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Frieze Susannah: The Artist Box: Frida
Kahlo

The Artist Box: Frida Kahlo

Flame Tree Bookmarks

L.S. Lowry: Gentleman Looking at Something Bookmarks (pack of 10)

Back in print in an expanded edition, this richly illustrated survey of Christo and Jeanne-Claude’s career celebrates the twentieth anniversary of their acclaimed Gates project

On the Way to The Gates, Central Park, New York City: 20th Anniversary Edition

Christo and Jeanne-Claude

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

Judy Tuwaletstiwa: Mapping Water (Reprint)

"Lavishly illustrated and filled with rich new insights that are the product of decades' worth of research, Cubism and Reality challenges the commonly-held view of Cubism as either a retreat from reality into abstraction, arguing instead that Georges Braque, Pablo Picasso, and Juan Gris wanted to find ways of intensifying and expanding painting's capacity to give viewers more, not less, of their lived experience of the world. It explores how Cubist artworks ask us to reflect on visual art's relationship to everyday visual experience, tackling a fundamental issue that has preoccupied artists and critics for over a century: the survival of hand-made representational artworks in the epoch of photography, film and, in the present age, digital reproduction"--

What was Cubism? How did this strange new way of making paintings and sculptures enable artists so decisively to change the trajectory of ‘Modern Art’? In responding to these questions, distinguished art historian Christopher Green presents a bold new interpretation of the movement and three of its key protagonists.
 
Stemming from a critical re-evaluation of the author’s own first responses to Cubist artworks, as a student of the late artist and critic John Golding, Cubism and Reality challenges the commonly-held view of Cubism as either a retreat from reality into abstraction, or an invitation to convert the real into the ‘surreal’, arguing instead that Georges Braque, Pablo Picasso, and Juan Gris wanted, above all, to find ways of intensifying and expanding painting’s capacity to give viewers more, not less, of their lived experience of the world.

Lavishly illustrated and filled with rich new insights and approaches to the artwork that are the product of decades’ worth of research, Green argues that, for the three artists, ‘reality’ was not objectively always there, but was created by their own perceptions, and could be transformed by their imaginations. The artwork becomes not merely a dead material fact, but somewhere into which wishes, lived experiences and memories can enter – ours, over a century later, as well as theirs. Green explores how Cubist artworks ask us to reflect in far-reaching ways on visual art’s relationship to everyday visual experience and questions how it is that we still believe that drawings, paintings and sculptures can represent the world as we see and know it. In doing so Cubism and Reality tackles a fundamental issue that has preoccupied artists, critics and art enthusiasts for over a century, well into our present age: the survival of hand-made representational artworks in the epoch of photography, film and, latterly, digital reproduction.

Braque, Picasso, Gris

Cubism and Reality

A Portrait of John Singer Sargent

Beyond Beauty

'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

An art book about art that has a purpose, focusing on work by Quentin Blake that has been commissioned for a particular place or for a particular use. Illustration is the most accessible visual artform and one that is used in all aspects of life; as Quentin Blake says, 'it is, if you like, a vernacular; it's a language that everybody understands. They may look at it and not think that they're looking at art, but it's having the effect on them of art. It's a language that everybody can read, so to speak.' The work here shows Quentin using this vernacular to great effect and for very different purposes. In 2007 when Elizabeth II was opening the new Eurostar at St Pancras, Quentin was asked to hide an unsightly building across the road. He drew a 2-colour illustration on his drawing board showing a cast of characters that you might meet on a London Street; this was then blown up large enough to wrap a five-storey building. Since then he has found other opportunities for site specific work. Here are beautiful drawings of new-borns, mothers and fathers in a maternity hospital in France. Some images were etched, larger than life-size, on the external glass of the building as well as used in corridors and delivery suites. Most recently Quentin has done a series of drawings of everyday life for the family rooms for prisons across the UK. And charities have benefited from Quentin's enjoyment of drawing for a purpose; the Roald Dahl Marvellous Charity's logo and cards; for Comic Relief's two virtual pantomimes during lockdown, he drew the scene changes for Cinderella and Beauty and the Beast which were then auctioned; he created a rainbow for the NHS trust mug, and posters for Islington Libraries to encourage reading. All these and more are featured in this charming book, which opens with a foreword by Quentin Blake, and includes photographs of him at work.

Not for Art's Sake

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

A Book of Friendship, Love and Kindness

You and Me

The first book to concentrate on the early ceramic work of 'Transvestite Potter', bestselling author, broadcaster and social commentator Grayson Perry. Grayson Perry is one of today's most popular artists, known for his flamboyant persona and playful pots. For the first time, this book explores Perry's artistic origins through the artworks that made his name in the years 1982-94, exploring his role as commentator on contemporary culture and the emergence of his own identity as 'the Transvestite Potter'. The book includes an essay by Grayson Perry in which he looks back on this period of his life.

Grayson Perry: The Pre-Therapy Years

Masterpieces of Art

Paul Nash, the British landscape and Surrealist painter, lived through both the First and Second World Wars. His depictions of these human catastrophes, with their damaged landscapes and broken machinery are much remembered today. This new book offers 100 powerful images, with an introduction to his life and art.

Paul Nash Masterpieces of Art

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

The Artist Box: Frida Kahlo

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