“THANK YOU BYE was born out of a need to put down somewhere what I have experienced over the last five years. Although it gives the impression of a veil being lifted, it is simply a record of my personal experience. The intention, through these hundreds of photos, is to transcribe the absurd, crazy and little-known world of modelling, by means of an unpublished souvenir album of my time spent in fashion. The result is THANK YOU BYE, which owes its name to the phrase uttered by casting directors every time you walk in front of them. It recounts my moments of sadness, my anxieties, my unease, my questions, but also our laughter, our travels, our togetherness, our mutual support. Five years during which I fought not to lose myself. Thrown at the age of 18 at a speed I found hard to manage into a dimension that was not my own, I embrace all the models who ‘pose’ in this book and who, without realising it, helped me to escape. What you hold in your hands is none other than the last chance to prove that I was still worth something. When you turn the last page, you’ll know that I’ve resigned and can finally say that I’m happy.” – Clémentine Balcaen

The stomach is not only the way to the heart. In a humorous way, the cookbook by Gabriele Edlbauer and Julia S. Goodman, two artists living and working in Vienna, addresses complex feelings and hard truths through chicken recipes. Similar to Engagement Chicken, published by US cookbook author Ina Garten, the 18 recipes in If You Can’t Say It with Words, Say It with Chicken are designed to help readers communicate emotionally difficult announcements.

In developing the book, the authors were inspired by their very different cultural backgrounds. Julia Goodman’s ancestors were mostly Eastern European Jews who emigrated to the USA at the beginning of the 20th century. Gabriele Edlbauer on the other hand grew up on an organic farm in the predominantly Catholic Mühlviertel region of Upper Austria. The artists worked together to create not only the recipes, but also the props, sculptures, and tableware. In order to highlight the emotions associated with these dishes, the meals were staged in various culinary locations, some of them very unconventional: for example, in a sterile doctor’s surgery in Vienna or in a friend’s dimly lit bathroom.

The result is a book filled with emotional recipes. Accompanied by creative serving suggestions, it invites you to express yourself through chicken!

This major retrospective catalogue accompanies the first institutional exhibition focusing on the visual works of art by Stanley Donwood and Thom Yorke. The majority of the paintings, drawings and digital works were specifically made for Yorke’s internationally celebrated band Radiohead, formed in Oxford in 1985. The book is beautifully designed in the same size as a record cover and features iconic artworks from the 1980s until today, relating to Radiohead albums, their covers and promotional band images, as well as sketchbooks and rare materials from their archives that have never before been published. It offers fresh views on the art of album covers, exploring the complex relationship between visual art and music.

Radiohead was formed in Abingdon, Oxfordshire, in 1985. The collaboration with the artist Stanley Donwood began in 1994 when the band was developing their second album, The Bends, which was released on 13th March, 1995. 2025 is therefore the 40-year anniversary of the band and the 30-year anniversary of the release of The Bends. The catalogue’s focus is upon the art produced by both Stanley Donwood and the band’s lead vocalist, Thom Yorke presented chronologically. Radiohead’s popularity has never waned and they have a strong core following and new fans (many of who are the children of ‘original’ fans).

The high-quality reproductions are complemented by exclusive interviews with the artists, and essays by Alex Farquharson, Nico Kos Earle, Benjamin Myers, James Putnam and Jennifer Ramkalawon.

A major retrospective is held at the Ashmolean Museum from August 2025 to January 2026.

For many years the artist Rachel Lee Hovnanian has been analysing the drifts of our hyper-technological and hyper-connected society. She presented at the 59th Venice Biennale, Angels Listening, an interactive exhibition featuring seven large-scale bronze angels staged around a silver confessional box, each figure rendered in silence with its mouth “taped” shut.

Viewers were invited to participate by relinquishing their innermost thoughts, whether repressed due to fear of judgement or sheer inability, by writing them onto pieces of ribbon, placing these ribbons into The Cathartic Box, and ringing the awakening bell, a symbol of the role of the angels as mute listeners.

At the end of each day all of the new messages were compiled onto prayer-like mats and dispersed throughout the exterior gardens for future visitors to encounter and share as a collective stream-of-consciousness.

This book shares those messages. In listening to these stories, perhaps it is people who become the angels listening.

In her practice, Rajkamal Kahlon recuperates drawing and painting as sights of aesthetic and political resistance. Submitting the lingering spectre of colonialism in historical and contemporary archives to a transformative process of deconstruction and intervention, the artist proposes painting as a strategy of radical care. Her sensual, humorous, formally rigorous artworks address the reclamation of humanity for racialised, gendered and indigenous communities that have been distorted, erased or maligned, thus allowing for their rehabilitation.

This catalogue documents a selection of works from over 20 years of Kahlon’s practice. In addition to comprehensive visual material, the publication features three new essays as well as an extensive interview with the artist. 

“As enterprises embrace AI and automation, three challenges emerge: empowering employees as roles shift, enabling continuous reskilling without disruption, and creating real synergy between AI and human talent. Drawing from real-world transformation programs, this book offers a practical playbook to address these shifts – not with theory, but with actionable strategies, proven tools, and human-centric design. The new AI era demands more than technology; it demands a reimagined employee experience that fuels performance, personalizes learning, and strengthens coaching. When done right, this isn’t just adaptation. It’s transformation, helping people stay relevant, resilient, and ready for what’s next.” — Gal Rimon, Founder and CEO, Centrical

“With clarity and structure, this book turns the overwhelming topic of AI into the confidence leaders need to simply get started.” — Eline Lostrie, Co-CEO, nexxworks

AI Will Replace You shows how organisations can let go of their fear of AI and instead embrace this technology as a lever for growth. Using the practical and accessible AI Navigator framework, you’ll discover how to effectively embed AI into your strategy, get your employees on board, and prepare your organisation to become an AI leader.

In interior design, colour is one of the most potent instruments to create mood and personality. Whether the palette aims at quiet harmony or full-blown colour contrast, a colourful home is always fun, uplifting and welcoming. Interior photographer Helenio Barbetta shows us the way, with 20 homes that stand out thanks to their purposeful use of colour. Author Kurt G. Stapelfeldt investigates how these interiors are shaped by their hues, and how colour choices reflect the personality of the inhabitants.  When used thoughtfully, colour transforms any space into a personal sanctum. From floor-to-ceiling colour to small bursts of colour, from dark classic blue to bright citrus yellow: All You Need is Colour shows the many ways in which we can use colour to liven up our living quarters.  

I’ll Remember You by the Swedish photographer Jonas Dahlström is a poignant portrait of his father, who suffers from Alzheimerʼs. During his visits, Dahlström uses his fatherʼs camera to capture and preserve their moments together. Their shared passion for photography serves as a way of evoking the memories that remain—a link between the past and the present, between father and son. As his father sinks deeper into dementia, photography increasingly becomes a tool to help the author cope with the painful experience of witnessing his fatherʼs gradual decline. Through the camera lens, he confronts his fear of growing old and the eventual loss of his own memories.

Jonas Dahlström’s first book 07:27:47 was published by Kerber Verlag in 2020. It has won numerous international prizes and awards. Since then, he has been working on I’ll Remember You.

In Are You not Entertained?, Luxembourg-born photographer Joseph Tomassini (b.1963) explores the fragility of our current existence. Among the tangled undergrowth of promise and emptiness, and the search for meaning and existential disquiet, he distills a space for openness and reflection from photography and language. His images are not snapshots for the information flood that characterises the digital age, but rather peaceful fragments that invite the viewer to pause. These images are juxtaposed with texts based on press headlines that have been transformed into lyrical form with the help of AI. The resulting story emerges in an intimate way while addressing universal conflict issues. Between the crises of the Anthropocene age and the overabundance of information, despite all the doubts, flashes of love, hope, and tenderness are revealed again and again.

You Should Consider… brings together texts by American architecture critic Richard Ingersoll (1949–2021) from five decades, published in magazines such as Domus, Arquitectura Viva, and Lotus: critiques of key buildings and personalities, and reflections on topics and trends in architecture since the 1970s. The collection also offers a selection of his compelling editorials in the groundbreaking magazine Design Book Review, which he directed as editor-in-chief in the period 1983–98. Contributions by architectural historian Kenneth Frampton and architects John A. Loomis and Luis Fernández-Galliano place Ingersoll’s work in historical context.

Ingersoll was one of the most eloquent and astute architectural critics of his generation. Although born and educated in California, and heavily influenced by Spiro Kostof, his mentor at the University of California, Berkeley, Ingersoll’s intellectual, cultural, and architectural outlook is essentially European, and more especially Italian, where he spent most of his working life. This European sensibility is expressed in many of the texts in this collection, in which he persistently writes about the need for diversity and equality, as well as a more sympathetic approach to the environment—decades before others realised the importance of these causes. Intelligence and clarity, astute analysis, vivid imagery and conciseness, as well as a subtle sense of humour, characterise Ingersoll’s captivating prose.

This book is a compilation of four decades of pictures taken in places familiar and remote. It is entirely of the film era and ends with the 20th century. In Jeffrey Heller’s 20s and 30s, he had two professions—he was working as an architect as well as a professional photographer, burning the candle at both ends. He had briefly studied with Ansel Adams and for a year with Minor White. In his mid-30s, he realised that he could not continue both professions and decided to make architecture his primary calling and photography his artistic outlet. This freed Heller to photograph as he wished, and he took his cameras with him wherever he went, whether the travel was vacation or business he would make time to photograph. Heller always used professional equipment and took his photography as seriously as his architecture. Heller worked with his wife, a photographer and artist herself, and went through probably 2000 images to select the ones for this book. The book is from a wide range of places, but the emphasis is on the image and not the place. The photographs are an impression in time and character and visual content. 

Jane Brettle captures the diversity of Scotland’s Police forces in this group of work by highlighting the differences in geography, population density and community across the country and the challenges that these bring. This group of photographs clearly shows the extent of the Scottish Police’s work including community liaison, armed response, forensics, detective and mounted personnel. Brettle captures the individuality of the officers and support staff in their working environment. In addition, in two essays, the work of Jane Brettle is discussed as well as the development of contemporary policing in Scotland. Included in the book are personal captions written by the officers and support staff who were involved in this innovative project.

Established following the 125th anniversary of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the Watson Gordon Lectures Typify the long-standing positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh. The fifth lecture was given by Hal Foster of Princeton University. Professor Foster is an acknowledged expert on modernist art and architecture, and has a particular fascination with Pop art. His wide-ranging lecture on Roy Lichtenstein is a gripping engagement with the multiple aspects of the artist’s work: the conjunctions of art and technology, the satirical playing with previous modernist styles, and the sinister background of the military-industrial complex. Also available in the series:
Roger Fry’s Journal: From the Primitives to the Post-Impressionists: Watson Gordon Lecture 2006 9781906270117 Sound, Silence, and Modernity in Dutch Pictures of Manners: Watson Gordon Lecture 2007 9781906270254 Picasso’s ‘Toys for Adults’: Cubism as Surrealism: Watson Gordon Lecture 2008 9781906270261

Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the Watson Gordon Lectures typify the long-standing and positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh. This lecture, the third in the series, was given by Neil Cox of the University of Essex, one of Britain’s leading scholars of Cubism and Surrealism, and a particular authority on Picasso, approaching the Spaniard’s work from intriguing angles. He concentrates on a single work, Picasso’s Head of 1913, and in doing so demonstrates how scrupulous focus can open out challenging perspectives in the work of a great master.

Also Available: Roger Fry’s Journey ISBN: 9781906270117 Sound, Silence, and Modernity in Dutch Pictures of Manners ISBN: 9781906270254

Callum Innes is one of the few artists working in abstraction to include watercolour as a major part of his practice. As with many painters, his explorations in this medium form a parallel body of work, an activity taken on as a kind of ‘break’ from his other painting, with different circumstances, conditions and intentions.

“This new body of 50 watercolours feels stronger and more luminous than previous ones. I have kept them sequential in the book, to show how each work informs the next and so on.”

More than other painters, the Impressionists wanted to shake off the dust of the studio, and swarmed the noisy streets of Paris, filling the cafés and living in garrets and humble little dwellings on the hill of Montmartre, which still seemed like the countryside at the time, its slopes covered with vineyards and vegetable gardens. Nor did they limit themselves to the city, planting their easels in the clearings of the forest of Fontainebleau, on the coast of Normandy, in the rustic villages in the Oise Valley and in Bougival and Argenteuil on the banks of the Seine. Like their Naturalist friends Zola and Maupassant, they liked to mix with the locals so they could experience the places directly, painting everywhere, even on a boat, like the one where Monet had his floating studio.

Have you ever seen a place that leaves you breathless… and with a million questions?! Well, check these out! Fifty of the world’s most mysterious places – those made by man and those gifted by nature. Places that stimulate curiosity and everyone’s truly innate desire to learn and know more!

Locations included: Stonehenge (Great Britain); Loch Ness (Great Britain); Fingal’s Cave (Great Britain); San Juan de Gaztelugatxe (Spain); Quinta da Regaleira (Portugal); Alchemical Caves (Italy); Gardens of Bomarzo (Italy); Carnac Stones (France); Paris Catacombs (France); Devil’s Bridge (Germany); Black Forest (Germany); Crooked Forest (Poland); Hessdalen Lights and Aurora Borealis (Scandinavia); Hoia Baciu Forest (Romania);
Krudum Hill (Czech Republic); Buda Castle Labyrinth (Hungary); Dargavs (Russia); Mammoth Bone Buildings (Ukraine and Russia); Tunnel of Love (Ukraine); Pamukkale Thermal Pools (Turkey); Giza Necropolis (Egypt); Eye of the Sahara (Mauritania); Fairy Circles (Namibia); Gates of Hell (Turkmenistan); Vaitheeswaran Koil (India); North Sentinel Island (India); Heizhugou Forest (China); Terracotta Army (China); Genghis Khan’s Grave (Mongolia); Mysterious Road (South Korea); Ise Shrine (Japan); Plain of Jars (Laos); Marine Bioluminescence (Maldives); Slope Point (New Zealand); Devil’s Sea (Pacific Ocean); Mariana Trench (Pacific Ocean); Abraham Lake (Canada); Bermuda Triangle (Atlantic Ocean); Area 51 (USA); Sailing Stones at Racetrack Playa (USA); Naica Mine (Mexico); Island of the Dead Dolls (Mexico); Snake Island (Brazil); Enchanted Well (Brazil); Catatumbo Lightning (Venezuela); Uyuni Salt Flat (Bolivia); El Ojo, the Rotating Island (Argentina); Nazca Lines (Peru); Machu Picchu (Peru); Easter Island (Chile).

Ages 8 plus.

Shaped Places of Carroll County New Hampshire expands upon an award-winning speculative urban design project by the architecture and design practice EXTENTS, led by McLain Clutter and Cyrus Peñarroyo. The project investigates the complex reciprocity between who we are and the shape of where we live; between identities and the built environments that support them. In doing so, Shaped Places creates a dialogue between seemingly disparate discourses spanning from critical geography, to formalist art criticism, to the urbanisation strategies of the early 20th century Russian avant garde. The role of the rural-urban divide in affirming the divided political landscape in the United States is a central theme in the work. The project culminates in the design of three linear cities in Carroll County, New Hampshire. In each speculative urban design proposal, rural and urban patterns of development and divergent lifestyles are combined in urban design proposals intended to produce a functional body politic from a sharply divided population.

In its considered response to the globalisation of culture, HCMA has consistently achieved an architecture that is expressive of time and place, and uniquely interprets Canadian values of openness and inclusivity. The firm’s concentration on civic buildings denotes a deeply-rooted concern for community, and recognition that in contemporary pluralistic society’s schools, libraries and community centres are both symbolically and literally, the meeting places for all sectors of our communities regardless of demography, faith or ethnicity. What distinguishes HCMA’s design approach is its conceptual shift from the traditional departure points of form or function, to a more organic and humanist approach by which inhabitation of the building and its surroundings mediate the interface between these two opposing forces. While function implies an empirical definition of purpose, and form a pre-occupation with sculptural abstraction, inhabitation connotes an understanding that buildings should embrace the richness and diversity with which our lives unfold. Places: Public Architecture explores a selection of key projects by HCMA which offer insight into the firm’s specific approach to community building through public architecture. Featured projects many of which have been challenged by contemporary advancements in technology, include schools, libraries, fire halls, childcare centres, and more. Through the practice of architecture HCMA asks what is the future of the library, of education, and of public space in an increasingly online age? The book features critical text by accomplished writer Jim Taggart, professional photography, lucid architectural drawings, and details, as well as a look at the firm’s design process of iterative modelling/diagramming and research on contemporary topics.

Travel with nature and wildlife photographer Wouter Pattyn to explore 12 of the most beautiful nature reserves on the European continent. Along with photographs of stunning landscapes, Wild Places of Europe is a sourcebook of information for the adventurous traveller, including practical tips for booking your visit and taking the best photographs. Immerse yourself in these wonderful places and perhaps make plans to go to one yourself.

From Peter Pan’s Neverland to Alice’s Wonderland. From the Wizard’s Oz to King Author’s Camelot. Finally, an atlas where children can dive-in and explore all of their favorite imaginary worlds. The Atlas of the Imaginary Places includes 80 pages with captivating illustrations of over 10 fictional lands, accompanied by an experienced and charming guide highlighting the main sights and facts about each. Not to be missed: a final and original map! Ages 7 +

The continuation of a well-loved Top Ten series for kids! In Most Dangerous Places on Earth learn about the striking red, soda lake that sits below an active volcano in Tanzania! Discover Komodo Island, the Steamboat Geyser in Yellowstone National Park and the shipwrecks on Skeleton Coast.

This series encourages kids’ innate sense of curiosity and gets them excited to learn, starting with the world around them!

Age: 6+

This richly illustrated publication explores the work of contemporary artist Nathan Coley. It offers a detailed look at three of his most significant sculptural works: The Lamp of Sacrifice, 286 Places of Worship, Edinburgh 2004, 2004; Paul, 2015; and Tate Modern on Fire, 2017, which is reproduced and discussed here for the first time. In a newly commissioned text, award-winning novelist, screenwriter and director Ewan Morrison focuses on these three sculptures to explore the complexity and ambiguity of Coley’s artistic practice. Morrison brings into play different narrative forms and voices to draw attention to the realms of history, art history and politics that Coley’s work inhabits, as well as the deeply personal responses that Coley’s work can generate.