In a world where Photoshop creates the stereotype of perfect and flawless images, Steve Dean Mendes decided to row against the tide and do just the opposite as a photographer. By deciding not to retouch his images and to not use makeup for his models, only using natural light in the studio, Steve Dean Mendes created a safe environment for his protagonists, initiating a process of removing all masks. In this series he worked predominantly with women and attempted, through art, to facilitate the experience for self-discovery and acceptance.
His aim? To capture raw and unaltered emotions and to present a story of love, joy, but also of pain, suffering and abandonment. Inspired by the great Flemish Old masters and the Pre-Raphaelite movement, Steve Dean Mendes wanted to show the real human beings behind these protagonists, with all their natural fragility and beauty of their soul.
Text in English and Dutch.
Moniker
mon·ick·er / [ mon-i-ker ]
a person’s name, especially a nickname or alias.
“In the street art world everyone is equal and they don’t wait for official approval. They are artists in every sense of the word, whether they are painting in their own backyard or a huge illegal mural on the street for all the world to see.” Frankie Shea
“Moniker Art Fair has caused a stir internationally by providing an art fair environment for the sort of work normally overlooked by the traditional art world.” Katie Antoniou, Run-Riot
This groundbreaking platform dismantles the elitist barriers prevalent in the art world, offering artists an unbiased space to showcase their creations. This book reflects on Moniker’s impressive saga, from upstart art fair to critical support infrastructure for the urban art community. For that next generation of artistic outsiders, those who are pounding at the gates to be let in, Moniker can act as an inspiration. Few have done as much as Moniker to position urban art as accessible, historically significant, and exciting.
This book is an attempt to answer the questions: What makes historic architecture awe-inspiring? How have the Indian architectural masterpieces retained their vitality even after so many centuries? What spatial qualities and organizational principles have rendered them timeless?
At the outset the author sets forth fundamental Indian philosophical and ideological tenets—the Indian notion of time, the duality of existence, the concept of a world within a world, the idea of opposites as counterpoints, the role of semiotics in providing visual clues in architecture, and the changing perception of space while in movement. The study unravels the inherent virtues of traditional Indian architecture, inferred and exemplified in a range of traditional Indian architectural examples.
Discussion of each site is illustrated with a wealth of visual materials—photographs, architectural plans with analytic overlays and volumetric constructs. Miniature-style reproductions drawn for each example reconstruct their spatial, environmental and experiential qualities and are used to demonstrate the universality of communication in Indian architecture.
The Flemish Primitive artist Hans Memling (c. 1435–1494), who played a crucial role in early Netherlandish painting, is inextricably associated with Bruges. Among his most impressive creations are the St John Altarpiece and the St Ursula Shrine, which he created for St John’s Hospital in the city. Seven more of this 15th-century master’s finest works can also be seen in Bruges, at what is now the St John’s Hospital Museum and at the Groeninge Museum.
This book describes Memling’s breathtaking paintings in close detail, while offering readers the opportunity to (re)discover his oeuvre as a whole.
Text in English and Dutch.
Step into a captivating world where the lens becomes a storyteller, and architectural marvels and interior masterpieces unfold with mesmerizing clarity.
For the first time ever, this book brings together 50 of the world’s best photographers specializing in architecture and interior design and showcases each one through portraits, interviews and a handpicked selection of their best images to date.
In Focus is not just a book; it’s a visual odyssey paying homage to the world’s most exceptional architecture and interiors photographers.
As the curated collection unveils the unique perspectives of each photographer, from the play of light on architectural structures to the intimate details of curated living spaces, readers are invited to witness the convergence of art and functionality. This tribute encapsulates the essence of architectural and interior photography, showcasing the visionaries who have dedicated their craft to immortalizing the soul of spaces.
“The book is intelligent and informative. Investors should find it particularly interesting.” — Financial Times
The future is uncertain but for one thing: the global economy is in disarray. Investors, companies and governments must rethink their approach in light of raging inflation, the ongoing climate crisis and an ageing population. In addition, they have to deal with the highest mountain of debt ever accrued in peacetime, disruptive innovations and the effects of multi-globalization. So much is happening simultaneously, making it difficult to distinguish the big waves from the small hypes. Which economic developments are here to stay and which are transient? How will interest rates evolve? Which emerging countries will become tomorrow’s global powers? Which sectors offer the most opportunities? Macroeconomist Koen De Leus and market strategist Philippe Gijsels take a deep dive into the inner workings of our economy. They identify the five major trends that will dominate our lives and our money over the next 30 years. With in-depth analyses and concrete advice, they offer guidance, reveal connections and temper alarmism. The New World Economy in 5 Trends shows how you can surf global megatrends and successfully invest in our changing reality.
This is a beautifully produced catalog accompanying the Holburne Museum’s groundbreaking retrospective of Henry Moore’s sculptures that could fit in the hand. At the heart of Moore’s practice was the directness of working on a small scale, whether carving small stones or pieces of wood, casting lead, modeling in clay or, in later years, modeling in plasticine around a found stone or bone to be cast in bronze.
The exhibition will include sculptures in stone, wood, terracotta, plaster, lead, plasticine and bronze, and span themes recurrent in his work: the reclining female figure, the mother and child, the human head, and the fallen warrior. It will include maquettes for some of his best-known, public sculptures alongside lesser-known works, including the display for the very first time in a museum exhibition of a recently discovered early lead cast of Mother & Child.
The catalog presents 85 illustrations with an introduction by Chris Stephens.
‘That this is a legitimate question, even a necessary one, is argued by Vergara in a pleasurable manner, with the pace and attitude of a peripatetic thinker. There is something here that reminds one of Montaigne or Stendhal.’ – El País
Throughout history, human beings have excelled at creating art of the highest quality. Aristotle wrote that Homer “surpassed all others” and Pliny the Elder referred to “masterpieces that we never tire of admiring”. Velázquez distinguished between portraits “made with art” and those that were not. What did they all mean exactly? What do we mean when we say that a work of art is good, of high quality? This book is an attempt to explain this central question, which remains surprisingly unexplored.
Alejandro Vergara-Sharp argues that “a deep knowledge of the history of art provides us with the tools to approach this issue objectively”. He then invites the reader to share with him a Socratic voyage of discovery, gradually unveiling arguments that can assist us in understanding this elusive and crucial concept.
“This book is a fascinating look at a history rarely told.” —The Guardian
“a fascinating look at a history rarely told” — The Observer
“In his new book “Around the World in 200 Globes” (Luster), he spot-lights some of the most significant and interesting, shpwing that a globe is more than a map on a ball.” — Wall Street Journal
“…a superb illustrator of changing boundaries and national self-regard” — Strong Words
“…exquisite examples that speak to our species’ ever-shifting ideas of who we are and where we live” — National Geographic Traveler
“…beautifully put together – and the photographs of the globes are straightforward but show off the magnificence of the collection admirably” — Amateur Photographer
The Dutch architect Willem Jan Neutelings (co-founder of Neutelings Riedijk Architects) is known as the architect of, among other things, the MAS in Antwerp and the Gare Maritime in Brussels’ Tour & Taxis district. Few people know, however, that Neutelings is also an avid collector who, over the years, has built up a very extensive and also very specific collection of hundreds of globes, made between 1900 and 2000. In this book, he presents his collection to the public for the first time. He selected 200 globes, each telling a very individual and interesting story about the time and place when and where they were created. Some globes bear witness to technological innovations by the way they were made, some show how advanced people’s knowledge of space was at the time, some were intended as navigational aids. Neutelings’ collection includes globes in cast iron, steel, wood and even paper; some look very old and fragile, others are very colorful, and some even give off light. Each one is a beautiful and intriguing object that teaches us a lot about the ever-changing world view of mankind. This beautiful and skillfully crafted book is an ode to these stories, to the unique objects often anonymous craftsmen produced in the last century, and to the special dedication of collectors.
In an era of rapid technological and social change Trends in the Transformation Economy offers insights into a new economic landscape. It explores how companies can navigate a world where customers seek not just products, but meaning. The book offers strategies to meet these new customer aspirations and thereby it makes a positive impact on the planet, society and individuals.
Marking twenty-five years of culinary brilliance, Spirit & Spice: The Cinnamon Club celebrates the extraordinary journey of chef Vivek Singh and his acclaimed restaurants – The Cinnamon Club, Cinnamon Kitchen, and Cinnamon Bazaar. From the grandeur of Westminster’s historic dining rooms, to the vibrant streets of London’s spice markets, Vivek has redefined modern Indian cuisine, blending tradition with innovation and artistry.
With photography by Jean Cazals, this beautifully crafted book captures the heart and soul of the Cinnamon world – the people, the places, and the plates that have shaped a gastronomic legacy. Featuring signature recipes, behind-the-scenes stories, and vivid imagery, Spirit & Spice: The Cinnamon Club is both a visual feast and an inspiring chronicle of flavour, creativity, and culture. A landmark celebration of one of Britain’s most influential restaurant groups – and the man who brought the spirit of India to the modern table.
Marking twenty-five years of culinary brilliance, Spirit & Spice: The Cinnamon Club celebrates the extraordinary journey of chef Vivek Singh and his acclaimed restaurants – The Cinnamon Club, Cinnamon Kitchen, and Cinnamon Bazaar. From the grandeur of Westminster’s historic dining rooms, to the vibrant streets of London’s spice markets, Vivek has redefined modern Indian cuisine, blending tradition with innovation and artistry.
With photography by Jean Cazals, this beautifully crafted book captures the heart and soul of the Cinnamon world – the people, the places, and the plates that have shaped a gastronomic legacy. Featuring signature recipes, behind-the-scenes stories, and vivid imagery, Spirit & Spice: The Cinnamon Club is both a visual feast and an inspiring chronicle of flavor, creativity, and culture. A landmark celebration of one of Britain’s most influential restaurant groups – and the man who brought the spirit of India to the modern table.
A sphere encrusted with reindeer antler tines, an intricate bone-laden tapestry and sculptural flora integrating domestic textiles are only three of the many works unveiled in this first ever comprehensive look at tactile works by Norwegian artist Aslaug M. Juliussen (b. 1953). Self-reflections upon her life and everyday experiences with the Arctic landscape shape the imagery in her work, as evidenced by her choice of materials and techniques. Juliussen explores materials that speak to culture and tradition in Northern Norway, and the Sami culture in particular.
The publication comprises engaging cross-disciplinary essays that illustrate the multifaceted aspects of Juliussen as an artist. Scholars from such diverse fields as biology, philosophy, gender studies and art history look at Juliussen’s art from multiple perspectives and thus enable a new dialogue on art in the context of a European indigenous culture. Published to accompany the exhibitions at Nordnorsk Kunstmuseum, Tromsø (NO), 20 October 2018-31 March 2019 and at Blaafarveværket, Modum (NO), Summer 2019 and at Anchorage Museum, Alaska (USA), Autumn/Winter 2019.
With his residential buildings, office blocks, schools and factories, Boris Velikovsky (1878-1937) made a definitive contribution to Russian avant-garde architecture. His early constructions, such as Gribov House in Moscow, are still very much bound to Russian Neoclassicism, yet since the Revolution of 1917, he increasingly designed Constructivist architecture. One example is his Gostorg Management Building, distinguished by glass facades, the functional division of space and use of state-of-the-art materials. Furthermore in the garden city of Druzhba for instance, Velikovsky intensively engaged with new ideas in town planning. With mostly hitherto unpublished technical plans as well as numerous historical and new colour photographs of his most famous projects, Boris Velikowsky’s contribution to Russian avant-garde architecture is appreciated for the first time in book form.
Arte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production.
Giulio Radi began experimenting in 1940, obtaining the company’s signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman’s ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company’s history indispensable for all Murano glass lovers.
On the whole, when one thinks of seventeenth-century sculpture in Rome, one has in mind the wonderful and famous works of Gian Lorenzo Bernini, such as the Fountain of the Rivers or The Ecstasy of St. Theresa. The very idea of Roman baroque is commonly identified with the century’s great genius. And indeed, the influence of Bernini’s work on the sculpture and art in general of the period was, especially in Rome, decisive. However, this domination spread only during the second half of the seventeenth century, and less unequivocally than one might suppose.Other great sculptors, with personalities that were often very different form Bernini’s, contributed to making the extraordinary proliferation of Roman statuary extremely complex and varied at that time.
This book is aimed especially at students and museum visitors who would like to learn more about the topic and discusses the art in a straightforward and strictly chronological fashion. The narrative begins in the early decades of the seventeenth century with sculpture created by a motley and conspicuously cosmopolitan group of artists. Later, with the growing success of the great masters, commissions began to gravitate around Bernini, Alessandro Algardi, and François Duquesnoy. A new approach to Antiquity went hand in hand with a marked predilection for striking chromatic effects, borrowed from Venetian painting, and a desire to make a strong impact and achieve a particular tone, often with results of surprising originality.
Taking the most up-to-date and best founded historiographic observations on the subject we have tried to highlight the workshop relationships between the great masters and the ‘giovani,’ their pupils or occasional assistants, and in this way put into relief the experimental approach of some of these apprentices, such as Melchirro Caffà or Antonio Raggi, or the ability of certain others, for instance Ercole Ferrata, to fuse the most diverse influences. The book thus aims to show how marble and travertine were used throughout the century to create a whole army of statues that were positioned in the open and in churches, lending modern Rome its truly incomparable new face.
Assembly of the Exalted presents some 50 pieces from the remarkable collection of Alice S. Kandell. The works, dating from the late 13th century to the early 20th, include great masterpieces and emblematic examples of Tibetan Buddhist art. They are all presented here as the constituents of a Tibetan Buddhist shrine. Shrines, both modest and grand, are the primary sites of Tibetan Buddhist practice, whether it be reciting scriptures, performing rituals, saying prayers, or engaging in meditation. The introductory essays thus focus on the Tibetan Buddhist shrine, describing its evolution over the history of Buddhism, its special role in Tibet, and how the pieces in the Kandell Collection came to be assembled and displayed in shrines at institutions across America. Illustrated with vivid photography, forty short essays, each centered on a single work or set of objects, describe the pieces in terms of their importance for the practice of Buddhism, highlighting the many essential functions of Tibetan Buddhist art within the space of a shrine.
At the beginning of 2020, just as global Covid-19 restrictions were coming into force, the artist David Hockney was at his house, studio and garden in Normandy. From there, he witnessed the arrival of spring, and recorded the blossoming of the surrounding landscape on his iPad, a medium he has been using for over a decade. Working outdoors was an antidote to the anxiety of the moment for Hockney – ‘We need art, and I do think it can relieve stress,’ he says.
This uplifting publication – produced to accompany a major exhibition at the Royal Academy of Arts – includes 116 of his new iPad paintings and shows to full effect Hockney’s singular skill in capturing the exuberance of nature.
The Ashmolean is fortunate in having the finest collection of Indian art in Britain outside London, one which includes many works of great beauty and expressive power. For this we are indebted above all to the generosity, knowledge and taste of our benefactors and donors from the 17th century to the present. This book offers a short account of how the collection developed and a selection of some of its more outstanding or interesting works of art. While it is written mainly for the general reader and museum visitor, it includes many fine objects or pictures, some of them unpublished, that should interest specialist scholars and students.
Since 1987, the Ashmolean has made many significant new acquisitions of Indian art and these are highlighted in this collection. As the book’s title implies, it also ventures beyond the bounds of the Indian subcontinent by including works from Afghanistan and Central Asian Silk Road sites as well as many from Nepal, Tibet and Southeast Asia. From the early centuries AD, Indian trading links with these diverse regions of Asia led to a widespread cultural diffusion and regional adoptions of Buddhism and Hinduism along with their related arts. Local reinterpretations of such Indic subjects, themes and styles then grew into flourishing and enduring artistic traditions which are also part of the story of this book.
The selection of works ends around 1900. By the 16th century and the early modern period in India, growing European interventions and Western artistic influences under Mughal rule saw a significant shift in sensibility and the practice of more secular and naturalistic forms of court art such as portraiture. By the late 19th century, fundamental cultural changes under British rule and the advent of new technologies brought about a gradual decline in many of India’s traditional arts.
This book addresses a phenomenon that pervades the field of art history: the fact that English has become a widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English’s rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent.
What artistic, intellectual, and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?
Includes 10 essays in English, four in Italian, and one in German.
Text in English, German and Italian.
Suzanis, the exquisite hand-embroidered panels from Central Asia, have captured the hearts and minds of collectors and decorators for many years. Joyful and exuberant, they are a bridge to a past way of life in which textiles permeated every facet of existence. While today they adorn the walls of museums and can be spotted in homes designed by interior designers such as Robert Kime and Beata Heuman, not much is known about their history. This book sets out to change that.
Through the lens of one of the best collections of suzanis in the world, we delve into the history of Central Asia and understand more about the women who painstakingly stitched these works of art. A true delight for all who have experienced the magic of the suzani, this publication pairs beautiful visuals with engaging new research.
It is 1994, the year of the OJ Simpson saga, Tony Blair’s rise to the leadership of the Labour Party, and South Africa’s first fully multi-racial elections. Nola Marks is a London nightclub hostess with an art history degree and itchy feet. Suddenly her world changes. She begins a new career with a fledgling publishing company, meets Lucian Freud, and finds herself adopted as his latest muse. Over the course of the following seven months, her professional and emotional worlds are turned upside down, as external forces impact in unexpected ways. Set ten years on from Tableaux, the author’s debut novel, the narrative cuts between divergent national cultures and different social tribes. With photographs by Jamie Noise, Nightingales combines art and storytelling in a compelling hybrid form.
When a city is pursuing high-speed development and putting massive infrastructure into construction and operation to enable rapid economic growth and efficient urban operation, it will see, quite possibly, increasingly scarce land and resources. And much of its space for people and life lost to economic development, and worse still, the degradation of the environment and the loss of nature… This disequilibrium has set us thinking: what is exactly the purpose of development? Or is it a choice that’s simply not worth making?
This book includes the research and design project “Shenzhen 2030: Balance is More” by Doreen Heng Liu with NODE Architecture & Urbanism at an invitation to Audi Urban Future Award 2012, as well as interviews and articles by experts and scholars in the field of architecture and urbanism. This project, which takes transportation infrastructures as the object of research and design, attempts to reinterpret, deconstruct and reconstruct Shenzhen’s highly efficient urban roads through an interdisciplinary approach. By establishing new supporting systems and reorganizing urban mobility, it tries to leave more possibilities of “leisure” for people and life within limited space and redefine a new balance between economy, society, and environment – a balance that sustains and brings more.
Text in English and Chinese.
“The most exciting travel guide I’ve read in years.” – Huffington Post
This classic guidebook, full of the little-known treasures of the Île de France, is now fully updated and revised, with two new chapters.
Discover half-hidden chateaux and artists’ country houses; walk, boat or dance by the river; explore old towns and country footpaths; and eat in small family-run cafés and restaurants with 1950s décor. Based on 30 years’ experience of exploring the Paris countryside by train, each visit includes the essential historical context and practical information to help you discover places unknown to many Parisians.
Written with humor and a flair for the unusual and authentic, the text is illustrated with original photos and local maps. It includes a unique guide to using the excellent local train network.
A revolution has been taking place in the vineyards and wineries of Portugal during the last twenty-five years, bringing hundreds of new wines, many from indigenous grapes, onto the international market. Previously thought of as a producer of mainly red wine, Portugal is now proving it can make world-class white wines too. In order to examine the terroirs that make this small but varied country so unique The Wines of Portugal divides the country into four areas – Atlantic, mountains, plains and islands – providing detailed descriptions of the demarcated wine regions, the growers and the wines they produce. From crisp Vinhos Verdes in the Atlantic north-west through the Douro, Dão and Lisbon to the big, bold reds of the Alentejo and newcomers from the Algarve, this book is an up-to-date appraisal of Portugal’s vineyards and wine producers.
• Captures the changes in Portuguese wine that have taken place over the five years since the previous edition was published.
• Thoroughly updated producer entries with more wines tasted.
• Expansion of the section on Azores wines, reflecting the recent rapid revival of winemaking here, as well as its popularity as a tourist destination.
• Richard Mayson is a series editor for The Classic Wine Library and the first edition of this book is among the series’ best-sellers.
• New color maps make navigating the wine landscape easier; also contains color photos.