Showing titles in Art

The movies were flying blind in 1980. “New Hollywood” was over and the era of auteur-driven, personal films that had defined moviemaking since the late ‘60s came to a symbolic end with Heaven’s Gate (1980), replaced by a new world of multiplex blockbusters supported by massive marketing campaigns. But beyond the high-school comedies and hardbody action films came a new wave of cinematic excitement—an era defined by Ferris Bueller's Day Off, Purple Rain, When Harry Met Sally, E.T., and Top Gun, each of which are now classics for a new generation of nostalgic movie lovers.

As a member of Big in Japan, The Slits and, most famously, Siouxsie and The Banshees and The Creatures, 'Budgie' became one of the era-defining drummers in the much-mythologised post punk scene of the late 1970s and early 1980s. A man and musician whose creativity and singular style came to define the goth-pop 1980s as much as any other individual, Budgie's life is both fabulously glamorous and a tawdry cautionary tale. For the first time the story of this most exalted and mysterious of bands has been told by one who survived inside the belly of the beast.

Flower is a book of realistic admissions, likes, dislikes, memories and no-brainer observations, treating personal truth as unavailable – something that must be made up and convincing. Taking cues from confessional literature, his daughter’s improvised games, poor internet writing and shitty AI, Ed Atkins, in his first work of non-fiction, equivocates between inanity and divinity, ease and pain, sentimentality and sterility.

In How Catholics Encounter the Bible, award-winning biblical scholar and historian Michael Peppard explores the paradoxical role of the Bible for Catholics—a book central to their tradition, but not usually in the form of a book. Biblical ideas and beliefs are more often mediated through diverse modes of storytelling, artistic imagination, and ritual.

The enchanting story of La Maison du Pastel, a tiny shop in Paris that has been providing pastels to artists since the eighteenth century, and the two women who fell in love and brought it back to life.

東京芸術大学の前身，東京美術学校の波乱の歴史をたどりながら，明治維新以後の日本美術の，西洋との出会いと葛藤を描く．フェノロサ，岡倉天心，黒田清輝，横山大観……．

Britain has always been a craft land. For generations what we made with our hands defined our families, communities and regions. Craftland brings to life the vanishing skills, traditions and trades that shaped the fabric and governed the rhythms of everyday life in Britain for hundreds of years. For as long as there are humans, there will be craft, ever evolving in response to changing technologies, environments and communities. Craftland is a celebration of that deeply necessary connection between our creative instincts and the material world we inhabit.

Kate Bryan is a self-confessed art addict who has worked with art for over twenty years. But before she studied art history at university, she’d been into a gallery just twice in her life and had no idea she was entering an elitist world. Now, she’s on a mission to help everybody come to art. Like playing or listening to music, or cooking and eating great food, reading or watching films, making art or looking at other people’s deserves to be an enriching part of all our lives. So here, in HOW TO ART, is a nifty way to take art on your own terms.

With scorching temperatures soaring to 35 degrees, severe water shortages and a sunburned population queuing at the street standpipes, the summer of 1976 will always be remembered as Britain's hottest on record. But the wave that hit the UK that year was also cultural and political, with upheaval on the streets, in parliament, on the cricket pitch and on the radios and TV sets of a nation at a crossroads.

Many of the artists that we encounter are completely unaware of the mathematics that bubble beneath their craft, while some consciously use it for inspiration. Our instincts might tell us that these two subjects are incompatible forces with nothing in common – mathematics being the realm of precise logic and art being the realm of emotion and aesthetics – but what if we’re wrong? Blueprints asks us to consider that mathematics and art may not be polar opposites after all.

In Reclaiming Art in the Age of Artifice, J. F. Martel offers a compelling and incisive meditation on the nature of art in a world dominated by invasive media, rampant consumer culture, and artificial intelligence. Drawing on a wide range of examples, from Paleolithic cave art to contemporary cinema, Martel argues that true art reveals the unseen forces shaping our existence—forces that transcend politics, technology, and even culture.

Weaving together fragments of artists’ stories across time and place, Philip Hoare embarks on a Sebaldian exploration of the enduring legacy of William Blake. A poet, painter and printmaker who was unappreciated and considered mad in his own time, Blake was eventually lauded as a key pillar of the Romantic movement. His posthumous influence reverberates endlessly, from the films of Derek Jarman to our ongoing fear of technological advancement.

In 2011, a young wolf named Slavc set out from Slovenia. Tracked by GPS, he travelled a thousand miles through the Alps, arriving four months later on the Lessinian plateau, north of Verona. There had been no wolves in northern Italy for a century, but here he crossed paths with a female wolf on a walkabout of her own. A decade later and there are more than a hundred wolves back in the area, the result of their remarkable meeting. In Lone Wolf, Weymouth walks Slavc's path, examining the changes facing these wild corners of Europe.

Robert Crumb is often credited with single-handedly transforming the comics medium into a place for adult expression, in the process pioneering the underground comic book industry, and transforming the vernacular language of 20th-century America into an instantly recognizable and popular aesthetic, as iconic as Walt Disney or Charles Schulz. Now, for the first time, Dan Nadel, a curator and writer specializing in comics and art, shares how this complicated artist survived childhood abuse, fame in his twenties, more fame, and came out the other side intact.

Doom is the feeling when everything seems hopeless and hard, and you want to give up. Bloom, on the other hand, is a state of effortless creativity, where solutions surprise you as they flow into reality. Bloom is our highest and most natural state of being, but how do we reach it when the world feels so dark and heavy? In Doom and Bloom bestselling author and YouTube sensation Campbell Walker (aka Struthless) offers us a roadmap.

Film noir was the dark side of the movies’ happily-ever-after mythology. Sinister and sexy, it forged a new icon: the tough, independent dame. Determined, desirable, dangerous when cornered, she could handle trouble—or deal out some of her own. If you thought these women were something special onscreen, wait until you meet the genuine articles. In Dark City Dames, acclaimed film historian Eddie Muller takes listeners into the world of six women who made a lasting impression in this cinematic terrain.

From 1993 to 2021, Daft Punk were the world's most influential electronic group. But how much of the cultural landscape did they change, and how much changed around them? After Daft draws on new interviews with over 100 groundbreaking and commercially dominant artists, creative teams, record labels and concert promoters to illustrate how dance & electronic music transformed from a fringe concern to the indispensable pulse of 21st century culture.

In less than a decade, the prodigious painter Jean-Michel Basquiat went from a teenage graffiti artist to an international art star at the peak of the heady, excessive 1980s art boom. A legend in his own lifetime, Basquiat was a fixture of the downtown scene, full of rock music, couture fashion, outrageous art, and heady drugs. Along the way, Basquiat was involved with several of the time's most infamous personalities, from Keith Haring and Andy Warhol to his brief romantic fling with Madonna.

The Western museum is a battleground—a terrain of ideological, political, and economic contestation. Almost everyone today wants to rethink the museum, but how many have the audacity to question the idea of the universal museum itself? In A Programme of Absolute Disorder, Françoise Vergès puts the museum in its place. Exploring the Louvre's history, she uncovers the context in which the universal museum emerged: as a product of colonialism, and of Europe's self-appointed claim to be the guardian of global heritage.

Since the inception of mainstream art history, Blackness has been distinctly ignored. In Reframing Blackness, art historian and founder of @ABlackHistoryOfArt, Alayo Akinkugbe challenges this void. Exploring the presentation of Black figures in Western art, Blackness in museums, Blackness in feminist art movements, as well as Blackness in the curriculum, Alayo unveils an overlooked but integral part of our collective art history.