an après l'explosion.En juin 1918, l’artiste Arthur Lismer (1885–1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l’effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l’explosion d’origine humaine la plus meurtrière à survenir avant l’apparition des armes nucléaires.De son côté Harold Gilman (1876–1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d’Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d’Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne.

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Book SynopsisFinalist, Ottawa Book Award (English Non-Fiction)A Globe and Mail’s Spring Book Preview SelectionMolly Lamb and Bruno Bobak shot to prominence as war artists during the Second World War. Marrying shortly after the end of the war, they moved first to Vancouver and then, in 1960, to Fredericton, where they settled permanently. Molly’s paintings were vibrant and colourful, featuring dynamic crowd scenes and wildflowers that seem to wave on the page. In contrast, Bruno painted near-abstract cityscapes, stunning landscapes, and distorted bodies wracked with inner torment, work that is unique in Canadian art.In this book, acclaimed author Nathan M. Greenfield brings to light the private and public lives of two of the most important figures in 20th century Canadian art. Greenfield combines archival research into Molly’s diaries and letters with dozens of full-colour reproductions of their work, archival photographs, interviews with friends and contemporaries, and an analysis of paintings by both artists. The result is an intimate portrait of the art and lives of Molly Lamb and Bruno Bobak: their critical acclaim, commercial success, and a turbulent marriage that lasted over fifty years.Trade Review“Greenfield’s book rises far above conventional biography. With his depth of cultural knowledge, Greenfield explores the artistic careers of Molly Lamb Bobak and Bruno Bobak, while unlocking the secrets to appreciating a wide range of visual arts.” -- Carol Bishop-Gwyn, author of Art and Rivalry: The Marriage of Mary and Christopher Pratt“This engaging biography illuminates the lives of Molly and Bruno Bobak, two of Canada’s most important artists, balancing their personal stories with their visual record. Greenfield’s account of the Bobaks’ lives — charting their artistic development as the hold of the Group of Seven slowly waned and abstraction came to dominate the art world — focuses extensively on their art, offering incredibly close readings of the Bobaks’ remarkable artistic contributions to Canadian art history.” -- Devon Smither, Assistant Professor, Art History/Museum Studies, University of Lethbridge“Greenfield offers new insight into Bruno and Molly Lamb Bobak’s complex relationship. They met and married in the aftermath of the Second World War, having served as official war artists, and continued to paint for decades. Based on new evidence, this book captures the Bobaks’ intertwined lives, their clashing relationship, and the enduring value of their art.” -- Tim Cook, author of The Fight for History“A nuanced assessment of their individual work and styles, and, through Lamb’s diaries, a portrait of a tempestuous 50-year marriage.” -- Emily Donaldson * Globe and Mail *“Relying on the frank diaries Molly kept throughout her life … [their] troubled marriage is chronicled in intimate detail.” -- Paul Gessell * Galleries West *“A rich and detailed work… Greenfield has put the deserved spotlight on these artists.” -- Alison Manley * Miramichi Reader *“Whether as a reference work or a relatively academic account of the contributions of two Canadian artists, this book could be a good choice for a wide range of readers.” -- Susan Huebert * Winnipeg Free Press *“Greenfield combines meticulously considered criticism and a careful chronology of Molly’s and Bruno’s lives.” -- Kelvin Browne * Literary Review of Canada *

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Book SynopsisWinner, 2021 Melva J. Dwyer AwardItee Pootoogook belonged to a new generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents in the second half of the 20th century.A meticulous draughtsman who worked with graphite and coloured pencil, Itee depicted buildings in Kinngait that incorporated a perspectival view, a relatively recent practice influenced by his training as a carpenter and his interest in photography. His portraits of acquaintances and family members similarly bear witness to the contemporary North. Whether he depicts them at work or resting, his subjects are engaged in a range of activities from preparing carcasses brought in from hunting to playing music or contemplating the landscape of the North.Itee was also an inventive landscapist. Many of his finest Arctic scenes emphasize the open horizon that separates land from sky and the ever-shifting colours of the Arctic. Rendering the variable light of the landscape with precision, he brought a level of attention that contributed, over time, to his style.Featuring more than 100 images and essays by curators, art historians, and contemporary artists, Itee Pootoogook: Hymns to Silence celebrates the creative spirit of an innovative artist. It is the first publication devoted exclusively to his art.

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Book SynopsisWinner, Canadian Museums Association’s Outstanding Achievement in Audience OutreachHonourable Mention, Canadian Museums Association’s Outstanding Achievement in ResearchArt has the potential to bring us together and create lasting connections. As humans, we have a universal need to express ourselves, find meaning, and experience a sense of belonging in our communities.In 2006, the Art Gallery of Nova Scotia and Autism Nova Scotia partnered to develop a recreational art program that provided a safe and supportive environment for participants to express themselves creatively. In these classes, artists work in collaboration with autism support specialists and volunteers to provide meaningful and positive art experiences for children and young adults on the autism spectrum.Autism Arts showcases the collaborative nature and profound impact of the program. Featuring interviews with participants and their families, facilitators, and therapists and autism support specialists, this unique resource gathers reflections, stories, and feedback; documents workshops, representative artworks, and visual stories of social interactions; and reflects on the role museums and galleries can play in inclusion.Richly illustrated and accompanied with real-life stories, curriculum choices, and lesson plans, Autism Arts invites the reader both to celebrate and to share in the optimism and promise inclusive programming holds for all of us.Trade Review“The book, laden with images of participants making art in the gallery’s studio as well as some of the work they have created, is a useful primer for other organizations considering such a program. It also highlights feel-good moments, describing how the program encouraged social interactions and friendships amidst creative exploration.” -- Portia Priegert * Galleries West *

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Book SynopsisFilm is the art form of our times. It has formed the background of our lives, informed visual arts practices, and formed our culture’s stories, its memory.Moments of Perception is a landmark book. The first history of twentieth and early-twenty-first-century Canadian experimental filmmaking, it maps avant-garde film across the country from the 1950s to the present day, including its contradictions and complexities.Experimental film is political in its very existence, critical of the status quo by definition. In Canada, some of the country’s best-known artists took up the moving image as a form of artistic expression, allowing them to explore explicitly political themes. Mike Hoolboom’s exposure of the horror of AIDS, Josephine Massarella’s concern for the environment, and Joyce Wieland’s satiric look at US patriotism are just a few examples of work that contributed to social movements and provided a means to explore issues of race and gender and 2SLGBTQ+ and Indigenous identities.Featuring a major essay on the history of the movement by Michael Zryd and profiles of key filmmakers by Stephen Broomer and editors Jim Shedden and Barbara Sternberg, Moments of Perception offers a fresh perspective on the ever-evolving history of Canada’s experimental film and moving image media arts.Trade Review“Moments of Perception is the ideal guide for the curious and adventurous spectator.” -- Andrew Burke * Winnipeg Free Press *“Moments of Perception works as history, analysis and homage to those creators past and present who have tried to utilize tools beyond Grierson’s hammer and mirror: the camera as a painter’s canvas, a magic wand or a kaleidoscope.” -- Adam Nayman * The Star *

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Book SynopsisWinner, APMA Best Atlantic-Published Book Award and The Critical Eye AwardHonourable Mention, Canadian Museums Association’s Outstanding Achievement in ResearchIn Future Possible, Mireille Eagan and other writers and artists navigate the tangled histories and cultures of Newfoundland and Labrador to investigate the visual output and to write the narrative that it has created. The result is an ambitious volume, arising from a two-part exhibition of the same name at The Rooms, that provides a multi-vocal, multi-faceted history spanning pre- and post-Confederation Newfoundland.Lavishly illustrated with reproductions of original works and installation views, Future Possible features essays by curators and artists on topics such as pre-Confederation art; contemporary art, craft, and Indigenous culture; and outsider and folk art. This intriguing volume places artifacts from the province’s history and work by iconic Newfoundland and Labrador artists such as Gerald Squires and Mary Pratt in conversation with works by contemporary artists like Jordan Bennett and Kym Greeley. Together they explore how history is told and retold through objects and images and how these objects and images, and the power structures that preserve them, define an understanding of place.Contributions from Mireille Eagan, Jamie Fitzpatrick, Andy Jones, Heather Igloliorte, Jeff Webb, Darryn Doull, Bushra Junaid, Cory Thorne, Kelley Totten, Patricia Grattan, Gerard Curtis, Caroline Stone, Craig Francis Power, Christopher Pratt, Logan MacDonald, Lisa Moore, Eva Crocker, Andria Hickey, and a foreword by Anne Chafe.Trade Review“Future Possible is a hefty and calibrated trove of celebrated, obscure, popular, rare, iconographic and across-the-board-astonishing visual art.” -- Joan Sullivan * The Chronicle Herald *“Future Possible: An Art History of Newfoundland and Labrador, a handsome and expansive book, dodges any attempt at a defining narrative though the expedient of inviting numerous tellers to recount their views on the histories of art in Newfoundland and Labrador.” -- Ray Cronin * Border Crossings *

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Book SynopsisBen Woolfitt begins each day by drawing. Using graphite, silver and metal leaf and selected objects for frottage, Woolfitt plumbs the depths of his unconscious as he draws on each page of his books. Although best known for his large-format paintings, Woolfitt has completed hundreds of drawings which showcase his signature process: taking a pre-existing sign -- a piece of bamboo, for example -- and imbuing it with subjective energies through the act of recording and accentuating its impression on the page. The drawings in Ben Woolfitt: Rhythms & Series are charged with rich psychological meaning; they speak where language fails. Distributed randomly in his drawing books, Woolfitt's work transforms the linear structure of the bound volume into a nonlinear repository of his sensations and feelings, offering a special glimpse into his psyche. Ben Woolfitt: Rhythms & Series contains more than 65 reproductions of Woolfitt's distinctive drawings along with an interview with the artist by AGO curators Kenneth Brummel and Alexa Greist.

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Book SynopsisWinner, Canadian Museums Association Award for Outstanding Achievement (Research) and APMA Best Atlantic-Published Book AwardLonglisted, First Nation Communities READ AwardThe story of an overlooked group of cultural visionariesThe “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.Wla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.L'histoire d'un groupe de visionnaires culturels ignorésUn groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, Wabanaki Moderne comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.Trade Review“With the commentary presented in three languages (English, French, Micmac), Wabanaki Modern is a unique, informative, and critically important contribution that is unreservedly recommended for personal, professional, community, and academic library Canadian Art History collections.” * Midwest Book Review *

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Book SynopsisArctic/Amazon: Networks of Global Indigeneity offers a conversation between Indigenous Peoples of two regions in this time of political and environmental upheaval. Both regions are environmentally sensitive areas that have become hot spots in the debates circling around climate change and have long been contact zones between Indigenous Peoples and outsiders — zones of meeting and clashing, of contradictions and entanglement. Opening with an Epistolary Exchange between the editors, Arctic/Amazon then widens to include essays by 12 Indigenous artists, curators, and knowledge-keepers about the integration of spirituality, ancestral respect, traditional knowledges, and political critique in artistic practice and more than 100 image reproductions and installation shots. The result is an extraordinary conversation about life, artistic practise, and geopolitical realities faced by Indigenous peoples in regions at risk.

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Book SynopsisExclusive Memory: A Perceptual History of the Future is a compendium of descriptive, speculative prose and text-images by the Governor General’s Award-winning artist, Tom Sherman. Its contents sweep across five decades, describing radically different periods and environments — from Sherman’s early experiments in Toronto in the 1970s to his recent explorations of text and image in Nova Scotia’s South Shore. At the core of this volume is “The Faraday Cage,” a text that delivers a vivid cascade of images of the art scene in Toronto at the onset of the video era in the early 1970s. This opening chapter expands into a series of essays in which Sherman pictures a vast horizon of contexts: urban, rural, social, political, economic, and in some cases, simply a beach along the coast of the Atlantic Ocean. His ongoing and rigorous investigation into the intersections of art, technology, and life itself is grounded in the converging terrains of mediaspheres and landscapes. And then, in a quick shift of perspective enter Peggy Gale and Caroline Seck Langill, who charge the book with wide-sweeping conversations about Sherman’s practice: his use of written language and dynamic, critically engaged “pictures,” the expansive reach of his text-based visual works, and the distinctive character of his voice. The result is a provocative retrospective in book form that both demonstrates and expands upon Tom Sherman’s clear, forward-looking vision.

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Book SynopsisIn the late fifties, Ann Kujundzic, her husband and artist Zeljko, and three children -- with a fourth on the way -- packed up their lives in post-war Edinburgh and emigrated to the Kootenays in BC, seeking adventure and opportunity. In Nelson, Ann was involved in establishing the Kootenay School of Art in 1960, a remarkable institution whose history has yet to be documented in the way it merits -- until now. This is the extraordinary memoir of a feminist, artist and activist who fought for change no matter her circumstance. The Kootenay School of Art was the first of its kind in the region, but it only marked the beginning of what would become Kujundzics life-long journey to strengthen the artistic and political environment of BC. She and Zeljko established the Kelowna Art Centre, collaborated with George and Norma Ryga, joined the Voice of Women, lived and worked on a co-op farm, fought for womens reproductive rights and social justice, and joined the Raging Grannies to fight against the militarys recruitment of the youth, all while juggling the roles inherent of motherhood. She travelled the world -- often alone, with nothing but a phrase book to aid her -- to places like Nunavut, Yugoslavia, Bethlehem and Hong Kong to keep her politics globally sound. Honest, intelligent and brave, New Ground shares the life of a remarkable woman whose efforts in the political and artistic communities of BC are still being felt today.

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Book Synopsis*A Waterstones Best Book of 2023* *A BBC Radio 4 Book of the Week* *A New York Times Editor's Pick* 'A total eye-opener, I loved it' Nuala McGovern 'You'll never look at Renaissance portraits in the same way' Maggie O'Farrell 'Terrific ... that rare thing, a serious history that is both accessible and entertaining' Literary Review Plunge into the intimate history of cosmetics, and discover how, for centuries, women have turned to make up as a rich source of creativity, community and resistance The Renaissance was an era obsessed with appearances. And beauty culture from the time has left traces that give us a window into an overlooked realm of history - revealing everything from sixteenth-century women's body anxieties to their sophisticated botanical and chemical knowledge. How to be a Renaissance Woman allows us to glimpse the world of the female artists, artisans and businesswomen carving out space for themselves, as well as those who gained power and influence in the cut-throat world of the court. In a vivid exploration of women's lives, Professor Jill Burke invites us to rediscover historical cosmetic recipes and unpack the origins of the beauty ideals that are still with us today. 'Taking a fresh, women-led perspective, Burke highlights a rich tapestry of female experience that encompasses everyone from artisans to aristocrats ... The everyday women mixing their own beauty products should rightly be considered chemists and botanists' The Times 'A fun, informative and occasionally sobering look at the lives of women across social strata ... The real shock of the book is not what's unfamiliar, it is how much of it seems to mirror today's obsessions and controversies' The New York TimesTrade ReviewA total eye-opener, I loved it -- Nuala McGovern, BBC Radio 4 Woman's HourA lively and intriguing exploration of female life in the Renaissance, lifting the lid on anxieties and aspirations that will sound oddly familiar to any 21st century reader. You'll never look at Renaissance portraits in the same way -- Maggie O'FarrellTerrific ... Drawing on early published beauty pamphlets, letters, poems, songs, diaries and recipe books, not to mention treatises by both men and women and the rich material of Renaissance art, [Burke] has emerged with enough knowledge to open her own Renaissance Body Shop ... The book is that rare thing, a serious history that is both accessible and entertaining - no more so than when it comes to the age-old debate as to whether women's commitment to beauty is a sign of weakness, a pandering to male desire or a form of empowerment * Literary Review *Taking a fresh, women-led perspective, Burke highlights a rich tapestry of female experience that encompasses everyone from artisans to aristocrats ... the everyday women mixing their own beauty products should rightly be considered chemists and botanists. Successfully creating these cosmetics required knowledge of plants and their properties, as well as how to transform them via different techniques. Renaissance women had greater scientific knowledge and experience than they are often credited with * The Times *Shapewear. Stretch mark remedies. Nose jobs. Eyebrow shaping. These things are not just preoccupations of ours, but also concerned the women of the Renaissance. Through paintings of the Italian Renaissance, Burke offers a fun, informative and occasionally sobering look at the lives of women across social strata ... The real shock of the book is not what's unfamiliar, it is how much of it seems to mirror today's obsessions and controversies ... Basically, nothing our Renaissance cousins did in the name of beauty would shock anyone on TikTok -- Editor's Pick * The New York Times *If you think that pressures on women to look their best, either through chemical enhancements or using filters on Instagram, are a modern invention, then Jill Burke's new book is a timely reminder that our ancestors were undergoing the medieval equivalent 500 years ago ... Some of the most compelling parts of the book detail female solidarity and friendship in this visual society ... The book finishes with an amusing and engrossing section of real-life Renaissance beauty recipes for the brave to try - from the relatively innocuous honey and egg eye cream to a non-toxic version of the skin lightener that beauties used on their faces ... But there's a serious message behind the book: the tyranny of beauty ideals has been with us for centuries * Mail on Sunday *An erudite, witty and engaging history of cosmetics and beauty ... lavishly illustrated and hugely entertaining -- Anna Carey * Irish Times *Delightful * Washington Post *Eye-opening ... a novel and immersive history * Publishers Weekly *

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Book SynopsisThis unique and meticulously researched book will delight both Yes fans and students of the 1960s music scene. It is essential reading for all lovers of the world's greatest progressive rock band, and fans of the genre's finest vocalist - Jon Anderson. Jon Anderson is the enigmatic lead singer and founding member of Yes. He is also a composer, artist, writer, dreamer, lyricist, poet and musician, with a career spanning more than fifty years. Many books have been written about the band, but until now none have covered Jon's early years in his first band, The Warriors, in any sort of detail. David Watkinson takes us on a journey from the Lancashire beat music scene in the early 1960s to the vibrancy of London later in the decade. In the short time The Warriors existed - from 1963 to 1967 - they released a single, appeared on TV and in a movie, and spent a year following in the Beatles footsteps as a working group in Germany. As well as providing a complete history of The Warriors, this book also follows Jon's subsequent career in London, via appearances with Gun and his brief solo career as Hans Christian. He finally met Chris Squire and found a home in Mabel Greer's Toyshop, as that group gradually morphed into Yes during the summer of 1968. The book includes new interviews with Jon and many members of The Warriors, through its various line-up changes, most for the very first time. It also features a newly-researched family tree, never before seen photographs, both of the Warriors and the first line up of Yes, plus many items of memorabilia and an exclusive look into the band’s diaries. It closes with a comprehensive discography and a collectables section.

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Book SynopsisStyle Legends, Rebels, and Visionaries is an inclusive and eclectic collection of 50 illustrated portraits by the immensely talented artist Bijou Karman. This curated collection of portraits features vintage and contemporary style legends such as Cher, Harry Styles, Grace Jones, Tilda Swinton, Diana Ross, Timothee Chalamet, and many more. Featuring a range of style luminaries-drawn from the heights of Hollywood glamour, the shining stars of the music industry, and the elite of fame and fashion-this collection is sure to delight a broad audience of fashion lovers. Each colorful and detailed portrait evokes the distinct sensibility of the unique and influential icon featured and includes an illuminating bio focusing on the sartorial choices of that legend, rebel, or visionary. Additionally, fashion insider Booth Moore provides an insightful introduction to this curated list of one-of-a-kind style icons. A FASHION BOOK WITH A UNIQUE VIEWPOINT: Bijou Karman's colorful and visually stunning illustrations and her distinct aesthetic bring a fresh perspective to viewing these celebrated individuals and their contributions to modern fashion. ARTUL FASHION ILLUSTRATION BOOK: A dazzling departure from fashion photography books or designer retrospectives, this gender- and age-inclusive collection is a curated take of iconoclasts known for their distinctive style. Includes Harry Styles, Tilda Swinton, Timothee Chalamet, Rihanna, Iris Apfel, David Bowie, Yayoi Kusama, and many more, celebrating the distinct fashion sensibility of each of these unique and beloved icons from the fields of music, fashion, art, cinema, and more. THE ULTIMATE GIFT FOR STYLE LOVERS: An introduction by a noted fashion industry insider gives additional insight into the style preferences and influences of each of the featured individuals. This text, paired with a sophisticated design package, makes this a beautiful gift or self-purchase to feature on a coffee table or shelve alongside favorite fashion design books. Perfect for: • Fashionistas • Art book lovers • Design enthusiastsl

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Book SynopsisThe Making of George Wyllie has been co-written by his elder daughter, Louise Wyllie, and arts journalist Jan Patience. Containing never-beforeseen images and fresh insight into his influences and early life, this book seeks to answer questions about the forces which shaped Wyllie's unique worldview.The voyage begins with Wyllie's Glasgow childhood - a period 'disadvantaged by happiness' - and moves on to time spent serving in the Pacific with the Royal Navy during WWII, where he witnessed first-hand the devastation caused by the world's first atomic bomb being dropped on Hiroshima. After the war, like Robert Burns and Adam Smith before him, Wyllie became an Excisemen. He made 'time for art' in his forties, going on to create memorable public art works such as the life-sized Straw Locomotive, which hung from the Finnieston Crane in Glasgow, and the giant seaworthy Paper Boat, with the letters QM (Question Mark) on her side.By the time of his death at the age of ninety in 2012, this idiosyncratic self-taught artist had laid out his vision of himself as the artist-shaman, arrow in hand, making a last Cosmic Voyage.Trade Review'George Wyllie is a credit to the artistic brilliance of Scottish people' - Fiona Hyslop, Cabinet Secretary for Culture and External Affairs; 'A fascinating insight into the great, quixotic life of George Wylie, and how he came to leave his indelible mark on the Scottish arts landscape' - Alan Cumming

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Book SynopsisWhat does it mean to make art in Africa? In Making Art in Africa, 60 of the continent's leading artists give very different answers to this question through a series of extraordinary first-hand commentaries relating to specific works.The book includes accounts from key curators and co-ordinators, and primary images are considered in the context of contemporary events, personal discoveries, and the networks such as Triangle which have brought them together. Showcasing paintings, sculptures, prints and installations, Making Art in Africa marries the selected interviews and their associated images with archival and comparative illustrations. The result is an unparalleled insight into the artworks, experiences and processes of art making in Africa during a period of radical social change. Visually appealing with absorbing, accessible texts, Making Art in Africa provides a unique contribution to the literature available on this fascinating subject, and will be an essential purchase for scholars and general readers alike.Trade Review'At the heart of this book - and what makes it unique - are the artists' first person stories about their own experiences in art making... For librarians building African art collections, this should be on your "must buy" list for 2015.' Art Libraries Society of North AmericaTable of ContentsContents: Foreword, Sir Anthony Caro; Triangle in Africa, Rober Loder; Seventy Conversations about Making Art in Africa, Polly Savage; The Voice of Africa: African Voices, John Picton; Lagos/Kaduna/Oshogbo, Nigeria; Kumasi, Ghana; Addis Ababa, Ethiopia; Nairobi, Kenya; Kampala, Uganda; Lusaka, Zambia; Harare/Bulawayo, Zimbabwe; Johannesburg, South Africa; Cape Town, South Africa; Limpopo, South Africa; Maputo, Mozambique; Gaborone and D'Kar, Botswana; Windhoek, Namibia; Selected Reading; Index.

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Book SynopsisThis book presents a comprehensive view of the work of American painter Philip Taaffe (b.1955), who has expanded the parameters of painting through his use of silkscreen, linocuts, collage, stencils, gouache, chine-collé, marbling, acrylic, enamel, watercolour and gold leaf. Possessing many technical skills, Taaffe has moved decisively between unique pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction. John Yau's insightful text is the first to look at every part of Taaffe's artistic development, from the works he made at Cooper Union while a student of Hans Haacke, to the present. It pays special attention to Taaffe's acquisition of different techniques, as well as investigating his various sources of inspiration, which include the work of experimental filmmakers Stan Brakhage, Bruce Conner and Harry Smith, the Natural History illustrations of Ernst Haeckel, and the ancient art of paper marbling.Trade Review'Philip Taaffe's paintings build their own autonomous structure out of a voice and a tone which is deeply personal and uncompromising, but are filled too with strange echoes from the history of art. There is a fearless sense of beauty, a sort of restrained wildness, a willingness to see both ordered pattern and chaotic yearning for possibility and transcendence. His unceasing task for four decades has been to activate space, to test the boundaries to see how much a picture can take.' -- Colm Toibin'Philip Taaffe's paintings spring from the twin root of art history and the natural world. Through a wide range of work, and a self-critical practice, he has pushed abstraction into new realms, holding icons and calligraphy in the same regard as plants, snakes and shells. His work is both expansive and necessary.' -- Brice MardenTable of ContentsForeword, Barry Schwabsky; Introduction; The Rise of Conceptual Art, 1972–1977; 2 Early Works, 1977–1985; 3 In Naples, Across from Vesuvius, 1986–1991; 4 An Alternative Worldview, 1990s; 5 A New Century, 2000 to the Present; Notes; Selected Bibliography; Biography; Selected Solo Exhibitions; Selected Group Exhibitions; Selected Public Collections; Acknowledgments; Image Credits; Index

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Book SynopsisBlending the reflected cultural climate of his adopted home, Los Angeles, with the multi-layered world of American popular culture, Jim Shaw (b.1952) creates rich, dream-like worlds within distinct bodies of work. Addressing, for the first time, how the artist's oeuvre inter-relates, this substantial monograph argues that the artist's seemingly disparate series actually function together to present a lucid and insightful portrait of America today.Emerging out of the long West-Coast shadows of California Assemblage by way of LA Pop and Conceptualism, Shaw’s narrative-driven art marries art history and contemporary existence, as well as literature and comic books, ancient myths and modern movies, science and its variations in popular psychology — not only blurring the boundaries between art and life, but cultivating that confusion to consider the relationship between fact and fiction that seems to define so much of the world we inhabit today.Giving contemporary viewers an effective way to think about art, this publication is an invaluable resource for those interested in painting today and its interaction with modern life. Table of ContentsForeword, Barry Schwabsky; 1 The End is Here! (1978); 2 My Mirage (1985–91); 3 Untitled (Giant Face Paintings) (1991–2); Dream Drawings (1992–9); Fake Dream Drawings (1992–4); Other People’s Dreams (1996); and Dream Objects (1995–present); 4 Oist Works (2002–13 and continuing); 5 Left Behind (2004–12); Cake Paintings (2008–12); and Anatomy Weird-ohs; 6 Stretched Muslin Paintings (2012–present); Notes; Selected Bibliography; Biography; Exhibitions; Works in Public Collections; Acknowledgements and Image Credits; Index

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Book SynopsisInsiders/Outsiders, published to accompany a UK-wide arts festival of the same name in 2019, examines the extraordinarily rich and pervasive contribution of refugees from Nazi-dominated Europe to the visual culture, art education and art-world structures of the United Kingdom. In every field, émigrés arriving from Europe in the 1930s - supported by a small number of like-minded individuals already resident in the UK - introduced a professionalism, internationalism and bold avant-gardism to a British art world not known for these attributes. At a time when the issue of immigration is much debated, the book serves as a reminder of the importance of cultural cross-fertilization and of the deep, long-lasting and wide-ranging contribution that refugees make to British life.Contributions by: Richard Aronowitz, Harriet Atkinson, Michael Berkowitz, Morwenna Blewett, Monica Bohm-Duchen, Charmian Brinson, Andrew Chandler, Hans Christian Hönes, Leyla Daybelge, Rachel Dickson, Keith Holz, Amanda Hopkinson, Shauna Isaac, Swantje Kuhfuss-Wickenheiser, Simon Lake, Sarah MacDougall, Anna Müller-Härlin, Sir Norman Rosenthal, Anna Nyburg, Michael Paraskos, Antony Penrose, Alan Powers and Daniel SnowmanTrade Review"The volume is an essential contribution to understanding the enrichment these refugees – whether passing through or settling – brought to Britain as their influence and legacy continues to reverberate in the twenty-first century." – Marina Vaizey, The Burlington MagazineTable of ContentsForeword by Norman Rosenthal; Introduction by Daniel Snowman; Part 1: Émigré Contributions to the Visual Arts; Part 2: Art Education and Scholarship; Part 3: Publishers, Dealers and Collectors; Part 4: Places of Internment, Creativity and Sanctuary; Part 5: Key Supporters; Part 6: Patriotism and Group Identities; Reference: Chronology of Key Events 1933–1951; Notes; Select Bibliography; Contributors’ Biographies; Index; Image Credits; Acknowledgements

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Book SynopsisThis title provides an alternative history of painting.

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Book SynopsisA fascinating exploration of the role of music in the art of Vermeer and many of his contemporaries Johannes Vermeer (1632–1675) is one of the world’s most captivating artists. Renowned for his sublimely beautiful depictions of everyday Dutch life, Vermeer created exquisite paintings that are sought out by any art lover. Music was a key facet of 17th-century Dutch life, in both public and private. Of Vermeer’s thirty-six surviving paintings, twelve depict musical themes or a musical instrument. These include the magnificent Young Woman Standing at a Virginal, Young Woman Seated at a Virginal, The Music Lesson, and The Guitar Player, all featured in this book.The book also includes paintings by Vermeer’s contemporaries, such as Gerard ter Borch (1617–1681), Gabriel Metsu (1629–1667), and Jan Steen (c. 1626–1679). Vermeer and Music provides new insight into the cultural significance of these images. A historical overview of musical instruments and entertainment in the Dutch Republic, including the abundant publication of songbooks filled with love songs and poems, some richly illustrated, contextualizes the fascinating relationship between music and the visual arts.Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:The National Gallery, London(06/26/13–09/08/13)

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Book SynopsisThis ground-breaking book explores the revolution thats transformed New Zealand museums in recent decades, and is influencing how museums worldwide care for indigenous objects. Drawing on practical examples and interviews with professionals from all kinds of institutions, Dr Conal McCarthy lifts the lid on current practice. How do museum professionals deal with the indigenous objects in their care from day to day? How do they engage with tribal communities? How do they meet the needs of visitors, as well as these communities? The first critical study of its kind, Museums and Māori is an indispensible resource for professionals, students, academics, and museum supporters.Trade Review"Using a theoretical perspective grounded in museum practice, McCarthy masterfully brings the experiences of both museum professionals and Māori communities together over the past three decades and discusses the successes, pitfalls and frustrations posed by the social and ethnic tensions that exist in New Zealand despite the governments attempts at 'biculturalism' This case study of museums and Māori could fit any country where Europeans invaded and colonized indigenous peoples. This book is required reading for museum professionals currently working in museums that hold and exhibit indigenous collections and for anyone planning to become a museum professional. I would also recommend this to anyone studying identity politics, the history of colonization and de-colonization, and the advancements by indigenous peoples throughout the world who are engaging in the process of self-determination.' Shelby Tisdale, PhD, Director Museum of Indian Arts & Culture, Santa Fe"Table of ContentsHe Mihi -- Preface -- Acknowledgements -- Introduction: Museums and indigenous people -- Part one: From monoculturalism to biculturalism -- 1 Before Te Maori -- 2 The Te Maori exhibition -- 3 After Te Maori -- Part two: Biculturalism in practice -- 4 Into a new century -- 5 Reforming museology at Te Papa -- 6 Evolving museum practice -- Part three: Beyond biculturalism? -- 'A new net goes fishing' -- 8 Biculturalism and its discontents.

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Book SynopsisAn exciting new behind-the-scenes showcase of the surprising, wonderful and significant pieces held in our national museum, for children and adults alike.

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Book SynopsisDunedin-born artist Grace Joel (1865--1924) exhibited to acclaim in London and Paris, yet she and her art are relatively unknown today. Joel excelled at portraiture and mother and child studies and was skilled in portraying the nude. She received her artistic training in Melbourne and lived for the mature years of her career in London, where her work appeared at the prestigious Royal Academy, as well as the Paris Salon and the Royal Scottish Academy. One possible reason why Joel''s work has not remained visible is that few details of her personal life survive; only three letters have been found, and they reveal little of the person who wrote them. Undaunted, author Joel Schiff has pulled together from the words of her contemporaries, various newspaper accounts, scraps in other historical archives, and close study of her extant paintings a portrayal of this talented woman that is as intimate and engaging as her work.

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Book Synopsis

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