New York has a history of immigration that results in one of the most dynamic street food scenes in the world. Those who believe food in New York should cost a pretty penny and can only be found in beautifully styled restaurants probably haven’t been further than downtown Manhattan. This book takes you to the far-flung culinary corners of the five boroughs. From sensory-rousing South American snacks in Jackson Heights to homemade noodle dishes in Brooklyn, and from gourmet food trucks in Midtown Manhattan to simple food stalls in Red Hook. New York Street Food introduces you to a culinary New York in all its facets. Culinary adventurer Tom Vandenberghe and food photographer Luk Thys will seduce you once more. With the help of Jacqueline Goossens, who has lived in New York for more than thirty years, they give you fifty recipes from the most delightful venues of the New York street food scene. Also available: Bangkok Street Food ISBN: 9789020987836 Hanoi Street Food ISBN: 9789020997842 Singapore & Penang Street Food ISBN: 9789401403672
The diversity of flavors and colors of rum is as rich as the history and culture that surrounds this alcoholic beverage. This guide provides an overview of more than 300 different types of rum and then categorizes them using an innovative taste model. For every rum, you receive a clear overview of its origins, taste and aroma. In addition, you can read all about the different types of rum, the production and maturing process, the perfect way to serve, and the best cocktails. Also available: Gin & Tonic ISBN 9789401425605 Tequila & Mezcal ISBN 9789401434645
By means of the ambitious We Drift-concept, an exhibition of 1,000,000 m², Wim Tellier wants to confront us with our vulnerability as a human on an endangered planet Earth. Through this book, the author shows us the origin of the project, the challenges and the various unique locations. Impressive images illustrate the result of this exciting project. It is the first art installation in the world that is driven by nature.
The current social and economic situation in Flanders has shown that European decisions definitely do have a national and regional impact. Flemish policymakers, too, are compelled to pay heed to Europe, as the latter’s decisions are becoming increasingly reflected in domestic policymaking and vice-versa. Against the background of the Pact 2020 and Flanders in Action, the Europe 2020 strategy and its industrial dimension have been translated into a regional long-term strategy and put into practice, even before the European programme was given the EU’s rubber stamp. As an innovative and open economy, part of Europe’s logistical hub, Flanders can lead the way in boosting Europe’s innovative, integrated industrial policy, while raising the region’s profile in the European and international forum. Industry and Innovation in Europe offers an extensive and insightful analysis of how the Flemish and European industrial policies add to each other and back each other up. Apart from policy statements from the European Commissioner for Industry and Entrepreneurship, Antonio Tajani, and the Flemish Minister-President, Kris Peeters, and a report on round table talks involving a few Flemish captains of industry, Industry and Innovation in Europe also features the positions, initiatives and projects being promoted in this area by key Flemish stakeholders/Vleva members, such as representatives of employers, the farm sector, education and research institutes, the provinces, cities and municipalities. Industry and Innovation in Europe is the second in a series of Vleva journals. The Liaison Agency Flanders-Europe (Vleva) is keen for the journals to raise the profile of key European themes and spread the word more about the related positions of Flemish civil society and the authorities.
The career of Y.G. Srimati – classical singer, musician, dancer and painter – represents a continuum in which each of these skills and experiences merged, influencing and pollinating each other.
Born in Mysore in 1926, Srimati was part of the generation much influenced by the rediscovery of a classical Sanskrit legacy devoted to the visual arts. Soon swept up in the nationalist movement for an independent India, she was deeply moved by the time she spent with Mahatma Gandhi. For the young Srimati, the explicit referencing of the past and of religious subjects came together in an unparalleled way, driven by the conscious striving for an indigenous agenda. This experience gave form and meaning to her art, and largely defined her style.
As John Guy demonstrates in this sumptuous volume, as a painter of the mid and late twentieth century, Y.G. Srimati embodied a traditionalist position, steadfast in her vision of an Indian style, one which resonated with those who knew India best.
After the success of Learning from Mumbai (Mapin 2013) the authors of the Learning from India series continue their journey to unravel the lessons that can be learned from practising architecture and urban planning India’s bustling cities. This time, their focus is the country’s capital: New Delhi. Boasting numerous essays and maps, Learning from Delhi lays the groundwork for a series of interviews with architects and planners based in the city. Fresh talent finds a place in this volume, and is showcased alongside the work of established institutions. Abstract theoretical explorations are placed within the local framework through the perspectives of scholars such as Pradip Krishen and Mohammed Shaheer, who are familiar with the city and its buildings. These Indian narratives on Delhi and its developmental life are balanced by the take of foreigners such as Joeri Aulman. A special place in this volume has been reversed for Bas Losekoot’s remarkable photo essays, which bring the city to life in a way never-before seen. Learning from Delhi will be of significance to both students and practitioners of architecture and planning, as well as people interested in Delhi and its built environment. This book is supported by the creative industries fund, NL.
This publication emanates from an exhibition by the same title, displayed for the first time at the Alliance Française de Delhi. It is an attempt to trace the development of photography and the other allied visual arts in Pondicherry spanning the late 19th and early 20th centuries. Drawn exclusively from The Alkazi Collection of Photography, at the core of this initiative is the unpublished album by renowned photographer Henri Cartier-Bresson, co-founder of Magnum Photos, who visited the Sri Aurobindo Ashram in April 1950. He took the last pictures of Sri Aurobindo Ghose in the company of his spiritual companion, the Mother. In addition, he meticulously penned his observations almost daily, creating a meta-text around the images, which presents a biographical and anecdotal supplement for his photographic endeavour. The visual material is further enhanced by some extraordinary images of Indian photographers from the same period such as Tara Jauhar and Venkatesh Shirodkar at Aurobindo Ashram, published here for the first time.
In this catalogue a conscious effort has been made to bring out a non-linear, yet credible history of how Pondicherry has been witness to the development of a unique visual trajectory. The use of images as evidence and document create a subtle interplay between cultural context and artistic intent, a conceptual linking of mannerisms and tropes those of landscape, architectural and portrait photography.
Mohan Samant (1924-2004), among the earliest of the post-Independence modern Indian artists to train in India and settle as a successful mature artist in the West, has been called ‘one of the few artists who has successfully made the bridge between Eastern and Western traditions.’
Born in Mumbai, Samant received his diploma from the Sir JJ School of Art in 1952, where he had studied under S.B. Palsikar. That year he joined the Progressive Artists Group. Extended periods abroad – 1957-58 in Rome and travel in Europe and Egypt, 1959-64 in New York City – preceded his leaving Mumbai permanently for New York in 1968, where he lived until his death in 2004.
Published in association with Abraham Joel, New York, and Pundole Art Gallery, Mumbai. With an introduction by Ranjit Hoskote and additional contributions from Abhijeet Gondkar, Virginia Kaycoff, Sharad Ghamande, Barbara Bertieri, Abraham Joel, and Judith Wink.
Previously published as part of a set, this volume, which concentrates on Samant’s paintings, is now available separately.
Mohan Samant (1924-2004), among the earliest of the post-Independence modern Indian artists to train in India and settle as a successful mature artist in the West, has been called ‘one of the few artists who has successfully made the bridge between Eastern and Western traditions.’
Born in Mumbai, Samant received his diploma from the Sir JJ School of Art in 1952, where he had studied under S.B. Palsikar. That year he joined the Progressive Artists Group. Extended periods abroad – 1957-58 in Rome and travel in Europe and Egypt, 1959-64 in New York City – preceded his leaving Mumbai permanently for New York in 1968, where he lived until his death in 2004.
Published in association with Abraham Joel, New York, and Pundole Art Gallery, Mumbai. With an introduction by Ranjit Hoskote and additional contributions from Abhijeet Gondkar, Virginia Kaycoff, Sharad Ghamande, Barbara Bertieri, Abraham Joel, and Judith Wink.
Previously published as part of a set, this volume, which concentrates on Samant’s paintings, is now available separately.
Mohan Samant (1924-2004), among the earliest of the post-Independence modern Indian artists to train in India and settle as a successful mature artist in the West, has been called ‘one of the few artists who has successfully made the bridge between Eastern and Western traditions.’ Born in Mumbai, Samant received his diploma from the Sir JJ School of Art in 1952, where he had studied under S.B. Palsikar. That year he joined the Progressive Artists Group. Extended periods abroad – 1957-58 in Rome and travel in Europe and Egypt, 1959-64 in New York City – preceded his leaving Mumbai permanently for New York in 1968, where he lived until his death in 2004. This volume, the definitive work on the artist, presents a comprehensive overview of Samant’s life and work. Also included are essays on Samant’s place in the development of modernism in post-Independence India, a chronological survey of the styles, techniques and themes employed by the artist, and analyses of the media and techniques he utilized.
Published in association with Abraham Joel, New York, and Pundole Art Gallery, Mumbai. With an introduction by Ranjit Hoskote and additional contributions from Abhijeet Gondkar, Virginia Kaycoff, Sharad Ghamande, Barbara Bertieri, Abraham Joel, and Judith Wink.
This book brings together works from one of the most important private collections of modern and contemporary art, the D. Daskalopoulos Collection with key pieces from the Scottish National Gallery of Modern Art. Providing a new context for both collections, it specifically focuses on the theme of the body, investigating the many and varied approaches that artists have taken across several decades when dealing with this most fundamental of subjects. Highlighting the work of artists such as Marcel Duchamp, Pablo Picasso, Louise Bourgeois, Joseph Beuys, Robert Gober, Matthew Barney, Marina Abramovic and Sarah Lucas, the publication documents the confrontations and dialogues staged between the two collections, and provides a rich insight into one of the most compelling and provocative themes in twentieth- and twenty-first century visual art.
This richly illustrated publication explores the work of contemporary artist Nathan Coley. It offers a detailed look at three of his most significant sculptural works: The Lamp of Sacrifice, 286 Places of Worship, Edinburgh 2004, 2004; Paul, 2015; and Tate Modern on Fire, 2017, which is reproduced and discussed here for the first time. In a newly commissioned text, award-winning novelist, screenwriter and director Ewan Morrison focuses on these three sculptures to explore the complexity and ambiguity of Coley’s artistic practice. Morrison brings into play different narrative forms and voices to draw attention to the realms of history, art history and politics that Coley’s work inhabits, as well as the deeply personal responses that Coley’s work can generate.
This book brings together over 160 of the finest surrealist artworks by legendary artists including Salvador Dalí, Max Ernst, René Magritte, Joan Miró and Man Ray. The works hail from the four renowned and extraordinary private collections of Edward James, Roland Penrose, Gabrielle Keiller and Ulla and Heiner Pietzsch, and together offer a superb overview of surrealist art.
Ten essays explore the different origins, historical contexts and creative urges behind these collections. Artworks, perhaps more than anything else that one can acquire, are objects of desire and surrealist artworks even more so. The sheer quality of the works acquired (and, in the case of the Pietzsches, still being acquired) is astonishing and, while passionate about their private visions, all the collectors have been mindful of contributing something to the public good.
The collections complement each other to an extraordinary degree and allow us to follow some of the artists’ careers from beginning to end. By uniting them, exciting new juxtapositions emerge along with a fuller and richer picture of the surrealist movement as a whole.
British realist art of the 1920s and 1930s is visually stunning – strong, seductive and demonstrating extraordinary technical skill. Despite this, it is often overshadowed by abstract art. This book presents the very first overview of British realist painting of the period, showcasing outstanding works from private and public collections across the UK. Of the forty artists featured in the show, many were major figures in the 1920s and 1930s but later passed out of fashion as abstraction and Pop Art became the dominant trends in the post-war years. In the last decade their work has re-emerged and interest in them has grown. Interwar realist art embraces a number of different styles, but is characterized by fine drawing, meticulous craftsmanship, a tendency towards classicism and an aversion to impressionism and visible brushwork. Artists such as Gerald Leslie Brockhurst, Meredith Frampton, James Cowie and Winifred Knights combine fastidious Old Master detail with 1920s modernity. Stanley Spencer spans various camps while Lucian Freud’s early work can be seen as a realist coda which continued into the 1940s and beyond. Featuring many Scottish and women artists, this book promises a fascinating insight into this captivating period of British art.
Thomas Daniell was thirty-six years old when he and his nephew William, barely sixteen, sailed out from Gravesend in April 1785, headed for the East. They arrived in Calcutta via China the next year.
The Daniells traveled across India, painting oriental scenery wherever they went. Their views were widely appreciated and are representative of that fascinating period. The Daniells returned to England in September 1794. This special book presents a selection of their work in India, bringing alive the scenery and architecture of that age.
Jack Allanach leaves home impulsively – in search of his true self – meets a married man, Michael (whose wife he also marries several years later), becomes his lover and sets out to travel with him, doing Dynamic Meditation on a Bombay beach. They take sannyas as Krishna Prem and Divyananda – disciples of Osho – and take part in a quasi-survivor experiment in a group of thirty people, building huts by a river with their hands. A commune establishes around Osho in Pune and people from all over the world arrive for discourses, therapy and meditation. As head of the commune’s Press Office, Krishna Prem meets Indian Prime Ministers Indira Gandhi and Morarji Desai, as well as international journalists probing Osho’s controversial views on sex and consciousness. In a hive of mysticism, past-life experiences and inexplicable events, Krishna Prem embarks on his first fulfilling relationship with a woman.
In 1778 Pierre Henri De Valenciennes, a young landscape painter from Toulouse, found himself in Rome with many other foreign artists intent on studying not only the ancient monuments and the works of the modern masters, but also to encounter Italy’s light and landscape. Contrary to most of his companions, Valenciennes rarely copied ancient or modern works of art, but instead he chose to sketch views of Rome, ‘a mix of antique and of modern, an assemblage of irregularity and symmetry’. The 96 pages of the sketchbook, reproduced in their actual size and accompanied by a commentary, guide us through Rome, from the river port of Ripa Grande to the basilica of St. John Lateran, from the Ponte Salario bridge to the Vatican, from Piazza Barberini to the Villa Borghese and along the banks of the river Tiber. An advocate of en plein air painting, Valenciennes’ sketches use two or three tints of the same colour to trace the landscape of an ideal Rome, and to achieve this goal he did not hesitate to modify or move the surrounding architecture.
Contents: Preface by Xavier Salmon, Director of the Prints and Drawings Department of the Louvre; Introduction; Travel to Italy and meeting with artists; Valenciennes’ Italian Sketchbooks; Description of the organisation of Sketchbook RF 12966; Material Description; Provenance; List of Exhibitions, Bibliography.
Text in French.
The Selous was my very first Africa experience, and it remains my favorite. Robert J. Ross’s extraordinary photographs take us into a natural world unlike any other on earth. A world of elephants. Of wild dogs. Of nature as it should be, can be, might be – if we keep these breathtaking images firmly in mind. A triumph! Bryan Christy, Director, Special Investigations Unit, National Geographic
The Selous Game Reserve in southern Tanzania is Africa’s oldest and largest protected area. Proclaimed in 1896, and bigger than Switzerland, the Selous is a UNESCO World Heritage Site. The Selous remains one of Africa’s largest and greatest undisturbed ecosystems, teeming with life including one of the two largest elephant populations remaining on the African continent, probably half of all of the wild dogs in Africa, vast herds of buffalo as well as more lions than any other protected area on the continent as reported by National Geographic in August 2013. The game reserve is becoming more important by the day as the pressure on elephants and other species grows – problems that are addressed here in this book. New-York born photographer Rob Ross has spent much of the past four years photographing in this vast and difficult to access reserve. He has compiled more than 100,000 images showing all aspects of the reserves varied landscapes, seasons, flora and large and small fauna. The spectacular large-format photography book features a selection of the very best images including landscapes, wildlife portraits and behavior, night photography, impressionist style work and breath-taking aerials.
Notorious as a refuge for the eccentric, the eclectic, and the creative, the Hotel Chelsea has been home to some of the great and unconventional writers, musicians, artists, and actors of the past century, including Bob Dylan, Janis Joplin, Charles Bukowski, and Allen Ginsburg, to name just a few. When the hotel was sold and closed for full renovations in August 2011, American photographer Victoria Cohen was invited to capture and document the essence of the building’s original interior before it’s imminent demise. Cohen’s photographs of these hallways, lobbies, and rooms, once beaming with life and vision, now bare and aged, illuminate a bohemian era that once was, speaking untold truths of a lost time. Absolutely fascinating and bittersweet, Hotel Chelsea casts the historic landmark through the lens of the twenty-first century, exhibiting it as it has never been seen before, and will never be seen again.
Journey: The Life and Times of an American Architect is the first-ever monograph to chronicle the trajectory, work, inspirations, and motivations of esteemed New York architect and interior designer Alan Wanzenberg. For Wanzenberg, designing is nothing short of an intellectal process. With a sensitivity to place and a deep understanding of design history, Journey showcases his original take on archetypical styles, including American Arts & Crafts, Shaker, French Art Deco, and American Farmhouse. The result is always a seamlessly developed, beautifully understated home that is a perfect amalgamation of the client’s tastes and the project’s context. Become inspired by the integral influences and experiences that comprise Wanzenberg’s journey, all of which have led him to become the distinctive, high-profile, and accomplished designer that he is today. Contents: On the Road Together 1. Starting Out 2. Destinations: Ten Projects 3. Coming Home
The Kabbalistic idea of creation, as expressed through light, space, and geometry, has left its unmistakable mark on our civilization. Drawing upon a wide array of historical materials and stunning images of contemporary art, sculpture, and architecture, architect Alexander Gorlin explores the influence, whether actually acknowledged or not, of the Kabbalah on modern design in his unprecedented book Kabbalah in Art and Architecture. Gorlin brings light to the translation of the mystical philosophy into a physical form, drawing clear comparisons between philosophy and design that will excite and exalt. Comprising ten chapters that each outline key concepts of the Kabbalah and its representations, both in historic diagrams and the modern built environment, Kabbalah in Art and Architecture puts forth an unparalleled and compelling reinterpretation of art and architecture through the lens of the Kabbalah and Jewish mysticism. A chapter on the Golem, and an epilogue that discusses German artist Anselm Kiefer’s powerful interpretations of the Kabbalah, complete this unique book.
With a penchant for painting and an appreciation for the well-designed home since he was a child, Gary McBournie has perfected the art of creating interior spaces with an impeccable eye for color. He established his design firm in Boston in 1993 and has since created warm, elegant, and timeless classic American homes, always with a twist on tradition. Finely attuned to his environment, McBournie develops each interior with a color palette that matches its surrounding exterior, splashing cool and restful hues for a cottage in New England, shades of lime and papaya in the tropics, and warm sunset tones for a ski house in Montana. Featuring personal photographs and the inspirations behind his color choices, Living Color is a must-have for anyone looking to be tickled pink by gorgeous, twenty-first-century renditions of the comfortably chic American home.
Explore the brilliant, bold designs and intriguing collections in the beautiful interiors of author Carey Maloney, his partner, architect Hermes Mallea, and their firm, M(Group), in this one-of-a-kind interactive omnibus, Stuff: The M(Group) Interactive Guide to Collecting, Decorating With, and Learning About, Wonderful and Unusual Things. Stuff: The M(Group) Interactive Guide invites the reader inside the homes of impassioned collectors, detailing the wide variety of art and objects that go into the creation of M(Group)’s complex, richly layered, and beautifully orchestrated interiors. A unique interactive digital recognition technology allows readers to delve deep into 40 captivating topics, expanding the scope of the book to include cyberlinks to the world’s great museum collections, the most important dealers, and the most illuminating research resources. Enter M(Group)’s world of wonderfully diverse spaces and learn about an array of esoteric and varied subjects, from anatomical models to Australian aboriginal art, pre-Columbian pottery to Coromandel screens, and taxidermy to Tiffany lamps, all accompanied by personal anecdotes as witty and insightful as the homes M(Group) designs.
Influential American celebrity photographer, director and creative director Matthew Rolston turns his eye for portraiture to a new cast of characters with the launch of Talking Heads, The Vent Haven Portraits. Using techniques he has honed over decades of celebrity portraiture, and marking his first foray into the world of fine arts, Rolston has captured the inherent humanity of a rarely-seen collection of unique entertainment figures: ventriloquist dummies. Unearthed from the intimate and obscure Vent Haven Museum in Fort Mitchell, Kentucky, Rolston used a rigorously formal photographic approach to bring out the power in the faces of these figures through a series of 100 portraits, or “headshots”. Rolston painstakingly selected the faces he was most drawn to and, in particular, those that conveyed a sense of character through pronounced aging, exaggerated features, and ornately painted faces, drawing the eye directly to the sometimes disturbingly human quality of each dummy. Breathing new life into these inanimate figures, Rolston’s photographs channel a sustained and energetic presence that is at once commanding, totemic, and touchingly familiar.