With tongue planted firmly in cheek, award-winning author illustrator Cathy Hull wittily writes and scathingly draws her own conclusions as she takes readers image by image through four years of pivotal events and watershed moments during the Biden administration. Depictions include the 2020 election, the Jan. 6 attack on Congress and “unprecedented!” “unpresidented” [sic, Trump] impeachments, indictments, trials, and the tsunami of unintended consequences in the wake of the former guy and his MAGA movement.

No one escapes scrutiny. Hull targets both sides of the aisle and the Supreme Court. There’s an all-inclusive cast of characters—heroes, bullies, and victims alike. Joe Biden, Nancy Pelosi, Mitch McConnell, Chuck Schumer, Ted Cruz, Alexandria Ocasio-Cortez, Marjorie Taylor Greene, Liz Cheney, Adam Kinzinger, Rudy Giuliani, Lindsay Graham, Justices Samuel Alito and Clarence Thomas. And yes, of course, Donald John Trump.

In a nutshell, Donald Trump stands by all the misstatements and threats he has made. Constitution be damned. Joseph Biden is nostalgic about the future and endless possibilities. Still, putting country over ego and personal ambition, President Joseph R. Biden ended his fifty-year plus tale of reversal and resilience, dropped his bid for re-election, passed the torch and enthusiastically endorsed his running mate, Kamala Harris— the first female, Black and South Asian American to serve as vice president— to replace him atop the ticket. She’s off and running. Intent on finishing the job, Joe remains focused on governing and delivering an ambitious big goal to-do list in his remaining time in office.

“Democrats — it’s time to come together and beat Trump. Let’s do this.”—Joe Biden

Richly illustrated, and accompanied by in-depth analysis, Flansburgh Architects: Structure, Form, Community 2010-2025 is the first-ever comprehensive monograph from one of America’s most prodigious makers of public buildings, bringing together 20 remarkable projects from around the country and around the world. Since its founding more than six decades ago, the Boston-based firm has built a reputation for a uniquely resourceful approach to institutional work, with designs that frequently make a virtue of constraint: in delicate urban as well as rural environments, in complex historical contexts and under challenging practical conditions, Flansburgh has again and again produced dazzling buildings that solve tough, real-world problems with grace and ingenuity to spare. In a sleek new international school in Croatia; at a rustic dance studio for the Jacob’s Pillow retreat in western Massachusetts; and in the new Lili’uokalani Center for at-risk youth in Honolulu, gleaming like a lighthouse on the nighttime streets—everywhere Flansburgh has left its mark, the practice’s dedication to an architecture of honesty and simplicity has made for stronger, more vibrant communities. Through images and words, this book affords a glimpse into 15 years of extraordinary activity and accomplishment. 

100 Maps of Finland is a work of that is a combination of fact and fiction about Finland. The author uses the maps to invoke the ancient practice of visual narrative as a story-telling medium. It is also a cartographic and textual study of alternative ways to approach a selective history of Finland. Digital and analogue drawings and texts explore a range of cultural geographies of that incorporate Finnish mythology, history, fictions, and other stories. derived from author-constructed maps, and texts of maps, stories, and reflections built up over 25 years of work in Finland.

Rubens’ Antwerp: A Guide highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. Rubens’ Antwerp: A Guide allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made. 2018 is the official Rubens’ year.

This publication brings together over 60 works on paper created from 2005 to the present day by London-based artist Neil Gall (born 1967, Aberdeen), whose works balance the profound with the absurd.

In works that buzz with art historical reference, Gall has consistently explored matters of perception and mimesis through the visual language of household detritus. He translates the visceral and psychological interactions between materials and their surfaces – corrugated cardboard and pressed tinfoil, ping-pong balls enshrouded in black tape – to an unsettling, surreal and sometimes erotic effect.

Essays by art historian Lexi Lee Sullivan and artist Alexander Ross are augmented by thoughtful insights from gallerist George Newall and an introduction from Gall’s dealers David Nolan and Aurel Scheibler.

Benjamin Rubloff’s paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.

When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.

Was there such a thing as ‘shitposting’ in the 17th century? Is Rembrandt really always a safe investment? What florid dramas lie behind the scenes in Rachel Ruysch’s still life paintings, and has Aelbert Jacobsz Cuyp finally gone to the dogs? The Tyrolean State Museums are taking a closer look at their small but nonetheless impressive collection of Dutch paintings, posing topical contemporary questions in relation to the works of Rembrandt and Co. Selected paintings dating from the 16th to the 18th century are presented and staged anew through essay-style texts that are not meant to be taken too seriously. The resulting questions relating to the role of artists, the value of art, or the significance of climate change hundreds of years ago are an invitation to see Dutch painting with fresh eyes and to view art history as an entertaining dialogue between the past and the present. 

When an apple falls to the ground, we see the effect of gravity. Yet not all laws of nature are as apparent. Swiss artist Barbara Ellmerer uses invisible principles of physics, biology, and cosmology as her starting point and translates them into paintings. She sends us into the realm of colours and shapes in which forces, movements, and processes from nature are synonymously realised and palpable. Ellmerer thereby also captures something inexplicable, which reminds us of how steeped in wonder the world still is.

Barbara Ellmerer – Sense of Science presents a selection of oil paintings and works on paper created by the artist between 2010 and 2020. Ellmerer’s sometimes large-format pictures are shown both in full as well as in enlarged details to show the intricacies of her brush stroke, colour qualities, surfaces, depths, movements, and emphases. This combination also makes productive use of the migration of media – from painting to photography – and its reproduction in the book. In an accompanying essay, Laura Corman, a quantum physicist, explains how Ellmerer’s art relates to natural science. A contribution by Nadine Olonetzky, culture journalist and photo expert, describes art’s capabilities of rendering invisible processes comprehensible.

Text in English and German.

Filled with Bridget Riley’s mesmerising stripe paintings, this catalogue conveys the artist’s unique development in using stripes to animate the entire visual field.

Published in conjunction with the Bridget Riley: The Stripe Paintings 1961-2012 exhibition at Galerie Max Hetzler, Berlin, key paintings and studies of Riley’s stripe works are collected for the first time. This well-illustrated title demonstrates how Riley regularly returned to this seemingly simple pictorial device to achieve complex, surprising results.

The volume includes full-colour illustrations alongside important texts by John Elderfield and Paul Moorhouse – in both English and German – which situate these exhilarating works within the artist’s oeuvre and a broader art historical context.

The series contains a collection of masterpieces by famous Chinese painters of all ages, with a rich variety of subjects and styles. It presents a selection of paintings from the Tang and Song dynasties, including figure and landscape paintings, showing the splendid charm of traditional Chinese painting at its peak from multiple perspectives. The volumes are accompanied by expert interpretations, analysing the characteristics of the paintings and the key points of appreciation, and guiding the reader through the beauty of the paintings in an insightful text.

Born and bred New Yorker Jill Gill is equal parts artist and author, commentator and collector, a true inamorata of the ever-changing city. Since the mid-1950s, she has captured the buildings and streetscapes of the city (especially those about to be lost to urban renewal) in a series of more than 100 watercolour and ink paintings. The New York she portrays is one of classic movies, vintage postcards, and hand-painted wall advertisements.

The scenes in Site Lines: Lost New York, 1954–2022 extend from Midtown South, home of the artist from the mid-1940s to the mid-1960s, to the Upper East Side, where she and her family lived in a historic Rhinelander townhouse. Along the way she passes through Midtown, including storied Fifth Avenue and the Theater District, and the Upper West Side.

Her work includes buildings both important and unimportant that would otherwise have been lost to memory: the glorious Helen Hayes Theater, the Art Deco Horn & Hardart Automat on 57th Street, and blocks upon blocks of ordinary yet distinctive retail and commercial structures. In addition, Gill includes buildings that have themselves been quietly observing the changing city, often changing along with it: St. Bart’s, the Villard Houses, and MoMA before it “ate” 53rd Street. Each scene is accompanied by text that blends in-depth research with first-hand observation.

Kenton Nelson’s art is rooted in the collective visual memory of American popular culture. His paintings navigate between nostalgia and enigma, between a perfect surface and hidden tensions. Stylistically, they draw on elements of public murals from the New Deal era, simultaneously calling to mind the visual language of advertisements from the 1930s to 1950s and American Scene Painting. However, this controlled, formal order conceals a quiet melancholy and the sensation that this supposedly perfect world is merely imagined.

This publication, created in collaboration with Galerie Nikolaus Ruzicska, Salzburg, and Peter Mendenhall Gallery, Pasadena, honours Kenton Nelson’s oeuvre with numerous images, alongside an accompanying essay and an interview with the artist.

Text in English and German.

Zhong Kui – the only “God of all response” in Chinese civilisation. He is not a prominent god who is always worshiped, but the legend surrounding him has been passed down to this day. This generous patron saint eventually became a classic symbol of Chinese culture. Ancient and modern paintings of Zhong Kui have no been gathered together in one book.

Portraits of Zhong Kui by Timeless Masters includes 120 high-definition Zhong Kui paintings of 97 ancient and modern masters, such as Xu Beihong, Qi Baishi, Li Keran, Zhang Daqian, Fan Zeng, Fu Baoshi, etc. Masters of different eras and different painting styles have distinguished themselves, constantly enriching Zhong Kui’s image in the long river of history. Not only is the subject matter numerous, the book also includes a variety of works such as vertical axes, fans, and lenses. In addition to the paintings, more than 80 abstracts and inscriptions from different dynasties included in this book, as important textual supplements, will follow the history of the trace of Zhong Kui.

Paintings featuring harpsichords, virginals and organs offer us a glimpse of gorgeous interiors, amorous scenes and finely‐dressed ladies ‐ and the occasional young man too ‐ at the keyboard. Keyboard instruments can also be the key to decoding an allegory, myth or hidden message in a painting. This exhibition catalogue showcases a collection of such paintings and also includes painted harpsichord and virginal lids as well as original instruments. Loans from the National Gallery in London, the Rijksmuseum in Amsterdam, the Suermondt‐Ludwigmuseum in Aachen and many other museums and collectors offer a delight for eyes and ears.

Featured artists include Frans Floris, Jacob Jordaens, Maerten de Vos, the Francken family, Jan Miense Molenaer, Jan Steen, Gerard Dou, Gabriël Metsu en Jacob Ochtervelt.

Ilya Kabakov (*1933) is one of the former Soviet Union’s most important and influential international artists today. After the two-volume catalogue raisonné of paintings (2008) and 2017’s catalogue raisonné of installations, we are now publishing a complete overview of Kabakov’s recent paintings.

Different ideas, phases, and styles unfold across the 350 works of art, but the artist’s inimitable signature can always be recognised. Visual themes include, for example, the colour white, the relationship between complete and incomplete, and the combination of either various styles or of painting and photography. Still, all of the pieces have one thing in common: they all pursue a conceptual approach and make references to art history.

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.

Though born in England, John Kingerlee has lived on Ireland’s Beara peninsula for much of his life, the wild landscapes finding passionate and all- encompassing expression in his paintings. This beautiful book celebrates his most recent work, with 51 paintings, drawings and collages reproduced, many for the first time. For the first time too, John Kingerlee has written about his life and the inspirations for his work. His words are complemented by a suite of specially commissioned portrait photographs by the great Irish photographer John Minihan. John Kingerlee has produced some of his very best, most expressive, most free spirited and ultimately most profound work in his later years. These paintings deal with universal problems of our existence and our planet; they address fundamental rather than ephemeral issues. The art itself has a quality of timelessness about it, not least because it is often created over many years and is often so multi-layered as to feel sculptural.

In 1925 a journalist on the Barcelona newspaper El Escándalo used the term Barrio Chino in a somewhat derogatory way to describe part of the older city. While the area in question represented a dystopian underbelly of the city, known for its impoverished living and working conditions together with its ‘red-light’ subcultures, it never existed as a ‘Chinatown’ in either a physical or social sense. However the name of this mythical community stuck from the 1920s onwards, appearing on maps and descriptions of the inner city but devoid of any hint of Chinese inhabitants or their culture. The book takes this as a starting point to chart the development of Barcelona over two hundred years using a series of ‘diaries’ and drawn images. These are set around four generations of a fictional Chinese dynasty and their imagined architectural participation in some of the major events in Barcelona’s modern history. As residents of the Barrio from the mid-nineteenth century, they individually document diverse contributions to the city during periods of dynamic growth. This is set against a backdrop of cataclysmic political change and exemplary forms of urban regeneration which have provided Barcelona with its contemporary ‘World City’ status as it plans for the future.

Faith Flowers is a guide to arranging flowers in places of worship. The book starts with the fundamentals of flower arranging and works up to advanced designs for festivals. Step-by-step instructions and photographs clearly show how to create many different arrangements. Flower recipes are included describing what is needed for each design. Lots of inspiration for new ideas and colour combinations. Flower designs are provided for regular services, weddings, funerals, Christmas, Easter and much more. Learn how to create a volunteer group to provide flowers for your worship services. Author Laura Larocci shares her knowledge from 16 years as Flower Guild Chair of one of the largest cathedrals in the country. Over the years she has organised, led and taught hundreds of volunteers at the cathedral and churches across the US. She shares the triumphs and struggles of creating beautiful flowers within budget and volunteer flower guilds. The book has good reference guides with photos of flower varieties, greenery and materials needed, sample ordering forms, budgets and tips for saving money. Sources for flowers and materials are also discussed.