Michael Coffey: Sculptor and Furniture Maker in Wood unsettles the conventional distinction between craftsman and artist, which is often assumed to be the difference between creating something new, as opposed to reproducing old forms. Inspired by but not beholden to artist-craftsmen such as George Nakashima, Wendell Castle, and Jack Rogers Hopkins, Coffey’s handmade, one-of-a-kind works seamlessly combine the irregular forms of nature, an aesthetic built on the variable and unexpected, with a deep sense for the haptic and functional qualities of wood. This book includes not only a generous reproduction of Coffey’s body of work, but also an in-depth autobiographical reflection on how his formative experience, from his rural and bohemian childhood to community organizing, and to the discovery of his passion for woodworking, molded him into the sculptor and artisan he is today.

Coffey makes all his work in his western Massachusetts studio, deeply integrating his life and practice. This reflects the work itself, as this book makes clear, Coffey’s pieces that are both uniquely sculptural but also highly functional, recognizing the complex relationship people have with the objects they choose for their space. His pieces are meant to be lived in.

David Adjaye’s second monograph with a+u displays the global expansion of his practice. a+u 18:02 features international projects such as the Latvian Museum of Contemporary Art, Aishti Foundation, and Moscow School of Management. Adjaye’s influences range from contemporary art, music and science to African art forms and city life. His ingenious use of materials and sculptural ability have established him as an architect with an artist s sensibility and vision. Following a competition in 2009, he was chosen to design the National Museum of African American History and Culture. In addition to these large scale works, private residences from around the world are also included in this issue. After teaching internationally and receiving numerous awards, Adjaye was knighted by Her Majesty the Queen for services to architecture, following the award of his OBE in 2007. Text in English and Japanese.

This book presents sixteen essays exploring the work of two of 17th-century Amsterdam’s most ambitious painters, Govert Flinck and Ferdinand Bol. Museum curators, academic art historians, and conservation scientists from six different countries come together to investigate form, content, and context from a variety of perspectives. Eric Jan Slujter examines how changing patterns of patronage contributed to both artists’ stylistic evolution. Hilbert Lootsma traces the rise and fall of their critical fortunes from their own time until today. Ann Jensen Adams situates their work in the shifting market for portraiture. Jasper Hillegers explores the origins of Flinck’s career in the Leeuwarden studio of Lambert Jacobsz. Other authors present contextual and technical analyzes of individual paintings. Portrait identities are revealed, painterly tricks uncovered, and both artists are shown to be influential teachers and members of an intellectual community in which art and theater were closely linked. Many of these essays originated at an international conference held in preparation for the exhibition, Govert Flinck and Ferdinand Bol. Together, they shed new light on the methods and motivations of two artists who began as Rembrandt’s acolytes but soon became his rivals.

Portrait Miniatures from the Merchistion Collection is the fifth in a series of titles which examines the portrait miniature. This collection, which has never been on public display, was assembled on the London art market during the 1970s and 1980s. Scottish miniaturists from the late eighteenth and early nineteenth centuries are particularly well represented with fine works by Scouler, Bogle, and Skirving and Sir William Charles Ross. Of outstanding interest is Nicholas Hilliard’s matching pair of tiny lockets of Queen Elizabeth and her admirer Robert Dudley, Earl of Leicester. Stephen Lloyd’s essay discusses the formation of the collection and the impact of the invention of photography on the art of miniature painting. It also explores the social history of the miniature. Twenty of the key works are illustrated in color, with extended captions, and a complete list of the collection is also included.

Following the success of Letters from St. Petersburg, which recounts the early years of Prince Chakrabongse’s life through his letters to his father, King Chulalongkorn, the diaries covering the last four years of his life are full of sadness and tumult. The Prince records all the facets of his daily life: his work as Commander-in-Chief of the army and his push to bring Siam into World War I, the conflicts within the royal family, the breakup of his marriage and the death of his beloved mother, Queen Saowabha. These diaries provide an invaluable first-hand insight into Siamese politics and governance at a turbulent time, as well as poignant glimpses of his personal life and divorce from his Russian wife, Katya.

One artist‘s whimsical and inspiring way to keep track of the books she has read, Book Marks is a visual journey through a lifetime of reading and remembering that features 434 richly illustrated artworks created on old library checkout cards; each collage or drawing distills the contents of a single title.

This alluring blend of art book and autobiography will capture the imagination. At its heart are hundreds of captivating 3 x 5-inch artworks―intricate collages and drawings created on old library checkout cards, each one representing a book that left an indelible mark on artist Barbara Page. She began creating these illustrated “book marks” as a colorful way to remember titles she was currently reading. Before long, Page embarked on a decade-long art project recreating her reading history, starting with picture books from early childhood.

Every artwork serves as a bookmark for a moment in time connected to a specific title, and, as a collection, they present over seventy years of literature, politics, thought, and culture ― as colored by one woman’s reading choices. Some images may evoke your own memories of a story. Others may feel like little puzzles that require reading or rereading a title to interpret the artistic references.

Over half of the more than 800 cards housed in a two-drawer library case are illustrated here. Interwoven with personal accounts of the artist’s life, each card represents a literary work that drives the narrative, directly and indirectly. Book Marks underscores the interplay between our experiences and our reading and can remind us how a good book can linger in our mind for months, if not years.

These compelling artworks resonate and inspire, as will Page’s story. Like many, the artist discovers strength in the words of authors many of us know and love, and, through reading, she gains knowledge that feeds her personal growth and scientific interest in the world around her. As Page’s life is disrupted by tragedies ― one husband’s mental illness and another’s decline into dementia―she forges forward, finding new focus and reinventing her life.

Among the books represented in the 400+ artworks:



 Robert McCloskey’s Make Way for Ducklings, Marjorie Kinnan Rawlings’s The Yearling, Louisa May Alcott’s Little Women, Mark Twain’s The Adventures of Huckleberry Finn, George Orwell’s 1984, Shakespeare’s MacBeth, Kathryn Hulme’s Nun’s Story, Ernest Hemingway’s A Farwell to Arms, Benjamin Spock’s Baby and Child Care, Rachel Carson’s The Silent Spring, Wolfgang Langewiesche’s Stick and Rudder, Eldridge Cleaver’s Soul on Ice, Alix Kates Shulman’s Memoirs of an Ex-Prom Queen, Wassily Kandinsky’s Concerning the Spiritual in Art, Don Marquis’s Archy and Mehitabel, Toni Morrison’s The Bluest Eye, Robert Pirsig’s Zen and the Art of Motorcycle Maintenance, Louise Nevelson’s Dawns + Dusks, Jane Austin’s Pride and Prejudice, Mollie Katzen’s Moosewood Cookbook, William Least Heat-Moon’s Blue Highways, Bruce Chatwin’s The Songlines, David Quammen’s The Song of the Dodo, Paul Theroux’s Old Patagonian Express, Elisabeth Sheldon’s A Proper Garden, John McPhee’s Annals of the Former World, Alex Haley’sRoots, Italo Calvin’s Cosmicomiche, Alfred Wainwright’s A Coast to Coast Walk, Alexander Stille’s The Future of the Past, Anthony Bourdain’s Kitchen Confidential, Alan Weisman’s World without Us, Kate Atkinson’s Life After Life, Andrew X. Pham’s Catfish and Mandala, Meg Wolitzer’s The Interestings, Katharine Harmon’s The Map as Art, Mitch Albom’s Tuesdays with Morrie, Jhumpa Lahiri’s The Lowland, Louise Penny’s A Trick of The Light, Oyinkan Braithwaite’s My Sister, The Serial Killer, Dave Eggers’s The Circle, Orhan Pamuk’s Museum of Innocence, Daniel James Brown’s Boys in the Boat, Will Schwalbe’s End of Your Life Book Club, Haruki Murakami’s What I Talk About When I Talk About Running, Elizabeth Kolbert’s The Sixth Extinction, Susan Orlean’sThe Library Book, Amor Towles’s A Gentleman in Moscow.

“It is often said that great things take time and after a twelve year hiatus from publishing, renowned artist Swoon has returned with the must-have monograph, THE RED SKEIN.” — Quiet Lunch
In 224 pages, with more than 200 color images, this book explores the work of Caledonia Curry, also known as Swoon, and her aim “to bring a human presence to the street in a delicate way”. Covering her works on the street and in the studio, animation projects, collaborations, museum installations and community-based projects, The Red Skein is the most interesting and valuable collection of the artist’s works. Of particular interest is “Persephone, Medea, Hecate: Constructing a crossroads for art and psychedelic-assisted therapy”, an intimate and moving text in which Caledonia explains her background and what art means for her.
The in-depth book includes an introduction by bestselling author Dr Gabor Mate, a Hungarian physician with huge expertise on a range of topics including addiction, stress, and childhood development. There are also essays by RJ Rushmore (one of the youngest and most respected critics of street and graffiti art in the world), Melena Ryzik (New York Times reporter who was part of a team that won a Pulitzer Prize in 2018 for reporting on workplace sexual harassment), Jerry Saltz (American art critic, senior art critic for The Village Voice and columnist for New York magazine) and Pedro Alonzo (Boston-based independent curator and Adjunct Curator at Dallas Contemporary). Other contributors include Hans Ulrich Obrist (director of Serpentine Gallery, Art curator, critic and historian of art), Jeffrey Deitch (art dealer and curator, director of the Moca 2010-2013) and Judy Chicago (feminist artist, art educator and writer).

“I have always been inspired by what was happening on the street – and anyway, I couldn’t afford the high fashion price tags.” —Caroline Baker

“Featuring an array of – now – infamous covers and high fashion editorials crafted by Baker, readers are encouraged to bask in the success of her trail-blazing tale and indulge in the history of streetwear’s rise to the helm of the fashion industry.” —Wonderland

“A fantastic delve into the story of fashion styling straight from the lips (and visual archive) of the lady who invented it all, Caroline Baker” —Navaz Batliwalla, disneyrollergirl

“What makes this book a must-read? Author Iain R. Webb is a friend of Baker’s, so this is the inside story of a woman whose work is a masterclass in the art of style and subversion.” —Yahoo
Caroline Baker is the antidote to high fashion. As the legendary fashion editor of Nova magazine in the 1960s and ’70s, her style was quite literally cutting-edge (she famously chopped up clothes to achieve her desired looks). She is credited with challenging the status quo of the industry and society at large, and introducing street fashion to the mass market. Stylist-of-choice for the most dynamic female designers on the scene – Katharine Hamnett and Vivienne Westwood – Caroline has continued her trajectory as a fashion provocateur. Her work has appeared on the pages of Vogue, Tatler and Cosmopolitan as well as The Face and i-D – and unsurprisingly, a new generation of style-setters is now looking to Baker’s back catalogue for inspiration.

This book offers an in-depth overview of Baker’s work, expertly curated and considered by Iain R. Webb. It is divided into sections that highlight specific recurring themes and tropes – such as Punk Rock, DIY, Utility and Sportswear. These ideas have defined Baker’s evolving sartorial vocabulary over six decades, and set a template for street fashion that endures to this day. Accompanied with personal commentary from Baker herself and specially written contributions by Vivienne Westwood and Katharine Hamnett, this is the definitive guide to Caroline Baker and her influence on fashion.

British Furniture 1820 to 1920: The Luxury Market, written by celebrated furniture historian Christopher Payne and including over 1,000 superb photographs, is a landmark publication and the first book to comprehensively assess British furniture design from the early origins of the so-called Victorian era through the myriad of influences in vogue up to the 1920s. It goes further than any book has attempted before, creating a continuum to underline the importance of the late Recency style favoured by George IV, moving through to the first two decades of the twentieth century, with a host of ever-changing styles and fashions. Payne studies the influence of the exhibition era, trade catalogs, retailers and subcontractors, and sheds light on the often-unidentified makers of reproduction furniture that later became an important part of the market. He also illustrates the importance of the revival styles, a fundamental part of the furniture trade that has often previously been ignored and shines the light on makers and suppliers of the popular Rococo Revival, ‘Queen Anne’ and ‘Chippendale’ styles. 

Some of the makers’ names are familiar to furniture collectors, such as Collinson & Lock, Edwards & Roberts, Gillow, Holland, Maples and Morris & Co., but many are less so and their work is explained and presented here for the first time.

” … The author’s personal, beautiful, and discursive style will appeal to enthusiasts of art and English literature.” Library Journal

One of the greatest literary artists in history, Ford Madox Ford’s childhood is brought to life in this collection of anecdotes from his many memoirs. Ford Madox Ford, best known today for Parade’s End and The Good Soldier, was also a very fine memoirist. The grandson of Ford Madox Brown, he grew up surrounded by all the great figures of Victorian artistic life, whom he saw with the unflinching eye of a child. This collection brings together some of his most evocative, witty, and tender memories of an extraordinary youth. There are rich anecdotes about the Rossettis, Brown, Morris, Burne Jones, Ruskin, Oscar Wilde, Leighton, Swinburne, the accomplished con-man Charles Augustus Howell, and many of the minor but no less vivid characters that made up the bohemian life of London in the second half of the 19th century. Ford’s elegiac but always penetrating prose is a constant delight, and his comic timing invariably immaculate. Selected from Ford’s many volumes of memoirs (all now out of print), this is a superb and very funny introduction to one of the great periods of English art and poetry by a great writer at the very heart of all that was old and all that was new.

Contrary to the monochrome vision of Queen Victoria’s mourning dresses and the coal-polluted streets of Charles Dickens’ London, Victorian Britain was, in fact, a period of new and vivid colors. The Industrial Revolution had transformed the Victorians’ perception of color and, over the course of the second half of the 19th century, it became the key signifier of modern life. Colour Revolution: Victorian Art, Fashion & Design charts the Victorians’ new attitudes to color through a multi-disciplinary exploration of culture, technology, art and literature. The catalogue explores key ‘chromatic’ moments that inspired Victorian artists and writers to think anew about the materiality of color. Rebelling against the bleakness of the industrial present, these figures learned from the sacred colors of the past, the sumptuous colors of the Middle East and Japan and looked forward towards the decadent colors that defined the end of the century. 

Indian art is deeply inspired by philosophical and religious thought. In this original and extensively researched work, the author explores the history of the Pushti Marg community. She explains the spiritual beliefs as laid down by the saint and founder Shri Vallabhacharya, which inspired the art that was created for use in the religious practices of the Vallabha Sampradaya.

This book first delves into the core of Pushti Marg — Vallabhacharya’s philosophy and theology of Shrinathji (a form of Krishna); secondly, it explores how his system of beliefs was expressed in an organized religion and rituals that resulted in the production of sacred objects, mainly paintings, pichvais and shrine textiles. Finally it discusses the influence of Pushti Marg on the social and cultural aspects that carried these traditions forward. While doing so, the book showcases many rare paintings and textiles created for the personal and public shrines of the faith. The book reveals the provenance of the most important pre-Mughal manuscript, Palam Dispersed Bhagavad Puran, and that of Golden and Kalamkari pichvais. The fact that many of the beautiful artefacts, depicting aspects of the worship of Shrinathji, were created by Muslim artisans is a remarkable example of the syncretic culture of India.

The author has analyzed the influence of the Vallabha Sampradaya on Indian paintings in minute detail. As a member of a family that has devotedly followed the tenets of Pushti Marg across many generations, she is uniquely placed to offer an insider’s view of its philosophy, an in-depth understanding of its practices, and a museologist’s perspective on the exquisite artefacts inspired by this faith, which are now displayed in collections worldwide.

The Eighteen Nineties have become legendary: the period of Wilde, Beardsley and the Yellow Book; a decadent twilight at the close of the Victorian century, when young poets weary of life sat about drinking absinthe and talking of strange sins. The provenance of this beguiling picture is peculiar, for the myth of the Decadent Nineties was created during the period itself. It was an age of artistic self-consciousness, during which writers and painters believed that they had to create not only their works but also their personalities. In Passionate Attitudes, Matthew Sturgis examines the varying extents to which ambitious poets, penurious painters, canny publishers and a controversialist press all conspired to promote the notion of decadence. He explores in detail the cataclysmic effect upon English decadence of the spectacular trial and subsequent conviction of Wilde in 1895, a fall which was to cast a blight over the whole generation. As well as the luminaries Wilde, Beardsley and Beerbohm, Sturgis portrays Arthur Symons, the poet of the music halls, who divided his energies between promoting Verlaine and chasing after chorus girls; Ernest Dowson, the demoralized romantic of the Rhymers Club; Count Erik Stenbock, who kept a snake up his sleeve and went mad; and John Gray, who may have been the model for Wilde’s Dorian. John Lane published most of their books; Owen Seaman and Ada Leverson parodied their manners. Elegantly written, Passionate Attitudes provides a hugely informative and richly entertaining account of the zeitgeist behind the glorious decade of excess.

Beyoncé is a force of nature. Her iconic songs, viral dance moves and daring acts of defiance are always delivered in sensational style. In the words of fashion legend Thierry Mugler, she represents ‘the duality between being a woman and a warrior’. Strutting and sashaying in Valentino leopard-print catsuits and her signature thigh-high boots, Queen B is more than just a glamor puss extraordinaire. She’s a leader and an inspiration. Messages of self-empowerment and inner strength define her wardrobe as much as they electrify her songs. Her fashion connoisseurship has led to partnerships with numerous big names. Versace, Bottega, Balenciaga, Givenchy and Louis Vuitton are just a few of the brands saluted in her 2022 Renaissance album, and Anna Wintour even handed Bey creative control of the September 2018 issue of American Vogue. Perfect for fans and fashionistas, Beyoncé and the Clothes She Wears charts her sartorial journey, from Destiny’s Child to the present day, in glorious visual detail.

This book reveals the collection presented at Ajuda Royal Palace in Lisbon (Royal Treasure Museum), that has been recently renovated, and where is displayed this unique collection with particular significance for a country with a nine-century history. Over the time, from the 17th century until the 20th century, the Braganza Royal Family has collected precious jewels and works of art intensively, often through relations with other important European families, but also through royal gifts. Finally displayed in a monumental permanent exhibition, each object in this collection witnesses the history of a leading country, as well as the story of the people who have worn or conserved these highlights of decorative art.

One sole truth about Edvard Munch’s art does not exist. The answers depend on the questions we pose. Twenty-two Munch experts have written 150 texts about well-known and lesser-known works from Munchmuseet’s collection. Through these multiple ways of seeing, Munch’s lifework emerges as infinite. And this book, as an exercise in the art of seeing. The book invites the reader to explore the world of Edvard Munch — his ideas, processes, and the profoundly human topics that occupied him and that still affect us today. Through a wide selection from the museum’s collection, you can experience the richness of Munch’s artistic career and his unrelenting drive to experiment and innovate.

This book aims to tell the story of social history through Money. Money and Art have shared a long history. Both words are metaphors derived from Latin terms used over 2,000 years ago. The word Money derives its modern meaning as the general term for all means of payment from its use as the word for coins in the pre-modern period. Particularly since the introduction of paper money, the word was applied to coins because of the name of the place where coins were made in ancient Rome, the temple of Juno Moneta (Juno the Warner), from this name the word moneta came to mean mint in Latin, and later the product of a mint, i.e. coins. The word Art acquired its modern usage, meaning works of art, both singularly and collectively, from the Latin ars meaning a skill, and it has so been used in English to describe any form of skill, but gradually from the nineteenth century, the word came to signify the product rather than the skill, particularly in relation to painting, graphic works and sculpture. This eclectic collection of stories brings together a multitude of perspectives through collections from the Ashmolean and around the world — from Art Nouveau bank notes and global portrayals of prosperity to activist Money Art. Deep dives into compelling stories reveal humor, hidden surprises and a tension between the power of money and the playfulness of art.

London is full of strange and beautiful sights. It is a place for traditions and rebels, for the establishment and every alternative subculture. This book celebrates the diversity of the city. It invites you to see Little Ben or the fake 10 Downing Street, and answers both conventional and unusual questions. What, apart from Rolling Scones, will you see at God’s Own Junkyard? Where does an old-school gentleman buy his wine and umbrellas? Why did Robbie Williams feud with his next-door neighbor? How has the city commemorated the Queen Mother and Princess Diana? In which park do 100-year-old naked ladies cavort on the banks of the Thames? Where did Lenin and Julian Assange campaign for their beliefs? And which bridge rolls itself up?

This beautifully appointed monograph features stunning full-color photographs and richly detailed plans and diagrams showcasing the work of Spanish architect Luis Vidal and his studio, Luis Vidal + Architects. Renowned writer and international architecture expert Philip Jodidio provides valuable insights into the work of Vidal and eloquently narrates the stories of 14 distinctive projects across a wide international region.

The projects in the stunning volume, ranging from private residences and urban buildings to hospitals, airports, and educational and cultural centers, have become a world reference in architecture, design, and construction. Among the selected works are the award-winning Terminal 2 (The Queen’s Terminal) at Heathrow Airport in London, Matta Sur Community Center in Santiago de Chile, and Loyola University Campus in Seville. The monograph also features an intensely personal endeavor for Vidal—a private residence that encapsulates much of the thinking that has made Vidal’s work so successful across the world.

Portia Zvavahera is one of the outstanding artists of her generation. Born in Harare, Zimbabwe in 1985, she has developed a unique combination of print/painting techniques to register a private world of dreams, fantasies and figural constructions. She received her art education in Zimbabwe in the early 2000s, and has become recognized in the past decade as one of the foremost representatives of African figuration, showcased at the Venice Biennale in 2022, and in a number of commercial gallery exhibitions in South Africa, the US and the UK. She has not yet had a solo show in a public museum in Europe. 

This new publication accompanies a major exhibition, curated by Tamar Garb, which will include reproductions of brand new works created on the occasion of this exhibition alongside a selection of recent and older paintings which reveal the depth and richness of Zvavahera’s practice. The focus will be on the theme of dreams, fantasy and figuration, and large details will highlight Zvavahera’s innovative amalgamation of printmaking and painting techniques that build rich surfaces to create her private cosmology of creatures and contexts.

The book will feature a significant new essay from curator Tamar Garb and will center around an extensive conversation between Garb, Sinazo Chiya, Tandazani Dhlakama and Pumla Gobodo-Madikizela discussing Zvavahera’s engagement with eros, intimacy and female-centered experience.

The book will open up how Zvavahera’s works emerge from dreams; being figurative without being illustrative, registering a world of feminine experience and fantasy.