Black Dog Publishing London UK Books

How Does it Feel? is the third book in the series, Inquiries Into Contemporary Sculpture , produced in partnership with SculptureCenter, New York. This volume examines the sensory aspects of contemporary sculpture.Taking into account artists who incorporate touch, smell, and taste in their work, the various contributions investigate experiential factors that are beyond the three-dimensional. Comprising of essays, short reflections, and illustrated throughout, How Does it Feel? is a comprehensive and insightful exploration, with contributions from an international assemblage of artists, writers, art historians and curators working in the field.Following on from the first two highly successful books Where is Production? and What About Power? , this title adds further insight into the dynamic sphere of contemporary sculpture. Inquiries Into Contemporary Sculpture is one of many partnership series of books published by Black Dog Publishing, with others including titles with Art in General, Royal College of Art, London, and Fondazione Antonio Ratti.

In the Loop: Knitting Now challenges oversimplified definitions of contemporary knitting to reveal the diversity and popularity of knitting today. Invited contributors range from practitioners and educators, to historians, conservators and curators, representing research from Australia, Britain, Canada and the United States. Lavishly illustrated, this book explores knitting from perspectives that shed new light on a craft that has too often been dismissed as a retro hobby. The artists, activists and designers included in In the Loop: Knitting Now do not create knitting that conforms to our typical expectations of what can be made with needles and thread. Across four themed sections---"Rethinking Knitting", "Narrative Knits", "Site & Sight: Activist Knitting" and "Progress: Looking Back"---a diverse and eclectic range of voices challenge the stereotypes of knitting. In the Loop: Knitting Now seeks to acknowledge and expand the contribution knitting makes to a vast array of disciplines, including contemporary and traditional crafts, modern literature, fine art, feminism, activism and history. Conceptual and material investigations are used to document the vibrant diversity of approaches now used to produce and discuss knitting today.

Profiling a range of culinary pioneers working across the fields of art, science, theatre, catering and design, Experimental Eating demonstrates how current creative collaborations are pushing the boundaries of how we understand, experience and relate to food and the rituals of dining.The book encompasses unusual and cutting-edge foods, radical dining events, “kitchen laboratory” experiments, food sculptures and other documentation of the transient events that make up this field of work.A selection of short essays situate these contemporary practices alongside various historical and cultural contexts, a history of food in modern and contemporary art, such as Gordon Matta-Clarke’s FOOD café, Rikrit Tiravanija’s FREE and Pad Thai events, and Grizedale Arts and Yangjiany Group’s makeshift cafe for Frieze Projects 2012; a study of the connections between dining, theatre and ritual; and a survey of recent research in science and technology, and how this may impact on how we make, eat and perceive food.

Taking the Matter into Common Hands maps out the issues surrounding collaborative art from a practitioner's perspective. With contributions from Marion von Osten, Nav Haq, 16 Beaver, Copenhagen Free University, Maria Lind and Lars Nilsson, it examines the working relations between artists and other producers of culture, and explores the future of collective action in the art world. In recent years, the art world has shown a renewed interest in collective work and activity. Collaborations between artists and artists, artists and curators, and artists and outside professionals have begun to rival the traditional focus on the individual artist. This type of collaboration has called into question how we view works of art that are not the voice of a single individual, and how that impacts on the concept of art as a means of self-expression.

Entangled: Two Views on Contemporary Canadian Painting' offers an insight into two distinctly different modes of painting that have come to dominate contemporary painting in this country. The origins of both can be effectively traced back to the 1970s, to a moment when the continued existence of painting was hotly debated. Within that debate two new strategies were devised, one that proposed the possibility of conceptual painting - a highly refined notion of painting that emerged from and returned to the idea - and a second, ambivalent proposition that valued actions and materials over ideas - in short, doing and making were pitted against ideas and concepts.now enjoys in Canada.

It is now almost 25 years since the fall of the Berlin Wall, the fragmentation of the Soviet Union into a series of republics and the rejection of communist politics in much of the former Eastern Bloc. Seen by many as a victory for the capitalist West over the communist East, the geopolitics of this period was far more complicated than this. Across a series of essays and artist contributions, Red Africa explores the crosscurrents of international solidarity and friendship. The aesthetic experience of the works and the exhibition is also an invitation for the visitor to explore what Leila Ghandi and others have described as a politics of affective community. Red Africa is the culmination of a two-year research programme and exhibition project at Calvert 22, London, and Iwalewa House, Bayreuth. This traced the work of African artists and filmmakers who studied in the Soviet Union and Eastern Bloc under free education schemes originally offered under the Third International, discontinued during Stalin's reign, then brought back during Khruschev's thaw. Connections were particularly strong with countries such as Mozambique, Ghana, Ethiopia and Angola that were conducting liberation struggles or which, post-independence, were part of the Non-Aligned Movement which held its first Summit conference in Belgrade in 1961. Red Africa is beautifully illustrated with film stills, artworks and archival images drawing on the extensive research of the contributing artists, researchers and curators. Contributors include Onejoon Che, Radovan Cukic and Ivan Manojlovic, Ros Gray, Ana Balona de Oliveira, Burt Cesar, Filipa Cesar, Angela Ferreira, Yevgenyi Fiks, Kiluanji Kia Henda, Isaac Julien, Alexander Markov, Jo Ratcliffe, Polly Savage, Nadine Siegert, Manuela Ribeiro Sanches, The Travelling Communique Group, Milica Tomic, Tonel and Vanessa Vasic-Janekovic

Peter Voulkos: The Breakthrough Years is the first monograph in over 20 years on the artist Peter Voulkos. Covering the most prolific span of Voulkos' career, from the early 1950s to the 1970s, this book includes both his well-known ceramic works as well as his largely overlooked paintings. While Voulkos' work has most often been discussed in relation to the practice of ceramics, the writers in this book explore the artist's work through the scope of art history and in a contemporary light. In addition to engaging with the breakthrough years of Voulkos' practice, a focus is also put on his legacy today, as numerous artists explore the expressive language of clay that he helped to re-invent. The book includes texts from writers Andrew Perchuk, Deputy Director at The Getty Research Institute; and Jenni Sorkin, Assistant Professor in Contemporary Art at UC Santa Barbara. Published in collaboration with the Museum of Arts and Design, New York.

The first publication devoted to the artist, Michael DeLucia provides an overview of DeLucia's practice with particular emphasis on his work as a sculptor. Until recently DeLucia produced work by hand with clay but his practice has since shifted into the digital realm with his current work heavily influenced by computer applications and CAD modeling software. Formerly an assistant of Jeff Koons, he produces sculptures that affect the metamorphosis of practical objects into poetic, humorous apparitions, subverting the expectations of the viewer with his use of everyday building materials and industrial items as artistic tools. Michael DeLucia studied at the Rhodes Island School of Design and the RCA London, graduating in 2004.

"'Colonial Modern' is a reader on the relationship between modernism and the project of modernisation in architecture, as well as the intertwining of both in the context of colonialsim and decolonisation. It includes texts by specialists in the field and provides a strong visual representation of the subject."--