The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.

The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.

The largest surviving portion of the first major collection of Classical antiquities in Britain - the sculptures and inscriptions collected in the early 17th century by Thomas Howard, Earl of Arundel for his London house and garden - is in the Antiquities Department of the Ashmolean Museum. This handbook tracks their eventful history.

From 1978 to 1993, the renowned Soviet "paper architects" Alexander Brodsky and Ilya Utkin created an incredible collection of elaborate etchings depicting outlandish, often impossible, buildings and cityscapes. Funny, cerebral, and deeply human, their obsessively detailed work layers elements borrowed from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precedents in etchings of breathtaking complexity and beauty. Back by popular demand following the sold-out original 1991 edition and 2003 reprint,Brodsky & Utkin presents the sum of the architects' collaborative prints and adds new material, including an updated preface by the artists' gallery representative, Ron Feldman, a new introductory essay by architect Aleksandr Mergold, visual documentation of the duo's installation work, and rare personal photographs.

Ruthless and passionate, Catherine the Great is singularly responsible for amassing one of the most awe-inspiring collections of art in the world and turning St. Petersburg in to a world wonder. The Empress of Art brings to life the creation of this captivating woman's greatest legacy