Search results for ""Frieze""

Olivia Laing is the author of three acclaimed works of non-fiction, To the River, The Trip to Echo Spring and The Lonely City, which has been translated into eighteen languages and sold over 100,000 copies worldwide. Her first novel, Crudo, was a Sunday Times top ten bestseller and won the 2019 James Tait Memorial Prize. She's a Fellow of the Royal Society of Literature and in 2018 was awarded a Windham-Campbell Prize for non-fiction.Laing writes on art and culture for many publications, including the Guardian, New York Times and frieze. Her collected writing on art, Funny Weather: Art in an Emergency, was published in 2020. She lives in Suffolk.

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A century after his death, Viennese artist Gustav Klimt (1862-1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. In this neat, dependable monograph, we gather all of Klimt's major works alongside authoritative art historical commentary and privileged archival material from Klimt's own archive to trace the evolution of his astonishing oeuvre.With top-quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous "golden phase" when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold.

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This pack contains a single copy of every Bug Club Phonics book. Titles are a mixture of fiction and non-fiction and include popular characters from Alphablocks to help all children develop a lifelong love of reading. This pack also contains single copies of the printed Bug Club Phonics classroom resources.  The pack contains: 1 copy of every Bug Club Phonics books 1 copy of the Grapheme-Sound Cards 25 (small) 1 copy of all the Grapheme-Sound Cards for Phase 23 (large) 1 copy of all the Grapheme-Sound Picture Frieze Cards for Phase 25 1 copy of both of the Grapheme Chart Posters for Phase 25 In this pack you get 180 children''s books in total, plus classroom resources.

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In early June 1902, John Peters, an American theologian, and Hermann Thiersch, a German classical scholar, were alerted to the discovery of two painted burial caves at Marisa/Beit Jibrin, less than 40 miles (62 km) by road southwest from Jerusalem. Tomb robbers had, a short time previously, forced their way into the burial chambers and caused damage to their fabric. Realising that these splendid tombs dated to about 200 BCE and the importance of their painted interiors, the two scholars immediately commissioned a leading Jerusalem photographer, Chalil Raad, to record them. This was fortunate, because the paintings on the soft limestone walls rapidly deteriorated and now can no longer be seen. Peters and Thiersch published a monograph on the painted tombs, illustrated with hand-drawn copies of the photographs, but the original plates have lain all these years in the archives of the Palestine Exploration Fund in London, unpublished.The paintings are unique in the Greek pictorial repertoire and are among the most important surviving examples of Ptolemaic art. The remarkable painted frieze extending along the two long sides of the main chamber of Tomb I depicts 22 different animal species, drawn from the wild fauna of the Levant, the Nile basin and the Horn of Africa - as well as a few mythical beasts. This animal frieze attests to the interest in exotic animals shown in the Hellenistic period. Other remarkable subjects represented in the Marisa paintings include Cerberus, the three-headed guard-dog of Hades, and a pair of elegant musicians in Greek dress.Timed to coincide with the centenary of the discovery of the painted tombs, a new study on the paintings has been produced by David Jacobson. This study appears as Annual VII of the Palestine Exploration Fund. It contains, for the first time, high quality reproductions of the photographic plates taken in 1902, which are held in the PEF collections. Reproduced with the photographs are the proofs of the coloured lithographs, which are superior in quality to the versions that were published. The inaccuracies and loss of delicate detail of the originals in the coloured lithographs used by Peters and Thiersch for their 1905 publication are clearly apparent. The accompanying text includes an analysis of all the paintings in the light of a century of scholarship and an assessment is made of their religious and cultural significance. Each of the animals in the frieze is compared with descriptions given by ancient writers, and a new interpretation is presented of the cycle as a whole. An appraisal is made of the overall contribution of the Marisa paintings to our knowledge of the art and culture of the Levant in the Ptolemaic period. Included with this new study is facsimile reprint of the original 1905 publication, now long out of print, and it includes superior copies of the coloured lithographs from that edition. This new publication also reproduces a very rare addenda section prepared by R.A.S. Macalister after inspecting the Marisa tombs in October of that year.

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The Desktop Speed Sounds Chart includes all of the mnemonics from the classroom frieze on a handy double-sided A4 sheet for each child to use as a reference when they are learning the sounds. One side shows all of the Set 1 sounds and the other shows the Set 2 and 3 sounds. Short phrases for the sounds are included to help children remember the sound, for example: ay may I play; a-e make a cake; ai snail in the rain. The Desktop Speed Sounds Chart is part of the wider Read Write Inc. Phonics programme, developed by Ruth Miskin. The programme is designed to create fluent readers, confident speakers and willing writers. It includes Handbooks, Sounds Cards, Word Cards, Storybooks, Non-fiction and Writing books. Read Write Inc. is fully supported by comprehensive professional development from Ruth Miskin Training.

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This spectacular lift-the-flap Christmas alphabet story is a book, a fold-out play-scene, and a beautiful festive frieze to decorate your room! Everyone is busy on Christmas Street! Who is baking gingerbread? Who is wrapping presents? And who's that coming down the chimney? Find out in this perfect Christmas gift book, the follow-up to Alphabet Street. With bright, cheerful artwork from Ingela P Arrhenius, illustrator of the bestselling Felt Flaps and Peekaboo series, and a clever rhyming text from Jonathan Emmett. Read the rhyming story, lift the festive flaps, learn the letters of the alphabet and seasonal words and then, when you're finished, flip the book and have fun with the giant snowy concertina play-scene on the reverse! With two big sturdy flaps on every spread, this is a charming Christmas alphabet book that little ones will return to again and again.

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Babies will love this bright and bold high-contrast book, perfect for sharing from newborn and great for propping up on the floor at playtime. High-contrast colours are easy for very little babies to focus on, and with its fun fold-out pages, Animal Train will engage and entertain babies as their eyesight and senses develop. The friendly animal characters will guide you through the book, and there are lots of extra sounds to make and fun things to spot.On one side of this frieze you and your baby will meet a host of friendly animal characters off on a train journey. On the other side, the animals are doing all sort of fun activities - from hula-hooping cats to skiing foxes! - that will make babies react with delight.Also available: First Baby Days: On the Move, Funny Faces, Splish Splash, Bath TIme

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A spectacular advent calendar book filled with festive poems, hidden surprises and a magical fold-out frieze!Count down to Christmas with well-loved poets, including Ogden Nash, Nikki Giovanni, John Agard and Christina Rossetti and joyful artwork from Richard Jones. Peek inside the windows of the house to find a family wrapping presents, take a look behind a holly bush to find a little mouse and see what's happening in the town behind a glittering Christmas tree!This classic Christmas collection has a flap to lift alongside a special poem for every day of advent and a fold-out concertina displaying a beautiful snowy landscape. With sturdy flaps, sparkling foil and a ribbon tie closure, this beautiful gift book from the National Trust is designed to be shared together as the days get closer to Christmas - filling your family with festive cheer, year after year.

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These 25 projects show how ammonites, lichen rosettes, honeycomb, and other natural forms can help you apply the rules of mathematics to create complexly beautiful works. Clear, paper-art-focused explanations teach you the principles of mathematics we see in nature, including the Golden Angle and Golden Spiral, Fibonacci numbers, and symmetry. Learn about using flaps and piercings with various projects, including “A Murmuration of Starlings.” Benefit from lessons in the Japanese art of kirigami and geometric principles, with projects such as “Falling Water” and “Sunflower.” Tesselations and 2-D weaving, 3-D form assembly, woven 3-D forms, and stacked layers come into play for “Radiolarian” and “Sea Urchin.” The role that display plays in your work is covered too, including flexagons in the “Undersea Frieze,” black light in “UV Jellyfish,” and lightbox effects in “Diatoms.”Art really does mirror nature, as these fascinating cut-paper sculptures show.

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George Kordis has painted a frieze along the walls of the third floor of the School of Philosophy of the University of Athens. The mural constitutes a modern artistic creation, bold and brave: by deploying the simple colour system of Polygnotus, the artist has exploited the style of religious icon-making, keeping close to the norms that govern it, both internal and external. All the scenes of Homer's Odyssey that are presented on the mural are annotated using original Homeric text in the ancient script. The resulting artistic creation is in accordance with its grey surroundings, and it converses with the uninterrupted architecture of the building which was designed back in the 1960s. Furthermore, it lights up the building and foregrounds it through a harmonious composition resonant with rhythm through its shaped forms, its lively gestures, its elongated figures, its minute details.

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Gustave Klimt (1862-1918) was one of the most brilliant artists of the Austrian avant-garde. Admired for his sensual images of women and for his powerful and original vision, he produced some of the most haunting and evocative images of all time, including The Kiss, Love and The Three Ages of Woman, all of which are included in this perfect introduction to the artist’s work.Klimt started out as a decorator, opening a studio with his brother Ernst. Some of his most famous commissions were for murals, including the magnificent Beethoven Frieze, painted for the exhibition of Max Klinger’s statue of Beethoven, and the monumental ceiling paintings for the auditorium of Vienna University, which shocked a conservative public. A founder of Vienna Secession, the band of artists who resigned from the established art bodies to form their own group, Klimt became the principal painter of the Art Nouveau movement, painting glittering portraits of fashionable Viennese society as well as

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Manuela Lietti is an independent art critic and curator specialized in contemporary Asian art. In 2003, she graduated from the department of Oriental Languages and Civilizations at the Ca' Foscari University of Venice, having written her bachelors' thesis on contemporary Chinese artist Yang Shaobin. After her graduation, she moved to Beijing where in 2007, she obtained her master's degree in Chinese Histo-ry of Art and Art Criticism from the Academy of Art and Design of Tsinghua University. Since 2003, Manuela has been active as a curator, critic, and coordinator in the field of gallery and museum exhibitions as well as public art projects, in China and abroad. Manuela usually participates in international panels, workshops, consulting and re-search programs and her essays and interviews appear in numerous magazines worldwide, such as Arte e Critica, Art Asia Pacific, Flash Art International, Frieze, Artforum, Artribune, artforum.com.cn, artron.net as well as in exhibition catal

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"Meppayil’s is an artisanal practice executed in a contemporary South Asian context, in dialogue with Western modernism from the 1950s and ’60s" –Frieze Indian artist Prabhavathi Meppayil (born 1965) makes wall-mounted panels and sculptural installations containing subtle gestures that heighten the inherent qualities of her materials and tools. The artist's integration of craft-based labor and process-based art positions her work in unique dialogue with a complex history of material and artistic production, invoking artisanal legacies, affinities with Indian culture, and Minimalist and Postminimalist concepts. This book explores the past six years of Meppayil's output and echoes the subtle qualities of her work through its considered typography and design. Semitransparent and colored pages are inserted between sections to define the different exhibitions but also as another layer of materiality and counterpoise to the works. The layout of the inside pages balances the works and texts within a modernist grid, using the proportions of the page to create harmony and breathing room around the works.

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The novelist, writer, curator and cultural commentator Michael Bracewell has written extensively for museums and galleries, along with art publications as diverse as Frieze and The Burlington Magazine, approaching visual art through its cultural context, the lens of the recent past and prolonged looking. Bracewell’s art writing focuses on detailed descriptions of works of art, expanding their interpretation to include media, politics, music, poetry and other areas of cultural production. By exploring connections between the visual arts, pop music, modern iconography and subcultures, while appraising the vision and ideas of individual artists, he relates their work to its broader cultural context. This collection of texts reads like a history of British art (and the UK itself) from the 1950s to the 2010s, featuring artists such as Richard Hamilton, Bridget Riley, Gilbert & George, John Stezaker, Wolfgang Tillmans, Leigh Bowery, Glenn Brown and Damien Hirst. Each essay is accompanied by an illustration selected by Bracewell, and the publication concludes with a body of autobiographical writings.

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This kit contains everything you need to support your child as they take their first steps in phonics. It''s ideal as an introduction to phonics as your child gets ready to start school, and to keep supporting them as they start learning phonics at school.The kit includes: Handbook to demystify phonics, so you can feel confident supporting your child. Five books to practise blending sounds together to make words. Flashcards for quick and easy phonics practice. Frieze to help your child remember the sounds. Poster and stickers to keep your child motivated and engaged.My Phonics Activity Kit 1 covers sounds at Letters and Sounds Phase 2 that children learn during the first part of Reception/P1. Look out for Kits 2 and 3 for further support.Essential Letters and Sounds is a phonics programme aligned to Letters and Sounds, designed to get all children to read well, quickly, published by Oxford University Press. Expertly developed by teachers from Knowledge Schools Trust, it is fully v

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'Molesworth remains a rare breed: a curator who can actually write.' - Art in America An illustrated reader featuring a collection of essays from trailblazing curator and writer Helen Molesworth – the first book of her collected writings Over the past three decades, Helen Molesworth’s singular voice and lively curatorial vision has established her as one of the most dynamic and influential voices in the art world. This generously illustrated reader – the first ever collection of her writings – presents 24 essays from the past 30 years, gathered from exhibition catalogs and art publications such as Artforum, Documents, frieze, and October. The volume opens with a new essay that lays out Molesworth’s belief in art’s unique capacity for merging knowledge and feeling. It also includes new critical and reflective commentary on her past writing, an innovative approach that will position Open Questions as an indispensable volume for viewing and thinking about contemporary art for generations to come.

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In 1542 Pope Paolo III Farnese, with the approval of Michelangelo, commissioned to Perino del Vaga (1501–1547) a tapestry basement for the Last Judgement in the Sistine Chapel (Vatican). The Spalliera was never completed, but its model, painted on canvas, was later acquired by cardinal Bernardino Spada to be placed in his roman palace (now Galleria Spada), where it was used in radically different fashion as a frieze, completed with parts by other artists. The book is the first in-depth study of this work and of its significance in Perino’s artistic career, marked by an intense dialogue with Michelangelo’s art. It also explores the importance attributed by Michelangelo to decoration, apparently antithetical to the heroic dimension for which he is celebrated The reception of the Spalliera by different artists is studied through a group of drawings deriving from it and lasting until the baroque age, as attested by Rubens.

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Unfold the adventure of a lifetime as you sail up the longest river in the world with Lonely Planet Kids Unfolding Journeys - Secrets of the Nile . This sensational fold-out frieze is more than six-feet long and can be removed and displayed. Jump aboard and get ready for an unforgettable journey along the River Nile. From the golden beaches of the Mediterranean, travel upstream to explore the cultural, historical and natural wonders of ancient and modern Egypt. Find out about Egyptian pharaohs and explore their treasures, tombs and mummies; visit modern Egypt and see how the landscape of the Nile is changing; discover the Pyramids and other wonders of the ancient world; and encounter some of the exotic creatures that make the Nile their home! Packed with stunning illustrations on one side and incredible facts on the other - get ready for a truly unforgettable journey! Part of our 'Unfolding Journeys' series. Also available: Unfolding

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Little ones will love this pocket-sized collection of zoo animals from Rod Campbell, creator of the classic Dear Zoo.Rod Campbell's classic lift-the-flap book Dear Zoo has been a firm favourite with toddlers and parents alike ever since it was first published in 1982. With Dear Zoo's Pocket Zoo children can meet lots of different zoo animals, including some from the much-loved story.Dear Zoo's Pocket Zoo is a fold-out parade of nineteen favourite animals that stretches out to over a metre long – and then folds back down to fit snugly in its miniature gift slipcase, perfectly sized to fit into a child's pocket. Young children will love carrying around a whole zoo of animals, naming them all and shouting out their noises. Once unfolded, Dear Zoo's Pocket Zoo would also make a great decorative nursery frieze.With bright, bold artwork and fun animal characters, it's sure to keep toddlers entertained for hours!

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With a foreword by Maggie Nelson, an introduction from Frieze editor Andrew Durbin and afterword from Edmund White 'Unforgettable, heartbreaking' New York Times 'Brilliant' - Dazed 'As brutal as it is elegant' - Neil Bartlett 'Electrifying' - Colm Tóibín 'Dazzling' - Katherine Angel After being diagnosed with AIDS, Hervé Guibert wrote this devastating, darkly humorous and personal novel, chronicling three months in the penultimate year of the narrator's life. In the wake of his friend Muzil's death, he goes from one quack doctor to another, from holidays to test centres, and charts the highs and lows of trying to cheat death. On publication in 1990, the novel scandalized French media, which quickly identified Muzil as Guibert's close friend Michel Foucault. The book became a bestseller, and Guibert a celebrity. The book has since attained a cult following for its tender, fragmented and beautifully written accounts of illness, friendship, sex, art and everyday life. It catapulted Guibert into notoriety and sealed his reputation as a writer of shocking precision and power.

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This is not simply a guidebook to the Acropolis Museum: by presenting the works of art exhibited in the museum, it endeavours to resynthesize the history of the Sacred Rock as part of the cultural and the wider historical process of Athens. Following the sequence of the visitor’s tour of the museum, it is lavishly illustrated with photographs, as well as with numerous plans and reconstruction drawings, which enable the reader to understand each of the fragmentarily preserved works in its context. It also answers many of the questions raised in the discerning reader’s mind: what was the size and the population of ancient Athens? what is the meaning of the beasts represented on the large Archaic pediments? what do the Korai statues represent? why did the Erechtheion become so complex and what was the role of the Karyatids? why was the temple of Athena Nike built in the Ionic order? what led Pericles and his advisers to opt for the specific building programme and how were the major public works financed? why was it decided to place an Ionic frieze on the Doric Parthenon? what political messages were transmitted to Sparta through the sculptural decoration of the Parthenon?

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This is not simply a guidebook to the Acropolis Museum: by presenting the works of art exhibited in the museum, it endeavours to resynthesize the history of the Sacred Rock as part of the cultural and the wider historical process of Athens. Following the sequence of the visitor’s tour of the museum, it is lavishly illustrated with photographs, as well as with numerous plans and reconstruction drawings, which enable the reader to understand each of the fragmentarily preserved works in its context. It also answers many of the questions raised in the discerning reader’s mind: what was the size and the population of ancient Athens? what is the meaning of the beasts represented on the large Archaic pediments? what do the Korai statues represent? why did the Erechtheion become so complex and what was the role of the Karyatids? why was the temple of Athena Nike built in the Ionic order? what led Pericles and his advisers to opt for the specific building programme and how were the major public works financed? why was it decided to place an Ionic frieze on the Doric Parthenon? what political messages were transmitted to Sparta through the sculptural decoration of the Parthenon?

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This is not simply a guidebook to the Acropolis Museum: by presenting the works of art exhibited in the museum, it endeavours to resynthesize the history of the Sacred Rock as part of the cultural and the wider historical process of Athens. Following the sequence of the visitor’s tour of the museum, it is lavishly illustrated with photographs, as well as with numerous plans and reconstruction drawings, which enable the reader to understand each of the fragmentarily preserved works in its context. It also answers many of the questions raised in the discerning reader’s mind: what was the size and the population of ancient Athens? what is the meaning of the beasts represented on the large Archaic pediments? what do the Korai statues represent? why did the Erechtheion become so complex and what was the role of the Karyatids? why was the temple of Athena Nike built in the Ionic order? what led Pericles and his advisers to opt for the specific building programme and how were the major public works financed? why was it decided to place an Ionic frieze on the Doric Parthenon? what political messages were transmitted to Sparta through the sculptural decoration of the Parthenon?

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This beautifully illustrated book represents the first full publication of the most elaborate metal vessel from the ancient world yet discovered. Found in an undisturbed Macedonian tomb of the late 4th century B.C., the volute krater is a tour de force of highly sophisticated methods of bronze working. An unusual program of iconography informs every area of the vessel. Snakes with copper and silver inlaid stripes frame the rising handles, wrapping their bodies around masks of underworld deities. On the shoulder sit four cast bronze figures: on one side a youthful Dionysos with an exhausted maenad, on the other a sleeping Silenos and a maenad handling a snake. In the major repoussé frieze on the body a bearded hunter is associated with Dionysian figures. What was the function of this extraordinary object? And what is the meaning of the intricate iconography? The krater is placed in its Macedonian archaeological context as an heirloom of the descendants of the man named in the Thessalian inscription on its rim, and in its art-historical context as a highly elaborated, early-4th-century version of a metal type known in Athens by about 470 B.C.

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The Parthenon in Athens is the most famous Greek temple in the world and an icon of Ancient Greek art. It was built to house a colossal statue of the goddess Athena, and the temple itself was decorated with sculptures and reliefs of the most magnificent quality. These sculptures are now on display in London and Athens, and are admired by thousands of visitors each year. This book explores in detail these lovely carvings, with the aid of new detailed digital photography. Who are the people, animals, and gods and goddesses shown on the frieze and what are they doing? Why were they shown on a temple? How were the sculptures made, and how did the carvers give such an amazing illusion of ranks of horsemen, chariots and people in carvings only a few centimetres deep? Ian Jenkins, a world expert on Ancient Greek sculpture, describes and explains these wonderful sculptures in a vivid and simple way for children, and puts them in the context of Ancient Greek religion, life and art. Children will enjoy discovering the wonders of the Parthenon sculptures for themselves but in the process they will also gain a much greater understanding of the people who created the Parthenon and of the world of classical Athens.

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Over a century after his death, Viennese artist Gustav Klimt (1862–1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. This monograph gathers all of Klimt’s major works alongside authoritative art historical commentary and privileged access to the artist’s archive. With top quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous “golden phase” when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold. Through luminous spreads and carefully curated details, the monograph traces the repertoire of Japanese, Byzantine, and allegorical stimuli that informed Klimt’s flattened perspectives, his symbolic vocabulary, and his mosaic-like textures. Drawing upon contemporary critics and voices, the book also examines the art world’s polarized reception to Klimt’s pictures as much as his own stylistic trajectory. From his landscape painting to erotic works to the controversial ceiling for the Great Hall of the University of Vienna, we see how Klimt’s admixture of tradition and daring divided the press and public—becried by some as a pornographer, hailed by others as a modern maestro.

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Over a century after his death, Viennese artist Gustav Klimt (1862–1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. This monograph gathers all of Klimt’s major works alongside authoritative art historical commentary and privileged access to the artist’s archive.With top quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous “golden phase” when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold.Through luminous spreads and carefully curated details, the monograph traces the repertoire of Japanese, Byzantine, and allegorical stimuli that informed Klimt’s flattened perspectives, his symbolic vocabulary, and his mosaic-like textures. Drawing upon contemporary critics and voices, the book also examines the art world’s polarized reception to Klimt’s pictures as much as his own stylistic trajectory. From his landscape painting to erotic works to the controversial ceiling for the Great Hall of the University of Vienna, we see how Klimt’s admixture of tradition and daring divided the press and public—becried by some as a pornographer, hailed by others as a modern maestro.

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This Very Short Introduction to Classics links a haunting temple on a lonely mountainside to the glory of ancient Greece and the grandeur of Rome, and to Classics within modern culture-from Jefferson and Byron to Asterix and Ben-Hur. We are all Classicists - we come into touch with the Classics daily: in our culture, politics, medicine, architecture, language, and literature. What are the true roots of these influences, however, and how do our interpretations of these aspects of the Classics differ from their original reception? This introduction to the Classics begins with a visit to the British Museum to view the frieze which once decorated the Apollo Temple at Bassae. Through these sculptures, John Henderson and Mary Beard prompt us to consider the significance of Classics as a means of discovery and enquiry, its value in terms of literature, philposophy, and culture, and its importance as a source of imagery. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Taking the female body for her muse, Janaina Tschäpe explores themes of the body and landscape, sex, death, renewal and transformation in paintings, drawings, photographs and video installations. To experience Tschäpe's work is to swim through universes of polymorphous landscapes amongst embryonic forms, ambiguous characters and exotic botanical life. She seeks to give form to the trance of art making, portraying not a dream world, but the sensation of being in one. "Janaina Tschäpe shares her forename with a Brazilian water goddess, and, not coincidentally, her photographs and performances-to-video feature sumptuously organic, watery, distorted female figures," writes Frieze. Her use of organic lines and ethereal forms in her paintings create a network of relationships, linking the process of artistic practice to lifecycles found in nature. In Brazil, nature is overwhelming. Everything is growing on top of something else - there is always a plant breaking through a wall or a tree shooting out of the ground. When she returns to the city, she paints with these memories. Her paintings exist in a state of their own becoming. They are systems of palimpsests; each brushstroke, a materially emphatic note, partially occludes a previous mark. In this way, forms are built and colors orchestrated through layers of accumulation.

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This publication documents Trajan's Hollow, a transformative reproduction of Trajan's Column in Rome, to address issues of critical importance in contemporary architectural practice: a reconsideration of architectural poch (both programmatic and material), the use of scale shift as a tool for transforming shape and content, and the role of subversive reconstruction in an era of digital scanning and replication. The publication offers an alternative model for the close reading of historical artifacts through an analysis of Trajan's Column and its material progeny, including the casts and copies of the column produced over 2,000 years and contemporary reconstructions of the column executed by the author while in residence at the American Academy in Rome. Although this second-century monument located in the heart of Rome has been the object of hundreds of years of study, Trajan's Hollow uncovers aspects of the column curiously omitted amidst all this attention, manifesting the lacunae in various paradigms of historical inquiry: this work rereads the column and its legacy through the simple act of prioritizing the embodied occupation of its interior over the analysis of its exterior narrative frieze. By focusing on traces of workmanship (chisel marks, seam lines, tool dimensions), material attributes (provenance, behavior, constraints, change in qualities over millennia), and the experience of habitation (interior atmosphere, circulation, functional details), the project develops an alternative understanding of the historical artifact and of its role in contemporary design.

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This book showcases and puts into historical context a host of sculpted works created in the 1920s and 1930s in the decorative vernacular defined loosely today as ‘Art Deco’. Whether designed as free-standing statuary for the domestic market or commissioned for some form of architectural placement, as a frieze on a building’s façade or as a public monument or pool fountain, the works shown demonstrate a sometimes bewilderingly broad range of styles and stylistic influences: from the chevrons, sunbursts, maidens, fountains, floral abstractions and ubiquitous biche (doe) of the Parisian geometric style to the crisp, angular patterns of the zig-zag, jazz-age, streamlined aesthetic of the 1930s. Alastair Duncan organizes his subject into three main categories: the first features work by avant-garde sculptors (Csaky, Janniot, Pompon, etc), often as pièces uniques or small editions; the second shows commercial sculpture, comprising mainly large-edition statuary, commissioned as decorative works for the burgeoning 1920s domestic market; while a final, third category covers architectural and monumental sculpture from West and Eastern Europe, Scandinavia, North America, Brazil and beyond. With artists’ biographies and details of manufacturers, a full glossary and a thematic index, this volume is the essential and authoritative guide for all those interested in the Art Deco style, from the amateur collector of animalier sculpture to professional historians of the period.

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International Tables for Crystallography is the definitive resource and reference work for crystallography and structural science. Each of the eight volumes in the series contains articles and tables of data relevant to crystallographic research and to applications of crystallographic methods in all sciences concerned with the structure and properties of materials. Emphasis is given to symmetry, diffraction methods and techniques of crystal-structure determination, and the physical and chemical properties of crystals. The data are accompanied by discussions of theory, practical explanations and examples, all of which are useful for teaching. Volume E covers the standard nomenclature and representations for the 7 crystallographic frieze-group types, the 75 crystallographic rod-group types and the 80 crystallographic layer-group types. The information tabulated for these groups is identical in format and content to that given for the 230 space groups in Volume A, and is essential for the analysis of the structure and physical properties of crystalline materials that contain linear or planar substructures. In addition, scanning tables are given for each of the 230 space groups, designed for use in the analysis of interfaces. This second edition of Volume E has been revised and includes additional information in the comparison tables of notations for the subperiodic group types to improve ease of use. The Seitz notation of each symmetry operation has also been included.More information on the series can be found at: http://it.iucr.org

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A provocative and challenging new conceptual framework for the study of images This book builds on the groundbreaking theoretical framework established in Whitney Davis's acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture. Davis argues that pictoriality--the depiction intended by its maker to be seen--emerges at a particular standpoint in space and time. Reconstruction of this standpoint is the first step of the art historian's craft. Because standpoints are inherently mutable and mobile, pictoriality constantly shifts in form and possible meaning. To capture this complexity, Davis develops new concepts of radical pictorial ambiguity, including "bivisibility" (the fact that pictures can always be seen in ways other than intended), pictorial naturalism, and the behavior of pictures under changing angles of view. He then applies these concepts to four cases--Paleolithic cave painting; ancient Egyptian tomb decoration; classical Greek architectural sculpture, with a focus on the Parthenon frieze; and Renaissance perspective as invented by Brunelleschi. A profound new theory of the work of both makers and viewers by one of the discipline's most esteemed and engaged thinkers, Visuality and Virtuality is essential reading for art historians, architects, archaeologists, and philosophers of art and visual theory.

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An authoritative new publication that revisits Munch’s work in its entirety. Edvard Munch occupies a pivotal place in artistic modernity. His work is permeated by a singular vision of the world, with a powerful symbolist dimension that goes beyond the masterpieces he created in the 1890s, and which gives his art a great coherence. For Munch, humanity and nature were united in the cycle of life, death and rebirth, which is reflected in the unending recurrence of certain motifs and colour combinations in his work. He wrote: ‘These paintings, which are, admittedly, relatively difficult to understand, will be […] easier to grasp if they are integrated into a whole.’ Published to accompany the major exhibition at the Musée d’Orsay, Edvard Munch: A Poem of Life, Love and Death presents about a hundred works – paintings, drawings, prints and engraved blocks – reflecting the diversity of Munch’s practice. Seven essays explore the artist in his philosophical and scientific milieu and the places that shaped the man and his art, as well as offering a rare glimpse of Munch’s attempts at creative writing. They also examine the historical evolution of his monumental Frieze of Life series and the world-famous Scream. This publication invites readers to revisit the painter’s work in its entirety by following the thread of an ever-inventive pictorial thinking: a vision that is both fundamentally coherent, even obsessive, and at the same time constantly renewed.

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"The book is an impressive work of scholarship" – Studio International "Richard set about to produce a study of distribution networks, and achieved this through immaculate and thorough research. It is no criticism of the book to say that there are many questions left unexplored ... As scholars of the future think through these and other questions, they will remain grateful to Richard’s extraordinary and meticulous scholarship." – Mark Godfrey, Frieze Emerging in the late 1960s, conceptual art was spurred by a network of artists, dealers, curators and critics. These little-known connections are detailed for the first time in this highly significant volume. By focusing on 15 artists – including Marcel Broodthaers, Richard Long, Lawrence Weiner, Hanne Darboven and Daniel Buren – and a specific network of dealer-galleries, private and public institutions and collectors around them, author Sophie Richard documents the role of art dealers in the development of conceptual art – which ultimately led to the structure of today's art world. We learn how conceptual artworks entered private collections and public institutions, how value was conferred to them, and the distribution networks that drove these artists' success. A detailed account of artistic activity in the decade 1967–77 is accompanied by extensive and previously unpublished data, charting the exhibitions and sales of conceptual works. The relationships, support structures and strategies of dealer-galleries – such as Konrad Fischer, Wide White Space and Lisson Gallery – are revealed and make fascinating reading. Including numerous interviews with key figures of the period, 'Unconcealed' exposes the new dealing, curatorial, collecting and teaching methods formed in this decade that continue to be critical to today’s art world.

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Step into the world of Frida Kahlo: behind the portraits and the surrealist art discover the fascinating woman who has transfixed the world.Fridamania has made Frida Kahlo's image ubiquitous: she has been reborn as a Halloween costume, Barbie doll, children's book character, textile print, phone cover and the inspiration for everything from cocktails to fashion shoots. But it is more difficult to get a clear vision of this bold and brilliant, foul-mouthed, heavy-drinking, hard-smoking, husband-stealing, occasionally bisexual, often bed-bound, wheelchair-using, needy, forthright and passionate woman. Hettie Judah sets out to correct that with this superb biography of one of the most charismatic artists of the last hundred years.Follow Frida's life through tumultuous love and life-altering accidents, towards recognition in the art world from the likes of André Breton and Marcel Duchamp, to becoming the first Mexican artist held at the Louvre. Judah delves into Kahlo's experiences and how these came together to inspire the art that has been described as an uncompromising depiction of the female experience and form. From an early battle with Polio, to a debilitating bus accident at 18, through love and heart ache, the life of Frida Kahlo was one of pain but a pain that bore great beauty.Hettie Judah is a contributing writer for publications including the Guardian, Vogue, The New York Times, Frieze and Art Quarterly.Lives of the Artists is a new series by Laurence King. Concise, highly readable biographies of some of the world's greatest artists written by authoritative and respected names from the world of art. Learn about the artist behind the masterpieces.Currently available: Andy Warhol and Artemisia Gentileschi

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Image of Britain 2, originally published in 1961, was the second of two special numbers of The Texas Quarterly devoted to Britain. This volume comprises some three dozen selections—essays, fiction, poetry, and illustrations, most of them specially commissioned. The editorial aim has been to achieve scope and variety.The articles, essays in criticism on British themes, for the most part survey literature and the fine arts: poetry, theater, intellectual review, then-recent translations into English, the flood of military memoirs, British humor, architecture, painting and sculpture, and music. Other essays treat individual authors, among them Shakespeare, Trollope, Galsworthy, Forster, Wells, Yeats, Pound, Shaw, Muir, Green, Snow, Waugh, Amis, and Pinter.All except a handful of the essayists are British. There is much to be said for inviting the forthright and brilliantly self-critical to comment extensively on their own literature and art. Stephen Spender and John Lehmann, two of Britain’s most distinguished editors, deal with British literary matters, both international and domestic; the novelist David Garnett discusses George Moore, Galsworthy, Forster, and H. G. Wells—the men and their works; and the poet Kathleen Raine appraises the verse of Edwin Muir.Like the essayists, the contributors of fiction and poetry include the emerging and already noteworthy—Ted Hughes, Peter Redgrove, and Andrew Sinclair, for example—as well as the firmly established and celebrated, such as Angus Wilson, Stephen Spender, and Joyce Cary. Cary’s short story “The Ball” appeared here in print for the first time.The photographer Hans Beacham, who visited England at the Quarterly’s invitation, contributed a gallery of portraits of important British painters and sculptors. The photographs complement David Sylvester’s article on contemporary British art. In addition, Edward Bawden’s drawings of the British scene run like a charming frieze throughout this number.

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Richard Long has been at the forefront of land art for more than half a century. A pioneer of conceptual practices in the 1960s, his expanded approach to sculpture has consistently taken the medium out of the studio into the natural world and around the globe, using time, space, distance, navigation, perception, the elements and the geological forces that have shaped the landscape around us as both his tools and his vocabulary. Many Rivers to Cross is a thorough overview of Long's career, selected by the artist himself and spanning the late 1960s to the present day. It covers his practice in all its forms – walks, photographs, text works, large installations, mud works and drawings, including some early unpublished works as well as many seminal and celebrated projects. A number of short ‘back stories’ written by Long not only provide insight into the context and creation of key works, but also evoke the sense of freedom and adventure of an epic journey across foreign landscapes. Texts include a recent conversation between Long and internationally acclaimed composer and musician Nitin Sawhney; a dialogue about the recreation of Muddy Water Circle (1994) at Frieze Masters in London with Lisson Gallery in 2013; and a discussion with curator Alkistis Dimaki on the occasion of the presentation of Athens Slate Line at the Acropolis, Athens, in summer 2020. The book also includes documentation of works presented internationally in museums and galleries. Using earth, rocks, sticks and other natural materials and forces ranging from water and gravity to clouds and constellations of stars, over the course of his distinguished career Long has represented the primal relationship between humankind, art and the landscape. In a modern, post-industrial, digital world, his poetic and often profound practice is a poignant reminder of the origins of life, of human development and civilization, and of the fundamental, primordial drive to create.

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Following the success of The Anomie Review of Contemporary British Painting in 2018, a second volume has been created to showcase more than sixty solo exhibitions that have defined contemporary painting in Britain since the first volume.This new, larger anthology presents the work of sixty artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries around Britain and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists staging some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 2 offers an overview of recent activity in the medium of painting in Britain.Artists and venues featured in this new volume include Hurvin Anderson at Rat Hole Gallery, Tokyo; Lisa Brice at Stephen Friedman Gallery, London; Gareth Cadwallader at Josh Lilley, London; Denzil Forrester at Nottingham Contemporary; Sophie von Hellermann at Pilar Corrias, London; Matthew Krishanu at Midlands Arts Centre, Birmingham; Joy Labinjo at BALTIC, Gateshead; France-Lise McGurn at Simon Lee, London; Benjamin Senior at BolteLang, Zurich; Anj Smith at MOSTYN, Llandudno; Tim Stoner at Modern Art, London; and Phoebe Unwin at Towner Eastbourne.The anthology, which features cover artwork by Jadé Fadojutimi from her spring 2019 solo exhibition at PEER, London, has been compiled and written by London-based editor and writer Matt Price, who in addition to editing more than fifty monographs, catalogues and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and D2, has written for magazines such as Art Monthly, Art Quarterly, ArtReview, Flash Art, Frieze and Modern Painters.Endorsements for the first volume of The Anomie Review of Contemporary British Painting:"This insightful, richly illustrated anthology is a celebration of an artistic medium that is not only surviving but positively thriving. In discussing the work of [...] diverse painters, author Matt Price proves a passionate and engaging artworld guide to British painting today." - Helen Sumpter, Editor, Art Quarterly, ART FUND"It is hard to believe that nobody has thought to publish an anthology of this sort before, so valuable is it to current and future curators, artists and scholars, as well as audiences interested in the medium. A highly enjoyable read." - Charlotte Keenan McDonald, Curator of British Art, Walker Art Gallery / National Museums Liverpool.

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A stunning social history of British rap and grime by one of the nation's foremost cultural chroniclers.'A stunning exploration of a genre, a movement and a world. It's every bit as lyrical as the rap Ekpoudom has documented.'CANDICE CARTY-WILLIAMS, author of Queenie'Illuminating and intimate. Ekpoudom's prose is rhythmic and deft but also crackles with joy. I know I'll be reading it for years to come.'CALEB AZUMAH NELSON, author of Small Worlds'[An] engaging, erudite, sweeping social history of grime in Britain . . . The writing is sublime.'GARY YOUNGE, NEW STATESMAN'Brims with life and reverberates, long after you have closed its pages, with a quiet, lasting power.' EVENING STANDARD'Ekpoudom is, hands down, one of Britain's best music writers, as attested by his new book, Where We Come From, a kaleidoscopic, state-of-the-nation social and cultural history.' THE FACE***I met people who never quite fit in where they were supposed to, who found solace, salvation and meaning in these sounds, these words.Something is happening in Britain, trembling the tracks as it unfolds. Recent years have borne witness to underground genres leaking out from the inner cities, going on to become some of the most popular music in the nation.In this groundbreaking social history, journalist Aniefiok Ekpoudom travels the country to paint a compelling portrait of the dawn, boom and subsequent blossoming of UK rap and grime. Taking us from the heart of south London to the West Midlands and South Wales, he explores how a history of migration and an enduring spirit of resistance have shaped the current realities of these linked communities and the music they produce. These sounds have become vessels for the marginalised, carrying Black and working-class stories into the light.Vividly depicted and compassionately told, Where We Come From weaves together intimate stories of resilience, courage and loss, as well as a shared music culture that gave refuge and purpose to those in search of belonging. Ekpoudom offers a rich chronicle of rap, identity, place and, above all, the social and human condition in modern Britain.***'Where We Come From emerges as more than just a historical account; it's a mixtape and a comprehensive journey through Britain told from the perspective of the people who have spent the past seventy years shaping the culture.' FRIEZE'A rousing, inspiring, often breathtaking history that reads with the flow of a magnificent novel. Ekpoudom is one of the very finest chroniclers of black British culture.'MUSA OKWONGA, author of One Of Them'A landmark work that will undoubtedly shape conversations about not just UK rap and grime, but British music for years to come.'YOMI ADEGOKE, author of The List

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Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021.Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks.Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby’s practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously."The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group.Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

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Jadé Fadojutimi: Jesture is a publication produced by Pippy Houldsworth Gallery to accompany the second solo exhibition at the gallery of new paintings by London-based artist Jadé Fadojutimi, presented in autumn 2020.The word "Jesture" in the title of the exhibition and publication evokes a sense of the absurd, responding to the disruption of daily rhythms arising from forced isolation during lockdown. Central to Fadojutimi's practice is a repeated questioning of identity, its fluid nature and how the understanding of notions of pleasure, desire and choice are integral to a sense of self. Addressing the exchange between an individual and their environment, the vivid choices of colour and form derive from the associative qualities of the special items that capture her attention and the memories they invoke.Fadojutimi's studio is filled with objects, drawings and writings that evoke nostalgic pleasure. Powerful memories, experienced whilst listening to film, animation and video game soundtracks, transport Fadojutimi to the first time she encountered them, eliciting a response that is experienced through intense colour. The synthesis of these various influences, through which Fadojutimi understands her sense of self, is transformed into large-scale gestural paintings charged with energy and emotion.Described by Fadojutimi as "environments", these complex compositions, neither wholly abstract nor figurative, are built up with layers of oil paint, interrupted by the more linear mark-making made possible by her recent adoption of oil pastels. The introduction of new materials into her painting has enabled Fadojutimi to think more broadly about palette, composition and depth, while translating the spontaneity of her drawing on to the canvas.In her essay for the publication, From Life - Thoughts on the paintings of Jadé Fadojutimi, writer, critic and editor-at-large of frieze magazine Jennifer Higgie writes: "In these paintings, the world, in all of its chaotic glory, exists as an intimation. Art is not an explanation: it's a shot of energy, a flash of colour; a shimmer, a reaction, a line thrown out to see who might pick it up. Pictures are made by people and, like people, their tone can switch direction in the blink of an eye. A painting is a very human thing: they're allowed to be messy. Jadé tells me that her aim is for "deep emotion, not deep description"."This, the artist's first published book, designed by A Practice for Everyday Life and printed by PUSH, London, has been co-published by Pippy Houldsworth Gallery, London, and Anomie Publishing, London.Jadé Fadojutimi (b.1993) lives and works in London. She earned a BA from The Slade School of Fine Art, London, in 2015 and an MA from the Royal College of Art, London, in 2017. After Pippy Houldsworth Gallery took on representation of the artist and presented her first solo exhibition in 2017-18, she had her first one-person institutional show at PEER UK, London in 2019. Acquisitions by Baltimore Museum of Art, ICA Miami, Tate, and a promised gift to Dallas Museum of Art followed soon after. She had her first solo exhibition in Germany with Galerie Gisela Capitain, Cologne, in 2019 and will have her first solo exhibition in Japan with Taka Ishii Gallery, Tokyo, opening March 2021. Fadojutimi has been selected to participate in Liverpool Biennial 2021. Her first solo US museum exhibition will be presented at ICA Miami, opening in November 2021. She will also have a solo exhibition of new work at The Hepworth Wakefield in 2021.

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