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A long overdue evaluation of John Walker's work from the last half century.

John Walker

From Duchamp to Bourgeois, Harrison's curation of 20th-century sculpture looks at the study of the human bodyGuided by a desire to illuminate and inspire reflection on the sculptural form, Dominique Lévy of LGDR invited American artist Rachel Harrison (born 1966) to curate a presentation of 20th-century sculpture. The exhibition that emerged comprises a group of works that consider Modernism's devotion to that most fundamental of subjects: the human figure. Stage Fright features works by Louise Bourgeois, Constantin Brâncusi, Marcel Duchamp, Marisol, Alberto Giacometti and Alina Szapocznikow that represent the body in extremis--shown ruptured in pieces or pared down to the essentials. The individual pieces act as surrogates that stand in for the whole. Taken together, the works on view embody various conceptions of personhood as routed through objects, whether rendered with aching specificity, as in the clefts and folds of Szapocznikow's plaster Ventre (Belly) (1968), or invoked as a generic type, as in Marisol's totemic couple The Blacks (1962). Richly illustrated with installation views from the exhibition, Stage Fright features a new text by Harrison--framed as a dialogue between filmmaker Alfred Hitchcock and figure skater Peggy Fleming--that critically examines the presentation and the artist's own practice and approach.

From Duchamp to Bourgeois, Harrison’s curation of 20th-century sculpture looks at the study of the human bodyGuided by a desire to illuminate and inspire reflection on the sculptural form, Dominique Lévy of LGDR invited American artist Rachel Harrison (born 1966) to curate a presentation of 20th-century sculpture. The exhibition that emerged comprises a group of works that consider Modernism’s devotion to that most fundamental of subjects: the human figure. Stage Fright features works by Louise Bourgeois, Constantin Brâncusi, Marcel Duchamp, Marisol, Alberto Giacometti and Alina Szapocznikow that represent the body in extremis—shown ruptured in pieces or pared down to the essentials. The individual pieces act as surrogates that stand in for the whole. Taken together, the works on view embody various conceptions of personhood as routed through objects, whether rendered with aching specificity, as in the clefts and folds of Szapocznikow’s plaster Ventre (Belly) (1968), or invoked as a generic type, as in Marisol’s totemic couple The Blacks (1962). Richly illustrated with installation views from the exhibition, Stage Fright features a new text by Harrison—framed as a dialogue between filmmaker Alfred Hitchcock and figure skater Peggy Fleming—that critically examines the presentation and the artist’s own practice and approach.

Rachel Harrison's Stage Fright

Francis Bacon Studies

The fifth volume in the acclaimed Francis Bacon Studies series, published under the aegis of The Estate of Francis Bacon.

Francis Bacon Retrieved - Lost Words / New Writing

In his time, the Austrian American composer Arnold Schoenberg (1874-1951) was an international icon. His twelve-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini finally restores Schoenberg to his rightful place in the canon, revealing him as one of the twentieth century's most influential composers and teachers. Sachs shows how Schoenberg, a thorny character who composed thorny works, raged against the "Procrustean bed" of tradition. Defying his critics-among them the Nazis, who described his music as "degenerate"-he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesising Wagnerian excess with Brahmsian restraint, created a shock wave that never quite subsided and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present or future of Western music.

Why He Matters

Schoenberg

Ruth Duckworth delivers an extensive, thoughtful monograph on the artist’s entire body of work with new scholarship, exquisite reproductions, and the complete cooperation of the Duckworth Estate.This book firmly establishes the artist in the pantheon of&nbsp;twentieth-century sculptors, in a class with Barbara Hepworth and Henry Moore.&nbsp;Duckworth referred to herself not as a potter or ceramicist, but as a sculptor with clay,&nbsp;and this volume takes her at her word, foregrounding her sculptural production. As&nbsp;Emmanuelle Cooper wrote in her obituary: “In both her life and work, Duckworth’s&nbsp;background was one of non-conformity. In Germany, as a young girl, she risked prosecution by defacing a Nazi monument and resented being unable to attend art school because her father was Jewish. Most challenging of all was her determination to gain international respectability as a sculptor working primarily in clay.

Ruth Duckworth delivers an extensive, thoughtful monograph on the artist’s entire body of work with new scholarship, exquisite reproductions, and the complete cooperation of the Duckworth Estate.This book firmly establishes the artist in the pantheon of&nbsp;twentieth-century sculptors, in a class with Barbara Hepworth and Henry Moore.&nbsp;Duckworth referred to herself not as a potter or ceramicist, but as a sculptor with clay,&nbsp;and this volume takes her at her word, foregrounding her sculptural production. As&nbsp;Emmanuelle Cooper wrote in her obituary: “In both her life and work, Duckworth’s&nbsp;background was one of non-conformity. In Germany, as a young girl, she risked prosecution by defacing a Nazi monument and resented being unable to attend art school because her father was Jewish. Most challenging of all was her determination to gain international respectability as a sculptor working primarily in clay.

Ruth Duckworth

At the heart of the influential Bloomsbury Group, Vanessa Bell was one of the most radical artists working in Britain in the first decades of the twentieth century

The Life and Art of a Bloomsbury Radical

Vanessa Bell

Penguin Modern Classics

A rich, thought-provoking collection of essays, critiques and interviews from the influential author of Ain't I a Woman and All About Love'If one could make a people lose touch with their capacity to create, lose sight of their will and their power to make art, then the work of subjugation, of colonization, is complete. Such work can be undone only by acts of reclamation.'In a collection of essays, critiques and interviews, bell hooks responds to the ongoing dialogues about producing, exhibiting and criticising art and aesthetics in a world increasingly concerned with identity politics. hooks shares her own experience of the transformative power of art whilst exploring topics ranging from art in education and the home to the politics of space and imagination as a revolutionary tool. She positions her writings on visual politics within the ever-present question of how art can be empowering within the Black community. Speaking with artists such as Carrie Mae Weems and Alison Saar, and examining the work of Jean-Michel Basquiat and Felix Gonzalez-Torres, Art on My Mind is a generous and expansive body of work that has become increasingly relevant since it was first published in 1995. Here is an essential tool for understanding the contemporary moment, and a fundamental text for any reader concerned with making and sustaining a democratic artistic culture.

A rich, thought-provoking collection of essays, critiques and interviews from the influential author of Ain't I a Woman and All About Love ‘If one could make a people lose touch with their capacity to create, lose sight of their will and their power to make art, then the work of subjugation, of colonization, is complete. Such work can be undone only by acts of reclamation.’ In a collection of essays, critiques and interviews, bell hooks responds to the ongoing dialogues about producing, exhibiting and criticising art and aesthetics in a world increasingly concerned with identity politics. hooks shares her own experience of the transformative power of art whilst exploring topics ranging from art in education and the home to the politics of space and imagination as a revolutionary tool. She positions her writings on visual politics within the ever-present question of how art can be empowering within the Black community. Speaking with artists such as Carrie Mae Weems and Alison Saar, and examining the work of Jean-Michel Basquiat and Felix Gonzalez-Torres, Art on My Mind is a generous and expansive body of work that has become increasingly relevant since it was first published in 1995. Here is an essential tool for understanding the contemporary moment, and a fundamental text for any reader concerned with making and sustaining a democratic artistic culture.

Visual Politics

Art on My Mind

A Life of Paul Gauguin

Wild Thing

A survey of recent paintings, characterized by gestural bravado and vigorous colorways, from the kinetically minded abstract artistLos Angeles-based multimedia artist Aaron Garber-Maikovska (born 1978) works across painting, drawing, performance and video--interconnected modes of communicating a vernacular of somatic expression. Maikovska is best known for his bold abstract paintings of geometric forms and his drawings of galvanic linework. Using the artist's own body as a catalyst for investigation, the works, produced between 2017 and 2023, are corporeal articulations yielded from a mantralike exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world. This first monograph of the artist's work includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring the depth and delight in his paintings, an in-depth interview between the artist and Orit Gat, in an immersive exploration of his multifaceted practice.

A survey of recent paintings, characterized by gestural bravado and vigorous colorways, from the kinetically minded abstract artistLos Angeles–based multimedia artist Aaron Garber-Maikovska (born 1978) works across painting, drawing, performance and video—interconnected modes of communicating a vernacular of somatic expression. Maikovska is best known for his bold abstract paintings of geometric forms and his drawings of galvanic linework. Using the artist’s own body as a catalyst for investigation, the works, produced between 2017 and 2023, are corporeal articulations yielded from a mantralike exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world. This first monograph of the artist’s work includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring the depth and delight in his paintings, an in-depth interview between the artist and Orit Gat, in an immersive exploration of his multifaceted practice.

Aaron Garber-Maikovska: Cushion of Air

'A beautifully written memoir by one of the most important and original artists working today . . . utterly gripping, enraging, entertaining - and important. I can't recommend it highly enough' Jennifer Higgie A sparkling memoir and portrait of trailblazing artist Liliane Lijn as a young woman In 1958, talented and fearless and eighteen years old, Liliane Lijn left her family home and moved to Paris alone to become an artist. Once there, she found an art world filled with the wild energy of creative revolution - peopled and controlled almost entirely by men. In the years that followed, Lijn built a life for herself in the city. She embraced the hectic bohemian spirit of the Left Bank. She befriended artists, painters, poets, gallerists and revolutionaries, as the late Surrealists gave way to a burgeoning Pop Art movement. She had disastrous love affairs with difficult men. She experimented boldly, creating ground-breaking sculptures with light, text and movement. And as her profile steadily grew, she was told again and again that there are no great women artists: 'There never have been.' Liquid Reflections is her memoir of these years of experiment and adventure - years when Lijn was constantly in motion, from Paris to New York to Venice to Athens, from paper and canvas to wax and Perspex to oil and water. In love, she became pregnant but rebelled against the idea that a woman could not be both a great artist and a mother. And she sought - and found - radical pleasure in the act of creative expression and in the living, sensuous world around her. Based on personal diaries from the time, this is a riveting and revelatory account of a singular coming of age: a glittering portrait of the artist as a young woman. 'I wrote LIQUID REFLECTIONS because I wanted to take my readers on the journey I made to become an artist. It's the story of an idealistic, inspired young woman who refuses to accept the prejudices of her time. Becoming an artist was also a search for my own identity...' Liliane Lijn

Liquid Reflections

A Timesand Sunday Times Book of the YearA Wall Street Journal Book of the YearA SpectatorBook of the YearA Times Literary Supplement Book of the YearA New Yorker Book of the Year¿Some called it a craze. To others it was a cult. Join prize-winning historian Kathryn Hughes to discover how Britain fell in love with cats and ushered in a new era.

Feline Enchantment and the Making of the Modern World

Catland

Arlene Shechet: Girl Group

This study overhauls canonical accounts of Surrealism, demonstrating how one woman artist expanded its activity and expression in bold new ways for the modern age

A Surrealist World

Dorothea Tanning

John Walker

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