This book comprises a timely and controversial assertion of beauty as vital to the energy of contemporary art. As such it surveys work by an international group of artists who share an intense and highly individualistic focus on the processes of making, authorship and aesthetic poise. An essay by Michael Bracewell shares with its subjects the return of aesthetics to the science of feelings; to the individual as opposed to ‘identity’; and to a sensibility in visual art that is literary, flees the stereotype and rejects sociopolitical verbiage. It is a concept of beauty in some recent art that is less about representation than it is about memoir, fictional devices, cultural connoisseurship as praxis and the profundity of human relationships.

“Generous colour illustrations throughout the book, often full-page, complement her elegant text. As an exhaustive guide to the genre’s evolution in Ireland, it merits warm welcome.” —  Apollo Magazine

“…a meticulously researched and beautifully-illustrated publication which is impressively comprehensive in its scope.” — The Irish Times

“Drawn from nature is an illuminating pot-pourri paying tribute to the women and men, few of them professional artists, who have portrayed plants from Ireland and elsewhere since the eighteenth century.” — Archives of Natural History
For centuries, artists of all disciplines have expressed delight in nature through the highly skilled and captivating medium of botanical art.

The distinguished contributions of Irish botanical artists include records of plants from 17th-century Ireland, early illustrated floras and botanical art found in the field of design. Drawn from Nature: The Flowering of Irish Botanical Art also covers the importance of botanical art to the Ordnance Survey of Ireland during the 19th century, as well as the vital plant portraits produced by Irish women. These portraits assisted generations of botanists in understanding and describing the natural world but received scant recognition.

Published for the first time, these outstanding examples of Irish botanical art, from both public and private collections, demonstrate a shared desire by botanical artists to observe, illuminate and record Ireland’s unique flora. This book finally affords them the recognition they deserve.

From Louise Bourgeois to Yoko Ono presents around 85 jewellery works by some 45 internationally renowned female visual artists from the 1920s to the present day. Their jewellery pieces open up new, often surprising perspectives on their artistic production. Some pieces captivate with minimalist elegance, others with their expressive, sculptural presence or playful humour, with each unique work consolidating an artistic vision into a small personal statement. With its exhibition of the same name, the Museum für Angewandte Kunst Köln (MAKK; Museum of Applied Arts, Cologne) deliberately focuses on female standpoints, thus breaking with the male-dominated perception of avant-garde art jewellery.

Artists featured include: Lynda Benglis; Pierrette Bloch; Barbara Bloom; Katinka Bock; Louise Bourgeois; Helen Britton; Barbara Chase-Riboud; Claudia Comte; Sheila Concari; Sonia Delaunay; Nathalia Edenmont; Aube Elléouët; Claire von Falkenstein; Ruth Francken; Marcia Grostein; Jenny Holzer; Rebecca Horn; Annabelle d’Huart; Leiko Ikemura; Jacqueline de Jong; Yayoi Kusama; Alicja Kwade; Claude Lalanne; Liliane Lijn; Rita McBride; Blanca Muños; Brigitte Nahon; Eva Renée Nele [E. R. Nele]; Louise Nevelson; Michele Oka Doner; Yoko Ono; Meret Oppenheim; Françoise Pétrovitch; Niki de Saint Phalle; Armelle de Sainte Marie; Elodie Seguin; Maïlys Seydoux-Dumas; Kiki Smith; Sophie Taeuber-Arp; Dorothea Tanning; Sissel Tolaas; Rosemarie Trockel; Paloma Varga Weisz; Sophia Vari; Joana Vasconcelos; Zhou Yiyan.

Text in English and German.

A unique opportunity to see rare and beautiful drawings by some of the biggest names in European art.

Chatsworth House in Derbyshire holds one of the finest and most significant private collections of drawings in the world, but they are rarely seen and very little has been published on them.

This book showcases 47 drawings from this exceptional collection, including superb watercolours and drawings by famous German Renaissance artists Albrecht Dürer and Hans Holbein alongside the baroque splendour of Peter Paul Rubens and Anthony van Dyck. It will reveal intimate insights into the artists’ practice and their ways of recording the world.

The captivating selection of drawings will be introduced and contextualised by Charles Noble, Curator of Fine Art at Chatsworth House. Each image will be explained and examined based on rigorous new research, offering new insights into the work of some of art’s biggest names.

Founded in 1967, Stockwell Depot heralded the emergence of the London artists’ studio movement and gained international recognition as a centre for abstraction in Britain.

For over 25 years, this disused former brewery in south London functioned as a cooperative studio and exhibition space. Artists associated with the Depot – Roland Brener, Jennifer Durrant, David Evison, Katherine Gili, Peter Hide and Roelof Louw, among many others – held differing and often competing attitudes towards art. The ambitious work made and shown at the Depot tells the story of late modernism in Britain, tracing a period full of formal experimentation and critical debate.

Incorporating interviews with 10 artists alongside a major essay by Sam Cornish, this volume is the first to examine the artists’ activities within a historical context and to track their development through the Depot’s pivotal annual exhibitions.

Published to coincide with the exhibition Stockwell Depot, 1967–79 at University of Greenwich Galleries, London, 24 July–12 September 2015.

Before they became two of America’s most iconic pop artists, Andy Warhol and Robert Indiana were young aspiring creatives, living in New York. There, they met and befriended William John Kennedy, who would take some of the first photographs of these artists in their career. Many photographers worked with Andy Warhol, but few so early on in his career or in a such a uniquely collaborative fashion. After establishing a friendship with Robert Indiana and taking some of the first, important close-up images of him in his studio, Kennedy went on to work in a similarly creative way with Warhol.

These striking images of the young Warhol and Indiana were lost for nearly 50 years before being rediscovered. They were immediately recognised as important documents by the Warhol Museum and by Robert Indiana, and presented in the Before they were Famous exhibition, which travelled to London and New York. The story of the re-discovery of these photographs was made into an acclaimed documentary in 2010 – Full Circle: Before They Were Famous, Documentary on William John Kennedy.

William John Kennedy: The Lost Archive: Photographs of Andy Warhol and Robert Indiana will be the first of William John Kennedy’s books devoted solely to the time he spent with Andy Warhol and Robert Indiana. The book features pictures of both artists as well as images of Taylor Mead, UltraViolet and other members of Warhol’s circle.

The term ‘anachoresis’ is derived from the Greek verb ‘anachorein’ (‘to withdraw’). The practice of retreat has a long tradition in art and cultural history: from the historical social ‘retreat’ of East Asian artist-scholars into a state of contemplation to the staging of self-isolation in modern and contemporary artworks by Joseph Beuys or Tehching Hsieh. Often, this process is associated with a surge of creativity and self-reflection. But what happens when the retreat is carried out collectively? What kind of interaction takes place when a group temporarily withdraws from society in order to create a space for communication and interaction? The artist persona REICHRICHTER explored these and other questions in their three-year transcultural project anachoresis – participation through fragments.

From 2020-2023, artists from Germany and Taiwan were brought together in the form of a collective laboratory. These gatherings were not only shaped by the practice of the individual artists, but also reflected the broader transcultural dialogue between Germany and Taiwan. This book continues the dialogue-based approach of the project and through a series of theoretical essays discusses the role that participatory art can play in today’s world.

Text in English, German and Chinese.

Swiss artist Silvie Defraoui, born in 1935, is a pioneer of video art and art education in Switzerland. Beginning in 1975, she worked in collaboration with her husband Chérif Defraoui (1932–1994). Together they developed the Archives du Futur, a reflection on images, their status, and potential for memory and the future. The two artists also founded the legendary Atelier Médias Mixtes at Geneva’s École supérieure des Beaux-Arts (now HEAD—Genève). Since 1995, Defraoui has pursued a practice using various forms of expression, including projection, installation, ceramics, and serigraphy.
This book is part of the new On Words series that presents conversations with contemporary women artists. Through them, readers come to understand the sources from which they draw inspiration, the themes in their work, and their view of the world. Edited by Julie Enckell, Federica Martini, and Sarah Burkhalter and bringing together a wide range of viewpoints, the On Words series adds a new narrative to polyphonic art history as told by those who actively shape it.

Text in English and French.

In the past three years, the Kunsthalle Bega Box in Timișoara, Romania, successively became a laboratory and experimental space for young and mid-career Romanian artists, showcasing comprehensive projects involving research and representation and engaging the audience in a phenomenological cultural experience.

The book offers an overview of the projects that have taken place at Kunsthalle Bega Box since its opening. Texts by the curators and artists provide insights into the theoretical discourses underlying the exhibitions.

Artists: Dorian Bolca, Irina Bujor, Dreaming About my Unborn Child Group, Oláh Gyárfás, Tijana Kačarević, Lera Kelemen, Bogdan Matei, Mihai Mihalcea, Adrian Oncu, Teo Papadopol, Gavril Pop, Laurian Popa, Nicoló Filippo Rosso, George Roșu, Șerban Savu, Ioana Maria Sisea, Ana Maria Szöllösi, Ioana Terheș, Miki Velciov, Dan Vezentan, Mihai Zgondoiu.

Text by Horea Avram, Kilobase Bucharest, Alina Cristescu, Dana Diminescu, Anca Verona Mihuleț, Iris Ordean, Mihai Pop, Laurian Popa, Maria Orosan Telea, Dan Vezentan.

Text in English and Romanian.

Revealing an alternative story of modern Scottish art, A New Era examines the most experimental work of Scottish artists during the first half of the 20th century. It challenges the accepted view of the dominance of the Scottish Colourists and uncovers the hitherto little-known progressive Scottish art world. Through these works, we can see the commitment of Scottish artists to the progress of art through their engagement and interpretation of the great movements of European modern art, from Fauvism and Expressionism, to Cubism, Art Deco, abstraction and Surrealism, among others. Looking at the most advanced work of high-profile artists such as William Gillies and Stanley Cursiter, and lesser-known talents, like Tom Pow and Edwin G. Lucas, A New Era takes its name from the group established in Edinburgh in 1939 to show surreal and abstract work by its members.

“The subtle forms and modelled curves and planes in a skeleton were to George Stubbs what a symphony is to a musician.” — Oxford Companion to Art

“The most unique thing of its kind ever compiled. This heroic effort, an epic of the eighteenth century, is as great and unselfish a work as anything could be.” — Sir Alfred Munnings

George Stubbs was one of the most original artists Britain has produced, and it is easy to forget how much his success was based on rigorous scientific observation. In 1756 he rented a farmhouse where he erected scaffolding to hold the cadavers of horses as he dissected and drew. After 18 months, Stubbs produced the drawings for The Anatomy of the Horse, which he later etched. The result was sensational. Scientists from all over Europe sent their congratulations, amazed at the perfection of the work. The Anatomy remained a textbook for artists and scientists for over a century, and its strange, spare beauty continues to fascinate.

This edition is taken from the 1853 printing, the last to use Stubbs’ original plates. The full Stubbs’ commentary is included for the veterinarially minded. Extensive texts by Constance Anne Parker and Oliver Kase place Stubbs’ work in the context of his life and times, and of 18th-century medical science.

This richly illustrated publication accompanies a major exhibition organised by Kunstmuseum Den Haag in collaboration with Tate, exploring the School of London — a group of postwar artists who redefined figurative painting in Britain. Featuring more than 70 works by Francis Bacon, Lucian Freud, David Hockney, Paula Rego, Frank Auerbach, and their contemporaries, the book traces how these painters captured the human condition in an era of social and cultural upheaval. While Paris and New York led the charge in abstraction, London fostered a quieter yet profound revolution centered on the human body and psyche. Through essays and artworks, the catalogue reveals how these artists grappled with shifting notions of identity, intimacy, and power, offering a compelling perspective on 20th-century art and reaffirming London’s role as a crucible of postwar creativity.

Micro Tattoos are a popular trend and have made the art of tattooing more accessible for many people. This book takes a closer look at them and shows the most beautiful small fineline tattoos from the best tattoo artists worldwide. It offers a handy alphabetical overview of the artists, a number of interviews with the most important practitioners, and personal recollections that tell the backstory of specific tattoos.

Helen Williams Drutt English is an American gallerist, collector, mediator, and promoter of contemporary art jewellery. In homage to this grand dame of international studio jewellery and her 60 years of collecting, the publication presents selected works by American and German artists in a combination never before seen. Representing the diversity of American art jewellery are 140 examples from the last 70 years, from modernist minimalist or narrative works to objects with a strong sociopolitical message. The display of almost 100 works by German jewellery artists impressively documents the various developments in contemporary jewellery in both countries, as well as mutual influences and commonalities. The works testify to Helen Williams Drutt English’s great devotion to and engagement with art jewellery. Moreover, they represent her friendship with artists from both the USA and Germany and, not least, the close cultural and artistic connection between these two countries.

Text in English and German.

This new book is the long-awaited successor to Rendez-Vous and Visite Privee. Sense of Style showcases artists and creatives who continuously fascinate us – not only because of their creative work, but also because of the inspiring home in which they live and work.

The journey begins in the vibrant heart of New York’s Tribeca, and finishes in Stockholm, via Antwerp, Copenhagen, Brussels, Berlin, Long Island, Rio de Janeiro, and Milan. 

The 300 works of the Lotte Reimers Foundation showcase the wide spectrum and the diversity of modern ceramic art. The works by 115 international artists, from classical vessels to free sculpture, are to now permanently move to Friedenstein Castle in Gotha, giving rise to this comprehensive publication. As a former gallerist and museum director as well as passionate ceramicist, Lotte Reimers is profoundly grounded in the material and with her unmistakeable flair has compiled this collection, which will now remain within the museum. Her engagement and life-long fostering of ceramic art makes her one of the most significant personalities in the European ceramic scene.

Text in English and German.

Ski & Art is a visual tribute to the world of skiing, where adrenaline, landscape and creativity come together. In this richly illustrated book, author Katie Bamber explores how ski culture inspires artists – from iconic alpine posters to illustrations that make the powder fly off the page. Ski & Art, the successor to Surf & Art and Skate & Art, tells the story of a lifestyle shaped by mountain communities, subcultures and a shared love of freedom and expression. Bamber selected the 22 ski artists who define the scene, interviewed them and showcases their finest work. This book is a must-have for anyone fascinated by the cross-over between sports and art, and by the unique magic of the mountains.

With this publication a comprehensive study of Impressionism in Canada is available for the first time: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally.

The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists – including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon – along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of expression, which has decisively shaped Canadian Impressionist painting today.

With a foreword by Guy Wildenstein and an introduction by William H. Gerdts.

“This beautifully produced book will be inspiring to botanical artists and all those who are captivated by the orchid.” — Leisure Painter

“Through these paintings, stories of high stakes orchid breeding and exhibiting are explored, with a cast of characters who helped shape the horticultural world we know today, alongside the dedicated artists who still support their endeavours.” — Lovely Books

Orchids have long held a place of esteem and fascination in the horticultural world. In the 19th century, orchid collecting reached new fanatical heights, with explorers dispatched to every corner of the globe in search of new varieties that could be auctioned at extravagant prices, and orchids are still one of the most popular flowers to breed and buy to this day. These beautiful, diverse flowers are one of the two largest families of flowering plants, with over 30,000 species and over 181,500 hybrids and cultivars.

The RHS Orchid Committee have commissioned watercolours of over 7,000 award-winning hybrids that demonstrate particular value in their fabulous array of colours, patterns, sizes and shapes. Through these paintings, stories of high stakes orchid breeding and exhibiting are explored, with a cast of characters who helped shape the horticultural world we know today, alongside the dedicated artists who still support their endeavours.

The exhibition brings together five contemporary artists of international stature: Sam Gilliam (United States, 1933), Katharina Grosse (Germany, 1961), Steven Parrino (United States, 1958-2005), Megan Rooney (Canada, 1985), Niele Toroni (Switzerland / France, 1937). Their works are characterised by an expansive use of colour, which emerges from canvas to invade walls, floors, and ceilings. Within of the FLV, each of these artists will have a dedicated space. This book presents in an exhaustive way the works of the exhibition. Organised in five main parts, each being dedicated to an artist, it mixes texts by specialists and interviews with artists.

Under the direction of Ludovic Delalande, Nathalie Ogé and Claire Staebler, with texts by great specialists in contemporary art: Jonathan P. Binstock, Philippe Dagen, Frank Gehry, Hans Ulrich Obrist, Florence Ostende, and Ludger Schwarte.

Contemporary art production in Arab countries still remains largely unexplored. Often general and trite assumptions are made distinguishing between East and West, Arabic-Islamic and Western-Christian civilisation, without addressing each culture’s specific characteristics in appropriate ways. Aware of the fact that the reception of art from these countries calls for a new approach, the museum for contemporary art, Marta in Herford, Germany, has invited nine female artists from Libya, Tunisia, Algeria, Lebanon, Jordan, Iran and Iraq to share their work.

They all came to the West as university students or exiles, and most of them never returned to their homes. This exhibition focuses on their works of art and devotes ample space to the particular biographical and national details in the lives of these women. The diversity of their artistic styles links many different aspects, reflecting on the concept of cultural boundaries, and the crossing of those boundaries, as well as the ongoing conflicts and upheaval in their home countries.

Text in English and German.