Bøger udgivet af Black Dog Press

A profile of 30 historically and culturally important objects from the renowned Gardiner Museum, Toronto, which has one of the greatest collections of ceramics in the world. Exquisite craftsmanship is apparent and awe-inspiring in the featured works by illustrious names such as Marc Chagall, Betty Woodman, Marilyn Levine, Wedgewood and Delft.

This is the first monograph on the influential yet elusive artist Simon English. Away from the Brit Art hype of the 1990s, English's oeurve has developed from his early paintings to a gritty and humorous treatment of desire and fantasy.

Combining illustration and narrative text, this is the first book presenting the work of Arab multimedia artist and writer Leena Al-Nasser.

Mapping London: Making Sense of the City is a beautiful, compelling anthology of over six centuries of London maps, tracing the mesmerising evolution of the city and exploring the hopes and fears of its inhabitants as history unfolds. Now released in Paperback. The book is a cartographic journey, charting the influence of Roman city planning, Saxon feudalism, Medieval tumult, imperial hubris, contemporary town planning and more on this great metropolis. It includes over 200 maps, from literary imaginings and utopian prophecies to portrayals of London in contemporary computer games, comics and online--as well as the timeless Monopoly board. The maps in this comprehensive survey are allowed to speak for themselves, revealing not only their political and social context, but also the dreams of their makers and the drama of their creation. The maps are often objects of great skill and beauty themselves, with the names of the greatest of their makers still revered today. Much more is revealed by the maps than the cartographers themselves could have envisaged, they provide enthralling insights into events including the Great Fire of London, the Plague and the Industrial Revolution. The city's more recent history is also investigated, including the irrevocable change of the two World Wars and the redevelopment planned for the 2012 Olympics. The book is split into four sections, each beginning with a short introduction and beautifully illustrated by the maps themselves: London Change and Growth; Serving the City; Living in the City; and Imagining London. Including engaging and illuminating essays exploring the history of the maps and how they have been used for social, political and commercial purposes, Mapping London: Making Sense of the City is a lavishly illustrated book which explores the city through the ages in all its labyrinthine glory. Perfect both for gifts and for all those serious about maps and cartography.

Hilary Harkness: Everything for You is the first comprehensive monograph on the artist’s work. This heavily illustrated publication provides an opportunity for further exploration of Harkness’s practice alongside essays by Lynne Tillman and Dr Ashley Jackson, as well as insights from the artist herself.

Hardeep Pandhal: Inheritance Quest is the first monograph on Hardeep Pandhal, whose practice concerns the unsettling and transformative forces of migration, historical violence and cultural assimilation. This book includes images of the artist’s key works and QR links to view key videos online as well as critical texts by Zahid Chaudhary, Gabrielle de la Puente, Hammad Nasar and Jamie Sutcliffe. It also includes a conversation with artist and academic David Steans.

Where is Production? is the first instalment of Black Dog Publishing's series Inquiries into Contemporary Sculpture that explores what constitutes, excites, entangles, and necessitates ideas and questions around sculpture.Each volume in the series chooses a different line of inquiry, aided by a select group of artists, curators and historians. Where is Production? is an exploration into the medium's modes and sites of production. It questions the meaning of the word 'production' itself, what it encompasses, and how it informs and leads sculptural practice today.With contributions by SculptureCenter members of staff - Mary Ceruti, the Executive Director and Chief Curator, and Ruba Katrib, Curator - alongside artist Carol Bove and Editor-in-chief of Artforum magazine Michelle Kuo, amongst others. Where is Production? is an insightful, thought-provoking look at contemporary sculpture, for those interested in the field and contemporary art as a whole.The SculptureCenter is a not-for-profit arts institution in Long Island City, New York, dedicated to experimental and innovative developments in contemporary sculpture.

Executed in a range of media, including densely layered painting, sculpture, installation, sound, video and performance, this is the first monograph on the work of contemporary artist Mandy El-Sayegh. This book includes critical essays, conversations with the artist, and photography documenting her exhibitions, performances and studio processes.

A photographic series celebrating the uniqueness of the vulva. Each vulva pictured is covered by a petal or flower in an effort to dismantle taboos about female genitalia. Spanning ages, races, genders, hair types, sizes and shapes, this is a captivating and colourful compilation, with each image accompanied by a message written by the subject.

The first monograph on March Avery, the daughter of artists Milton Avery and Sally Michel Avery. This book documents over 80 years of her work featuring everyday domestic scenes, portraits of friends and family members, and landscapes visited and revisited over the course of a lifetime, with texts by Johanna Fateman, Lynne Tillman and John Yau.

The first monograph on the artist Ambreen Butt, this book features paintings, collaged works and large-scale installations from the past three decades, exploring civil liberties and rights, mutual responsibilities and complex geopolitical forces. It includes texts by curator/writer Sara Raza and artist/critic Quddus Mirza.

This book presents artist Marisa Culatto’s Flora series of 35 works featuring plant life that has been composed, frozen and then photographed in the manner of a still life. Each work includes a text by botanical researcher and gardener Eduardo Barba and a watercolour illustration by Anna Tiulkina.

Morgan Howell 7” features 100 artworks by British artist Morgan Howell, whose supersized versions of classic 7” singles have attracted a host of celebrity fans, from Neil Diamond and Andrew Lloyd Webber to Johnny Marr and Shaun Ryder. This book includes forewords by Sir Peter Blake and Andrew Marr.

Public Spaces is the fourth title in BDP's Serial Books Architecture & Urbanism series. It features the most recent work of CHORA, Raoul Bunschoten's urban workshop. Looking at prototypical public spaces, such as clusters of small courtyards - the 'cities' of Paris - to the ceremonial space of the folded ground - the 'Prado' - behind the Prado Museum, Madrid, CHORA proposes new ways of engaging with the urban environment through local, regional, national and global strategies.

Field Event/Field Space follows on Rhowbotham's ideas for a critically engaged and responsible architecture and pursuing them here in the specific context of the urbanisms of the former East Block states and their regions.

The first ever major publication of Marianne Eigenheer’s work,published in partnership with the Marianne Eigenheer Estate and von Bartha,Basel, Switzerland. This book celebrates the diverse practice of the artist,which spanned over five decades.

Archi-feministes!, a new publication exploring a significant body of historical and contemporary art by women, takes its title from the exhibition of the same name organised by the Montreal-based, non-profit artist-run centre OPTICA.The two-part exhibition at OPTICA interrogated the themes of 'archiving the body' and 'performing the archive', bringing together artists rooted in the documentary tradition, or revisiting it by way of performance, appropriation, accumulation and repetition.Besides challenging notions of authorship and artistic tradition, these strategies examine the artist's body, as well as the time of production and reception of the work. The practices of Sophie BeLlair Clement, Olivia Boudreau, Sorel Cohen, Raphaelle de Groot, Vera Frenkel, Clara Gutsche, Suzy Lake, Emmanuelle Leonard, Claire Savoie and Jana Sterbak probe a variety of production processes through critical operations employing fiction, the body, personal narratives, reflexivity and subjectivity.This publication also examines the signs of a contemporary resurgence of feminism through acts of resistance and practices that revise historical canons and question the normativity of art history as a discipline, among other issues. It also focuses on the Canadian art scene, with references to grass-roots initiatives, collectives and the network of artist-run centres as a background.Contributors to the publication include a number of prestigious and influential feminist writers, curators and artists: Philippe Dumaine, independent researcher; co-founders of Toronto's Feminist Art Gallery (FAG) Deirdre Logue (video artist, activist and Development Director at Vtape, Toronto) and Allyson Mitchell (artist, activist and Associate Professor, School of Gender, Sexuality and Women's Studies, York University); Wanda Nanibush (Curator of Indigenous Art, Art Gallery of Ontario); Johanne Sloan (Professor of Art History, Concordia University); Rinaldo Walcott (Director of the Women and Gender Studies Institute, University of Toronto); and Giovanna Zapperi (Faculty Member, ENSA-Bourges, Art History and Theory Department).

Archi-feministes!, a new publication exploring a significant body of historical and contemporary art by women, takes its title from the exhibition of the same name organised by the Montreal-based, non-profit artist-run centre OPTICA.The two-part exhibition at OPTICA interrogated the themes of 'archiving the body' and 'performing the archive', bringing together artists rooted in the documentary tradition, or revisiting it by way of performance, appropriation, accumulation and repetition.Besides challenging notions of authorship and artistic tradition, these strategies examine the artist's body, as well as the time of production and reception of the work. The practices of Sophie BeLlair Clement, Olivia Boudreau, Sorel Cohen, Raphaelle de Groot, Vera Frenkel, Clara Gutsche, Suzy Lake, Emmanuelle Leonard, Claire Savoie and Jana Sterbak probe a variety of production processes through critical operations employing fiction, the body, personal narratives, reflexivity and subjectivity.This publication also examines the signs of a contemporary resurgence of feminism through acts of resistance and practices that revise historical canons and question the normativity of art history as a discipline, among other issues. It also focuses on the Canadian art scene, with references to grass-roots initiatives, collectives and the network of artist-run centres as a background.Contributors to the publication include a number of prestigious and influential feminist writers, curators and artists: Philippe Dumaine, independent researcher; co-founders of Toronto's Feminist Art Gallery (FAG) Deirdre Logue (video artist, activist and Development Director at Vtape, Toronto) and Allyson Mitchell (artist, activist and Associate Professor, School of Gender, Sexuality and Women's Studies, York University); Wanda Nanibush (Curator of Indigenous Art, Art Gallery of Ontario); Johanne Sloan (Professor of Art History, Concordia University); Rinaldo Walcott (Director of the Women and Gender Studies Institute, University of Toronto); and Giovanna Zapperi (Faculty Member, ENSA-Bourges, Art History and Theory Department).

Susan Point: Spindle Whorl surveys the works of Coast Salish artist Susan Point that employ the spindle whorl."Coast Salish" refers to a disparate group of Indigenous peoples settled in the Pacific Northwest. In the US they reside in Washington State and in Oregon, while in Canada they reside in British Columbia.The "spindle whorl" refers to a carved, circular plate attached to the end of a wooden spindle that acts to lend weight during the wool spinning process. In Coast Salish tradition spindle whorls are carved with powerful, symmetrical designs which blur and merge as the spindle turns.In Point's work, the spindle whorl is frequently used to make two-dimensional work, such as paper screen prints, in addition to being used with the traditional three-dimensional mediums of glass, wood carving, rawhide drums and wool. Due to her mixed-media use of the spindle whorl, Point is widely credited with introducing the tool into modern art.Point's work is discussed in the context of Canadian modern art in a Foreword by Kathleen Bartels, Director of the Vancouver Art Gallery. The project is overseen by editors Grant Arnold and Ian Thom. Arnold is currently Curator of British Columbian Art at the Vancouver Art Gallery, where, over the past 30 years, he has organized more than 60 exhibitions of historical, modern and contemporary art from British Columbia. Thom is a Senior Curator at the Vancouver Art Gallery. In 2009 he was awarded the Order of Canada for his work in advocating for Indigenous artists.

Bringing together the large-scale works that comprise Kent Monkman's suite of paintings entitled The Four Continents, a reworking of Tiepolo's Apollo and the Four Continents, this book explores the creation of these contemporary studies that address the original Eurocentric fantasies of "the other”.Monkman's paintings, which are reproduced here in full with gatefolds, present a collation of tragic-comedic scenarios, resulting in mythical, graphic and satirical depictions, heavily influenced by the anti-colonial approach that Monkman takes in his work. The process of each painting that the artist has undertaken as part of the suite is illustrated throughout the book, in addition to texts from contributing writers that contextualise Monkman's work both within the confines of contemporary art, as well as the embedded sociological and political issues that are explored as part of this.Kent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. He has had solo exhibitions at numerous Canadian museums including the Montreal

Rivington School: 80s New York Underground documents the work of the Rivington School group of artists that emerged during the turbulent 1980s in the heart of the Lower East Side. The book explores the underground scene that formed around the Rivington School, taking its name from an abandoned public school building on Rivington Street. Here, like-minded street artists, sculptors, performers, set about to create works that refuted and challenged an increasingly commercialised art world.Situated across the road from the school, the No Se No social club-also run by Rivington School founder "Cowboy” Ray Kelly-acted as a meeting and performance space for many of the artists involved, such as Kembra Pfahler, Dragan Ilic, Arleen Schloss, Taylor Mead, Michael Carter, Jack Waters and Phoebe Legere, and was where the renowned "99 NIGHTS" of performance took place in 1983, documented every night by the photographer Toyo Tsuchiya for exhibition the following day. The School was also the origin of the guerrilla sculpture space the Rivington Sculpture Garden, which opened in 1985 and was destroyed more than once by the city authorities. Its construction/destruction is documented in the super-8 film ANTI CREDO by Monty Cantsin aka Istvan Kantor. Formed in a vacant lot next to the No Se No club, the evolving collective space was the site of the massive, welded metal junk sculpture that the group has become known for.The Rivington School gave rise to a number of highly regarded artists, including EF Higgins III, Ray Kelly, David Mora Catlett, Shalom Neuman, Toyo Tsuchiya, Istvan Kantor, Linus Coraggio, Paolo Buggiani, Tovey Halek, Jack Vengrow, Ken Hiratsuka, Gloria McLean, FA-Q (Kevin Wendall), Geoff "Gizmo" Gilmore, Julius Klein, JIM C, Angela Idealism and Peter Missing.