An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material.

Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 – the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centered around a text-based ‘conceptualism’.

The series moves with Stezaker’s changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker’s earliest film still collages with his most recent.

Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Börse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

A.S. Jasper’s memoir of growing up in the East End of London before the First World War was acclaimed as a classic when it was described by the Observer as ‘Zola without the trimmings.’ In this definitive new edition, it is accompanied by the first publication of the sequel detailing the author’s life in the cabinet-making trade, The Years After.
Illustrated with line drawings by James Boswell and Joe McLaren.

The essays range from biographical and career overviews to detailed analysis of specific aspects or themes that occur throughout Riley’s career. The selection reflects a rich body of work, which sustains the interest of important authors, as evidenced by multiple pieces by Éric de Chassey, Lynne Cooke, Robert Kudielka, Paul Moorhouse and Richard Shiff. Together, this volume of essays tells the story of an artist whose art has continuously evolved over nearly six decades.

Most of the critical texts have been written in close consultation with the artist, the result of long conversations, studio visits and archive access. Largely commissioned on the occasion of particular exhibitions, these essays track and trace Riley’s focus and influences at different moments in time. Each essay builds upon the next, with more recent authors clearly responding and referencing earlier discourse. The result is a collection of great breadth and cohesion.

An important resource, About Bridget Riley represents a monumental body of research and analysis by some of the most important art historians of today. It also offers the opportunity for the reader and the viewer to approach Riley from a plethora of perspectives to form their own view, much reflecting Riley’s own particular approach to art history. As John Elderfield puts it: ‘Effectively, Riley makes a pact with the viewer, through the medium of the painting, that they will collaborate in eliciting from a particular painting a particular sort of mobile visual array. And, when the viewer stops looking at the painting, it will therefore be as if leaving something that continues to go on.’

In the decade before his death in 2011, John Hoyland began to reckon with mortality. Confronting his own demise, he painted elegies to departed artist friends and tributes to illustrious artistic forebears. Imagery of the void looms large, but it is a void faced with defiance and vitality, less a rumination on the end than a celebration of life. This publication explores the paintings Hoyland made in this decade, including his final series, the Mysteries.

Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding offer a rich and multifaceted account of a complex body of work. Hoyland’s veneration of Vincent van Gogh, his connections to J.M.W. Turner, the use of black as a colour, his deployment of risk and attempts to subvert his own taste, and his development of the cosmic visual language of the Abstract Expressionists are all discussed. Richly illustrated, the book extends our understanding of Hoyland’s late work within the story of modern painting as a whole.

Explore England as you never have before, in this captivating travel book. From bustling London to the picturesque villages of the Cotswolds, experience charming streets, medieval towns, and authentic fishing villages.
Explore the locals’ favourite spots, from cosy pubs and traditional tea houses to charming bookstores and hidden gem shops. Our enchanting photos capture the authentic atmosphere of Good Old England and will surely captivate you. Dive into the old English hospitality and atmosphere and let yourself be seduced by England in all its beauty!

The book will coincide with the first Ashmolean NOW exhibition in Gallery 8, opening in July 2023. The Ashmolean NOW Program features exciting works by prominent early to mid-career artists based in the UK, seeking to attract new audiences interested in contemporary art. Artists who have established international reputations and emerging artists whose international status is anticipated with a strong degree of confidence are approached pro-actively. In addition to exhibiting their existing works, all artists are invited to create at least one new work as a response to the museum and/or its collections. This first exhibition presents two linked solo shows: paintings/drawings by Flora Yukhnovich, and paintings/drawings by Daniel Crews-Chubb. The double-sided style of the book will mirror the exhibition concept, while presenting itself as a unique, well designed object that has a life beyond the exhibition.

In this timely book, three noted fashion historians examine the global transformations in the fashion industry today, and identify the challenges of the future. Since the dawn of designer fashion at the beginning of the 20th century, the role and position of the designer has drastically changed. This book addresses how the interpretation of creativity, authorship, craft, and innovation have evolved in this new context, and asks what role designers play in a globalised and digitised fashion world.

During the 1890s and early 1900s Édouard Vuillard (1868–1940) produced a body of work that combines intimate subject matter with abstract form through the simplification of pictorial elements and observation of decorative fabrics and wallpapers. Through these devices he developed an art that is unashamedly decorative and yet always replete with subtle suggestions of deeper meanings. In balancing form and content, psychological drama and abstraction, his pictures are about as close to poetry as any artist’s, and all the more brilliant for their understatement and the near imperceptibility of their craft.

Illustrating many rarely seen paintings from private collections, this book offers a fresh look at the early career of this much-loved artist. Introduced by Chris Stephens, director of the Holburne Museum, and with an original essay by Belinda Thompson.

“The way we eat Indian food in this country changed forever the day The Cinnamon Club opened its doors, and we should all be, as I am, eternally grateful.” Giles Coren The Times
“The Cinnamon Club has always been more than a restaurant … Vivek Singh has established its place in the hospitality pantheon over a remarkable quarter of a century.” James Stagg The Caterer
Marking twenty five years of culinary brilliance, Spirit & Spice celebrates the extraordinary journey of chef Vivek Singh and his acclaimed restaurants. From the grandeur of The Cinnamon Club within the historic Old Westminster Library, to Cinnamon Kitchen, where the spices of the subcontinent meet the finest British ingredients, through to Cinnamon Bazaar, inspired by the bustling markets of the Old World, Vivek Singh’s fusion of Indian flavours with Western techniques has come to define modern Indian dining in London.
Photography by Jean Cazals accompanies signature recipes from the restaurants’ most popular dishes – many appearing in print for the very first time – interwoven with stories from the kitchen and reflections on 25 years in an ever-changing restaurant landscape. Spirit & Spice is a landmark celebration of one of Britain’s most influential restaurateurs, and the people, places, and plates that have shaped a gastronomic legacy.

Shim-Sutcliffe’s masterful work at Point William intertwines landscape and architecture with ancient rock and water reshaping and reimagining a site on the Canadian Shield over two decades. Found conditions and new buildings are interwoven and choreographed to create a rich spatial experience moving between inside and out. Kenneth Frampton provides an insightful introduction with selected images and his own sketches framing a way of seeing Point William for the reader. Michael Webb’s provocative interview with Brigitte Shim and Howard Sutcliffe describes their evolving vision for Point William and their two-decade journey towards its realisation. Acclaimed photographers Ed Burtynsky, James Dow and Scott Norsworthy contribute through their powerful images capturing the spirit of Point William through the seasons and over time.

City Lust is a timely dialogue between words and images about a crucial moment in our recent history: the apotheosis of globalisation and its current unravelling. In this book, Charlie Koolhaas – an artist, photographer, and writer – takes us to London, Guangzhou, Lagos, Dubai, and Houston, cities in which she has either lived or worked. Her personal and humorous account explores the rapid changes taking place in these culturally vastly different metropolises that are being united by the influences of global trade and the evolution of a shared global culture. A captivating combination of photographic documentary and written testimony, City Lust portrays a global landscape that contradicts the current pessimism to reveal unexpected creativities, connections, and collective references that emerge despite huge global and economic divides.

Kanal #2: Making is part two of a three-part journal by Atelier Kanal, a consortium formed by architecture firms EM2N (Zurich), noAarchitecten (Brussels), and Sergison Bates Architects (London and Zurich). It is dedicated entirely to the actual building for the Kanal arts and culture centre in Brussels—and the challenges that the architects, engineers, construction firms, and their client were facing during the construction process. The project is exemplary due to its scope and scale: repurposing, restoration, and partial demolition and rebuilding of the entire former Citroën garage with a floor space of 49,000 m2, including an iconic 21-m-high showroom.

The Kanal project is significant within contemporary architecture discourse because it touches on closely intertwined key topics: the task of transforming a notable existing building, the demand to minimise demolition and waste while the entire vast structure is repurposed completely, the revaluation of comfort standards in relation to public spaces and uses, and the newly constructed interventions required by the intended new purpose.

Kanal #2: Making explores these questions through texts and a wealth of visual material that played a core role in Atelier Kanal’s collaborative process. The book explains strategic considerations and investigates the challenges and risks inherent to such an undertaking, as well as the inspiring insights that working with an existing structure of this scale entails.

Also available is Kanal #1: Thinking ISBN 9783038605096.

The great World’s Fairs and Expositions staged around the world since the mid-19th century were among the largest and most dramatic cultural events ever staged. In both beneficial and detrimental ways, they affected the lives of tens of millions of people. Fair World tells the story of these extraordinary exhibitions from the Victorian period to the present day.

The British architect Tony Fretton has long been renowned as a pioneer of London’s architectural scene, winning many commendations and prizes for his buildings. Highlights include the Lisson Gallery in London, for which he attracted initial attention in 1990, as well as the Red House in London (2001) and the Danish Fuglsang Art Museum (2008).

The three parts of this comprehensive and conclusive monograph address all aspects of his creative oeuvre: including his buildings, sketches, project ideas and his non-architectural photographic work. The reserved design of this overall presentation reflects his own rational, unembellished work, which is inspired by each respective location.

On Charles II’s restoration to the throne in 1660, four of his supporters were provided with plots of land in a leafy suburb of London, on which to build their extravagant town palaces. The only one to survive – built for the poet and courtier Sir John Denham and now situated in the heart of Piccadilly – was to become the home of the Royal Academy of Arts, its exhibitions and its Schools. This important study charts the history of the estate through its various owners, including the 3rd Earl of Burlington, who gave the house not only its name but also its distinctive and influential architecture. In his day, the house was host to leading scholars and celebrities, who met within Burlington’s cutting-edge creation, which remains an unparalleled exemplar of the Palladian style in England. Former Director of Collections at the RA, Nicholas Savage examines 350 years of social and architectural history, as well as revealing the next phase in the life of the estate, as the Royal Academy opens up Burlington House as never before in an exciting redevelopment led by Sir David Chipperfield CBE RA to celebrate the institution’s 250th anniversary.

In Venice, on the Grand Tour in 1731, the future fourth Duke of Bedford met with the great art agent, Consul Joseph Smith. The commission he placed resulted in 24 of the greatest and most typical works of Canaletto. First installed in Bedford House London, they were moved to their splendid position in the Dining Room at Woburn in 1800, where they have remained ever since. Fully illustrated with many details, this publication marks the first time these paintings have been reproduced in colour. An extensive introduction by the leading Canaletto scholar Charles Beddington puts these works into perspective.

“…delivers an absorbing portrait of actor’s final preparation during their last 30 minutes before going on stage.” – The Lady

British photographer Simon Annand has been shooting candid photographs backstage at West End theatres in London for 35 years. In these meditative portraits, often shot in the intimate space of the dressing room, he captures the focus and tension of world-class actors right before they go on the stage. Actors such as Cate Blanchett, Orlando Bloom, Anthony Hopkins, Jake Gyllenhaal and Judi Dench are seen in these moments of vulnerability, which every actor experiences no matter how long they have been working. Backstage, with an introduction by Cate Blanchett, contains a hand-picked selection of Simon Annand’s remarkable and unique portraits.

During the 1970s and 1980s, the independent community media and various youth movements across Europe inspired and abetted each other. The young activists discovered the video tape as a medium and as a means to express their protesting mood and concerns. The easily produced moving images in videos soon also became a weapon in the political and communication fights for the autonomous culture spaces the movement demanded in many countries. Videos were participative productions, made almost in real time and fast. This appropriation of video technology as a means of two-way communication between sender and recipient also proved a key step towards the digital age. Today, consumers, citizens, and professionals not only receive moving images and audio documents, anyone almost anywhere can produce and broadcast such pieces at no expense. The young activist-directors of the 1970s and 1980s went beyond dreaming of such a development. They explored it and experimented within small networks. Rebel Video portrays protagonists of this activist movement in London, Basel, Berne, Lausanne, and Zurich. It documents which topics and concerns these creative rowdies picked up and the lasting effect their work has had up to today. Richly illustrated and completed with brief essays by expert authors on specific aspects of film documentary and video art, the book demonstrates and illuminates the significance and manifold facets of the community media movement.

German artist Lother Götz (b. 1963 in Gunzburg, Germany) completed an MA at the Royal College of Art in 1998, after studying in Germany at Aachen, Düsseldorf and Wuppertal. He has exhibited widely in the UK and abroad, with solo shows at galleries such as Gasworks (London), the Chisenhale (London), Mappin Art Gallery (Sheffield), Museum Goch (Germany), David Risley Gallery (Copenhagen) and the Petra Rinck Gallery (Dusseldorf), and has been included in group exhibitions in Amsterdam, Dublin, Hamburg, Hanover, Salamanca, Wilhelmshaven and Wuppertal.

Perhaps best known for his large-scale wall paintings and installations, Götz’s drawings lie at the centre of his practice.

Brought together in dense compositions on painted card and board, Götz’s thin pencil lines explore the impact of using varying colours and intensities on the work’s surface. Referencing and expanding upon the abstract language of Suprematism and the Bauhaus, the colours appear to oscillate in front of the viewer to immerse them in the surrounding space.

Alongside over 40 colour illustrations, an essay by Charles Darwent explores the range of influences on Götz’s recent body of work.

To commemorate the publication, Götz created a limited-edition lithograph, Correction (2015), in collaboration with Hole Editions. Each edition is hand-finished by the artist and contained within a custom-made slipcase.

“Fully illustrated, the charm of his English Roses comes across on every page, even if the reader has to imagine their scent.” – The Irish Garden

“Experts will appreciate the notes on each rose’s breeding.” – Historic Gardens Foundation

Informative, accessible and stunningly illustrated, David Austin’s English Roses introduces the reader to the world of rose propagation and care. The book focuses on English Roses, bred by David Austin to combine the sumptuousness of Old Roses with the strength and practical virtues of Modern Roses. It will be greatly prized by rose-growers and rose-lovers everywhere, whether professional or amateur.

Buried in deep valleys, there are citadels of ochre earth. Near the sea there are white chalked casbahs and vast tranquil palm-gardens and deserts of coloured sands run into soot black mountains. Pungent and bustling souks offer spices and potions to ward off malevolent spirits. Slender arched doorways open out into darkened alleys. Scented mint tea is served in pattern-draped tents. The sky is as clear as ever over the Sahara. This is the Moroccan South – a legendary land, sumptuous and austere. This series presents a fascinating chronology of the spread of Islamic art in the form of 12 Exhibition Trails in 11 countries. The programme is based on the unique idea of visitors viewing exhibitions without the works of art being transported – discovering artefacts in their natural environments and within their cultural and historical context. Each trail is presented and written by experts who live in the specified areas and are accompanied by beautiful illustrations.

Text in French.



Also Available:Paris Plaisir ISBN:9782867701139 £55.00Lebanon: The Phoenician Pearl ISBN:9782867701443 £55.00

Throughout its history, the Ashmolean has evolved to meet changing needs and reflect new ideas. In the process, it has transformed from a cabinet of curiosities, representing the world in microcosm, to a museum of art and archaeology, illustrating connections between cultures over time. This book tells the story of that remarkable transformation. It shows what the Ashmolean was like at various points in the past and introduces the people who helped to make it the museum it is today. It looks at the buildings that have housed the Ashmolean and how they have been continually altered and adapted, as well as at the collections and how they have been interpreted and reinterpreted over the centuries.

John Dixon Hunt introduces PWP Landscape Architecture: Building Ideas with a discussion of how we read landscapes and, hence, how they are designed with the reader/client in mind and the historical implications of such efforts. Peter Walker, Gary Hilderbrand, and Gina Crandell trace the history of Peter Walker’s various firms from the 1950s until 2000, and Jane Gillette discusses some recent projects in terms of using consultants to further design ideas. Twelve finished projects, seven works in progress, and three competitions, from roughly 2000 to 2015, demonstrate the firm’s goals and achievements with an emphasis on the expansion of landscape architecture from the surrounds of buildings to self-sufficient entities that express the highest accomplishments of both ecological function and design.