Search results for ""art / books""

This unique history brings together more than 150 spectacular objects from the National Art Library's collection of literature, prints, drawings and photographs. Housed within the V&A, the library was, from the beginning, an integral part of the Museum, formed by, and for, artists and designers as an essential element of the educational and museological project of Prince Albert and Henry Cole after the Great Exhibition of 1851. Word & Image shows how the distinct character of the NAL was formed, and how its collections created a new kind of bibliographical resource. From a fifteenth-century book of hours to William Morris's specimen pages for Jean Froissart's The Chronicles of Fraunce, Inglande, and Other Places Adjoynynge; from George Cruikshank's studies of Fagin for Oliver Twist to an Yves Saint Laurent design for the House of Dior; and from Bill Brandt's photographs to the Book of Nails by Floating Concrete Octopus, Word & Image explores some of the finest examples of 'book art' in existence.

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Since the 1990s, acclaimed Norwegian and London-based artist AK Dolven has produced a substantial body of work that explores the relationship between individuals and the perception of their environment, the connections that bind inner and outer realities. Using a diverse range of media, she combines seemingly simple, almost minimalistic elements to create complex responses to a particular locale – especially the frozen landscapes of the Arctic Circle – while maintaining a universal voice that resonates far beyond the specifics of the place. Frequently immersive in nature, her works investigate but also induce feelings of discomfort and disorientation in the eye, body and mind of the viewer, a sense of forever being at odds with one’s surroundings. Coinciding with a solo exhibition at the Ikon Gallery, this book presents the past decade of the artist’s practice. In five themed chapters, each artwork is shown in a series of large-scale installation shots and details that replicate the spatial and physical impact of the piece itself. Introductory texts to each chapter by five internationally renowned writers and thinkers illuminate various aspects of the artist’s work, addressing, among other things, its political significance, emotional intensity and philosophical depth. An introduction by volume editor Gaby Hartel considers the importance of AK Dolven’s sketchbooks to the genesis of her work, with a 24-page insert reproducing some of these sketchbooks in facsimile form. A second bound-in insert at the back of the book presents the artist’s own notes on the works, with supporting source material.

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Published on the occasion of the Liverpool Biennial 2012, this book addresses the theme of the exhibition: notions of hospitality. Hospitality is the welcome we extend to strangers, an attitude and a code of conduct, as well as a metaphor that encompasses issues of the body, territory, geopolitics, ecology, trade and the hosting of data. In this era of unprecedented movement of both people and knowledge, different cultures of hospitality jostle for space as never before. Where lies the threshold between host and guest, if there is one at all, and who has the power to decide? How does our view of hospitality change when seen through the lens of time? The ethics underlying these questions are shaped by traditions that date back to the classical world and the ancient cultures of central Asia and the Indian sub-continent. In more recent times, philosophers from Kant to Derrida have provided influential comment on the subject, establishing the terms of a discourse that now spans myriad disciplines, among them anthropology, sociology, economics, philosophy, theology, politics and art. Responding to this growing academic and cultural interest, The Unexpected Guest is the first publication to bring together an anthology of key historical and contemporary texts with new contributions by writers from a variety of fields, alongside artists’ responses commissioned especially for the book. Uniquely, it introduces time as a window onto hospitality, offering fresh perspectives and new thinking on the issue.

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Terence Donovan was one of the foremost photographers of his generation – among the greatest Britain has ever produced. He came to prominence in London as part of a postwar renaissance in art, fashion, graphic design and photography. Alongside David Bailey and Brian Duffy, photographers of a similar working-class background and outlook, Donovan was a new force in fashion photography. Together, they captured and helped create the Swinging 60s. They socialized with celebrities and royalty, and found themselves elevated to stardom in their own right. Gifted with an unerring eye for the iconic image, Donovan was also master of his craft, a technical genius who pushed the limits of what was possible with a camera. And yet despite his fame and status, there has never been a publication devoted to his fashion work, for he allowed none to be released during his lifetime. Terence Donovan Fashion is thus the first time his fashion pictures have been collected together in book form. Arranged chronologically, from the gritty monochromatic 1960s and 1970s to the vibrant and colourful 1980s and 1990s, the book reveals how his constant invention and experimentation not only set him apart from his contemporaries, but also influenced generations to come. Contributions from some of the many designers, models and art directors who worked with him provide fascinating insights into his practice. Compiled by the artist’s widow Diana Donovan and former art director of Nova magazine and Pentagram partner David Hillman, who worked closely with Donovan for over a decade, and including an illuminating text by Robin Muir, ex-picture editor of Vogue, and foreword by Grace Coddington, creative director of American Vogue and advisor to the project, Terence Donovan Fashion is indisputably a landmark in the history of fashion photography.

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Dr Chris Stephens has been Director of the Holburne Museum since 2017. Prior to that he worked at Tate for over 20 years, as Head of Displays, Tate Britain, for much of that time, and also as Head of Modern British Art. Judith Goldman is an award-winning writer, curator, and publisher in New York City. A former editor of ARTnews, she was also the curator of prints at the Whitney Museum of Art from 1977 to 1991. She has established the Blue Heron Press and Deuce II Editions to publish artists' books and editions.

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"It is a feast for the senses to leaf through this book ..." — Lovely Books Germany Audrey Hepburn once said "I never thought I'd land in pictures with a face like mine." Nothing could be further from the truth. As one of the 20th century's most loved icons, her face is instantly recognisable the world over. Here, for the first time, ACC Art Books and Iconic Images proudly present the work of six wonderful photographers - Norman Parkinson, Milton H. Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill and Eva Sereny - who were fortunate enough to capture the star at different moments of her life. In addition, former Curator of Photographs for the National Portrait Gallery and co-curator of the Audrey Hepburn: Portraits of an Icon exhibition, Terence Pepper, opens up his personal archive of vintage press prints, making this ode to Hepburn truly unique. Throughout the book, Douglas Kirkland, Terry O'Neill and Eva Sereny share their memories of working with the icon. They present a wonderful mix of on-set, fashion, portrait and behind-the-scenes photographs, including contact sheets and never-before-seen images. With an introduction by Terence Pepper, Always Audrey is sure to delight any Hepburn fan.

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The genius of Edwin Lutyens is now universally recognised. When the acclaimed English architect passed away in 1944, three large volumes of his drawings and photographs were commissioned from the thousands found in his office and were published by Country Life. In 2023, all three volumes will be republished by ACC Art Books. This third and final volume showcases Lutyens' detailed plans and elevations for the greatest examples of his townhouse renovations, memorials and public buildings, including the Cenotaph at Westminster, the Thiepval Memorial, and the colossal Midland Bank building in Manchester. These reissues are once again bringing to the world's attention not just the professionalism of a great architect, but also the loving care with which he set down the minutiae of his visions. They are among the few books in existence illustrated with his working drawings, as well as pristine photos of the finished masterpieces themselves. A beautiful tribute to a

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empowerment is for girls, teenagers and young women. A book of positive affirmations to instill hope, change and fearlessness. From an early age girls and boys are taught to behave in certain ways based on religion, society, and traditions. These behaviors are learned and unfortunately and routinely a disadvantage for young women. As a parent of an 8-year-old girl in the 21st century I fear societal norms and social media’s residual regarding anxiety, depression, loneliness, suicidal thoughts and the promotion of self-sexualizing behaviors. I don’t want my daughter to believe she is less than, or all she can become is someone’s lover, mother, or housewife. She isn’t anyone’s property, and she doesn’t have to give anyone power over her. To achieve anything of real value in this life, you must believe you are deserving and worth it. If you can see yourself living the dream, t

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"The Orient Express, in the collective imagination, embodies the golden age of travel. The fabrics, the silverware, the woodwork; their evocative fragrance... all contribute to this particular atmosphere, created by the best craftsmen of the time. The experience on board is absolutely unique..." - Sir Kenneth Branagh, from the foreword The first train to connect Paris to Constantinople - the gateway to the Orient and epitome of all its associated desires and fantasies - the Orient Express was an immediate success. Quickly nicknamed 'the king of trains, the train of kings', it had already become a legend in its own time. This unique train and its celebrated passengers (both real and fictional) have become one of the great cultural icons of our times and have helped to create a limitless source of stories and fantasies to feed our imaginations. It's a story told here through fabulous new photographs of the restoration workshops where the historic train carriages are being brought back to life, through archive photos of famous and exotic destinations, and portraits of the most famous passengers who were lucky enough to climb aboard.

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In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously. That almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

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Dr Christopher Dresser is best remembered for his pioneering advances in design and associated technology. In the new industrial world of the nineteenth century, Dresser was the first designer to understand that machinery was a good servant but a poor master; he made it his business to understand how machines worked. His success gained him credibility. Dresser became a sought-after consultant to several textile manufacturers, most notably Barlow & Jones, Tootal, Warner & Sons, Turnbull & Stockdale, and Wardle, which allowed him to establish the largest design practice in Britain by 1870. Equally, it was his success in promoting textiles at affordable prices that attracted his popular following in the press. Unlike his contemporaries, he was interested in making designs available to everyone. However, Dresser is less celebrated in comparison to other designers of the era, such as William Morris, because Dresser was obliged to abandon this campaign to improve British taste due to an unexplained illness in the early 1880s. At the same time, Morris was expanding his business just as the Arts and Crafts movement was beginning to gain momentum. Despite being the first Victorian to address the decorative needs of all the population, there is a severe lack of appreciation for Dresser's work - whose influence can be found in many textiles that we take for granted today. This book redresses that balance, giving Dresser the monograph he deserves.

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The buildings erected in the Deccan region of India belonged to a number of pre-Mughal kingdoms that reigned in the Deccan from the middle of the 14th century onwards. The monuments testify to a culture where local and imported ideas, vernacular and pan-Islamic traditions fused and re-interpreted, to create a majestic architectural heritage with exceptional buildings on the edge of the Islamic world. Many are still standing - yet outside this region of peninsular India, they remain largely unknown. General publications on Indian Islamic architecture usually devote a single chapter to the Deccan. Even specialist monographs can only cover a portion of the region, due to the sheer number of sites. While it is impossible to encompass the full breadth of the subject in a single volume, this book aims to embrace the visual diversity of the Deccan without sacrificing the rigour of academic study. Structures of historical or architectural significance are placed in their context, as the authors discuss building typologies, civic facilities and ornamental techniques, from plaster and carved stone to glazed tiles and mural painting. A chapter is dedicated to each principal Deccan site, interweaving the rise and fall of these cities with a pictorial journey through their ruins, and each building is accompanied by an overhead plan view.

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