This is the first book to look at an increasingly popular form of street art: the "wheatie" or wheat paste-up. Many street artists don't graffiti or stencil any more but use pre-prepared paper images that can be taken down, thereby avoiding a vandalism charge.
The book will show the work of 20 artists, with photographs of their work, an article about their work, and a fold-out paste-up. The fold-out pages are perforated so they can easily be removed. Some of the paste-ups will be laser cut with attaching tags so they can be popped out. There's also an introductory interview with cult street artists Sten & Lex.
The seminal artist's recent art and poster works, and his triumphant return to his street-art roots with murals, all in work never before published. Shepard Fairey rose out of the skateboarding scene, creating his "Andre the Giant Has a Posse" sticker campaign in the late '80s, and has since achieved a mainstream recognition that most street artists never find. Fairey's "Hope" poster, created during Obama's 2008 presidential campaign, is arguably the most iconic American image since Uncle Sam. Fairey has become a pop-culture icon himself, though he has remained true to his street-art roots. OBEY: Covert to Overt showcases his most recent evolution from works on paper to grander art installations, cross-cultural artworks, and music/art collaborations. The book also includes his ubiquitous streetwear and chronicles his return to public artworks. His signature blend of politics, street culture, and art makes Fairey unlike any other subculture/street artist working today.
This book showcases the significant amount of art he has created the last several years: street murals, mixed-media installations, art/music events, countless silk screens, and work from his extremely successful OBEY brand.
Acquiring contemporary art is about passion and lust, but it is also about branding, about the back story that comes with the art, about the relationship of money and status, and, sometimes, about celebrity. The Supermodel and the Brillo Box follows Don Thompson's 2008 bestseller The $12 Million Stuffed Shark and offers a further journey of discovery into what the Crash of 2008 did to the art market and the changing methods that the major auction houses and dealerships have implemented since then. It describes what happened to that market after the economic implosion following the collapse of Lehman Brothers and offers insights and art-world tales from dealers, auction houses, and former executives of each, from New York and London to Abu Dhabi and Beijing. It begins with the story of a wax, trophy-style, nude upper-body sculpture of supermodel Stephanie Seymour by Italian artist Maurizio Cattelan, which sold for $2.4 million to New York uber-collector and private dealer Jose Mugrabi, and recounts the story of a wooden Brillo box that sold for $722,500. The Supermodel and the Brillo Box looks at the increasing dominance of Christie's, Sotheby's, and a few uber dealers; the hundreds of millions of new museums coming up in cities like Dubai, Abu Dhabi, and Beijing; the growing importance of the digital art world; and the shrinking role of the mainstream gallery.
Images of nearly all Bruce Nauman's signs and room installation using neon and fluorescent light, from Window or Wall Sign (1967) to the monumental One Hundred Live and Die (1984), accompanied by interpretive essays.
Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, Window or Wall Sign, in 1967. He wanted, he said, to achieve an art that would kind of disappear--that was supposed to not quite look like art. Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. Elusive Signs focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After Window or Wall Sign, Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with My Name as Though it Were Written on the Surface of the Moon (1968), he forces the viewer to contemplate the role of naming in forming identity. Language--signs and symbols--plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as Run from Fear, Fun from Rear (1972). This series culminates in the monumental, billboard-size One Hundred Live and Die (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In incisive essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career. Distributed for the Milwaukee Art Museum.
Over the last three decades, the visual artist William Kentridge has garnered international acclaim for his work across media including drawing, film, sculpture, printmaking, and theater. Rendered in stark contrasts of black and white, his images reflect his native South Africa and, like endlessly suggestive shadows, point to something more elemental as well. Based on the 2012 Charles Eliot Norton Lectures, Six Drawing Lessons is the most comprehensive collection available of Kentridge's thoughts on art, art-making, and the studio.
Art, Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and it cannot be purely understood in the rational terms of traditional academic disciplines. The studio is the crucial location for the creation of meaning: the place where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity. Drawing has the potential to educate us about the most complex issues of our time. This is the real meaning of "drawing lessons."
Incorporating elements of graphic design and ranging freely from discussions of Plato's cave to the Enlightenment's role in colonial oppression to the depiction of animals in art, Six Drawing Lessons is an illustration in print of its own thesis of how art creates knowledge. Foregrounding the very processes by which we see, Kentridge makes us more aware of the mechanisms--and deceptions--through which we construct meaning in the world.
Belgian artist, designer, and interior decorator Isabelle de Borchgrave has created exquisite paper dresses evoking high fashions from the courts of the Medici in the Renaissance to the legendary Fortuny silks of the early 20th century. Their historical authenticity, combined with their startling realism, caused an overnight sensation when they were first shown in France in 1998 as "papiers la mode." Since then, the dynamic, light-hearted collection has traveled all over the world to critical and popular acclaim.Paper Illusions does full justice to De Borchgrave's magical workshop, where paper is cut, folded, and painted on the way to being transformed into shimmering visions of beautiful clothing and luxurious living. In Rene Stoeltie's vivid photographs, figures from the history of style seem to breathe in atmospheric rooms, while details of color, pattern, and form jump off the page. It is a publishing event of unprecedented creativity, wit, and elegance.
INTRODUCING THE SECOND CULT MOVIE-ART BOOK FROM GALLERY 1988, ONE OF THE WORLD'S MOST TALKED ABOUT ART GALLERIES An impressive cult movie art collection, featuring art from Gallery 1988, a Los Angeles art gallery that focuses on pop-culture themed artwork. Be prepared to see your favourite cult movies as you've never seem them before This second volume of Cult Movie Art collects the best of the last two years of the show, with pieces inspired by Escape From New York, Shaun of the Dead, Ghostbusters, The Princess Bride, The Big Lebowski and many moreGallery 1988's annual cult movie-inspired Crazy 4 Cult art show has become a phenomenon. 2012's show moved from LA for the first time, with a triumphant opening in New York
Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton's practice. It will be extensively illustrated and will include essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.