This anthology of Thomas Kellner, an artist from the German city of Siegen, is being published in celebration of his exhibition at the American Museum in Bath, England, and includes texts about his Anglo-American works, such as the Boston Athenaeum, the Hearst Tower, NASA’s control center in Houston or the Grand Canyon. Richard Wendorf, Roy Flukinger, Freddy Langer, Alison Nordström, Allison Pappas and Roger Watson introduce the reader to Kellner’s works in partly new essays.

“This is the travel photography book for our digital age. Tom’s incredible eye for capturing historical detail creates captivating imagery for the ultimate in escapist pleasure.” Kelly Wearstler, Interior Designer

“A true Renaissance man, Tom shares his vast architectural knowledge, artistic talent, and sense of humor in photographs and watercolors.” Amy Astley, editor-in-chief, Architectural Digest

This book is a celebration of the power of the smartphone camera combined with Tom Kligerman’s unique eye. Tom is a New York architect who adores travel and the different cultures of the world, recording vibrant details and evocative scenes on his iPhone as he journeys from India to New Mexico, from Beaux-Arts monuments to rustic barns, from ocean to mountaintop. The images have been curated into dynamic pairs that spark a conversation about the world and the different ways of seeing it. They are accompanied by Tom’s reflections, and those of his Instagram followers, in a series of captions, comments and mini essays. This book is a child of the pandemic, a time when people could only dream of traveling or relive past experiences, as Tom has done, from the image banks on their mobile devices. It rejoices in both the potential of new media and the physical pleasure given by a beautifully made and structured book. It allows readers a moment of pause and reflection, so necessary if we are not to be lost in the digital feed.

This elegant exhibition catalog is presented by The San Diego Museum of Art to accompany the 2023 major exhibition O’Keeffe and Moore, which explores the evolution of Modernism through the work of Georgia O’Keeffe and Henry Moore. Featuring essays from prominent scholars, including representatives of both the Henry Moore Foundation and the Georgia O’Keeffe Museum, the catalog’s richly illustrated text delves into each artist’s motivation and methodology, and the parallels between them, in particular, the inspiration both took from nature and organic forms, such as bones and seashells. The publication serves as an essential companion to the exhibition. In addition to explorations of the artists’ studios that provide further insight into their working methods, the catalog presents drawings, paintings, and sculpture that illustrate the organic roots of Modernism developed independently, yet concurrently, by O’Keeffe and Moore. Thematic sections of the catalogue include the Real and the Surreal; The Artists’ Studios; Bones; Stones; Seashells, Flowers, and Internal/External Forms; and Landscapes of Forms. Essay topics include Henry Moore: Modernism, Nature, and National Identity; “A Revelation of the Perfect Relation”: The Influence of D.H. Lawrence on the work of Henry Moore and Georgia O’Keeffe; and Finding the Form and the publication will also include a comparative chronology of the lives and careers of the two artists.

In this evocative new book, historian David Kynaston tells the fascinating story of Anthony de Rothschild (1887–1961). Through access to never previously consulted diaries and letters, a three-dimensional picture emerges of a complex and thoughtful man guiding the City’s most famous merchant bank through the turbulent years between the 1920s and 1950s.

In politics he was open-minded and constructive whilst in his philanthropy, not least through his leading role in helping Jewish refugees (especially children) to leave Nazi Germany for England, he was thoughtful and generous. Austere on the surface but warm beneath, impatient equally of fools and idealogues, always searching for how he could contribute to make a better world – Anthony de Rothschild deserves, arguably more than almost anyone else in the 20th-century City, to be known properly by later generations.

“Skins by Gavin Watson has been argued as being ‘the single most important record’ of 1970s skinhead culture in Britain, who have possibly been one of the most reviled yet misunderstood of the nation’s youth subcultures.” — Daily Mail
“Gavin Watson documented his friends as they came of age at the heart of a misunderstood community.” — i-D
“Gavin Watson’s cult documentary photo book Skins chronicles the radical and inclusive spirit which originally animated the emerging skinhead culture of 70s Britain.” — Dazed

Skins by Gavin Watson is arguably the single most important record of ’70s skinhead culture in Britain. Rightly celebrated as a true classic of photobook publishing, the book is now reissued in a high-quality new edition under close supervision from the photographer.

The scores of black and white shots offer a fascinating glimpse into a skinhead community that was multi-cultural, tightly knit and, above all else, fiercely proud of its look. These are classic photographs of historical value.

“What makes Gavin’s photos so special is that when you look at them, there’s clearly trust from the subject towards the photographer, so it feels like you’re in the photo rather than just observing.” – Shane Meadows (Director of award-winning film This Is England).

The book, described by The Times as “a modern classic”, forms an important visual record of its time and has attained cult status in the genre, alongside works by other eminent photographers such as Derek Ridgers and Nick Knight.

“Arguably one of the best and most important books about youth fashion and culture ever published.” – Vice Magazine

Skins by Gavin Watson is arguably the single most important record of ’70s skinhead culture in Britain. Rightly celebrated as a true classic of photobook publishing, the book is now reissued in a high-quality new edition under close supervision from the photographer.

The scores of black and white shots offer a fascinating glimpse into a skinhead community that was multi-cultural, tightly knit and, above all else, fiercely proud of its look. These are classic photographs of historical value.

“What makes Gavin’s photos so special is that when you look at them, there’s clearly trust from the subject towards the photographer, so it feels like you’re in the photo rather than just observing.” – Shane Meadows (Director of award-winning film This Is England).

The book, described by The Times as “a modern classic”, forms an important visual record of its time and has attained cult status in the genre, alongside works by other eminent photographers such as Derek Ridgers and Nick Knight.

“Arguably one of the best and most important books about youth fashion and culture ever published.” – Vice Magazine

A decade-old obsession for Dutchman Pieter Boogaart resulted in a guidebook that looks like no other, to a subject never before fully explored: the A272. Three continuous texts wind their way through the book, simultaneously exploring the A272 itself and the countryside it passes through; extra commentary is provided in yet another level of text. Hundreds of color photographs complete this homage to the ‘epitome of England’. After eight reprintings, now in a fully revised, updated, improved FOURTH edition and – naturally – 272 pages long!

Faneuil Hall is fine and the duck boats are just dandy, but if you want to go beyond the Boston of brochures and get to the heart of this mysterious, charming old metropolis, you have to dig deep and be willing to get a little weird. 111 Places in Boston That You Must Not Miss is a guidebook with a twist: one that takes you far off the beaten path – and the Freedom Trail – to explore a side of the city that’s offbeat, unexpected, and completely fascinating for visitors and locals alike.

Whether you want to pay your respects at the memorial for a fictional character, sneak behind a vending machine to go shopping for sneakers, sip cocktails where hardened criminals sat behind bars, or hang out with some life-sized puppets, you can do it all here… and before dinnertime, to boot. Throw on your Red Sox cap, hop on the T, and uncover some secrets along the way.

The delights of an 18th-century love story; the glitter of 16th-century gold; noble portraits of swift steeds; the civilizations in the Eastern islands of the Great South Sea, and the opulence of Venetian Orientalism. Transhistorical dialogs begin with Nobel Laureate Orhan Pamuk’s piece about Dayanita Singh’s photography and commentary on a recent Paris auction. A legendary book about the Nibelungen from the early 20th century is echoed in the fables and myths in Vittorio Zecchin’s painting cycle, The Thousand and One Nights, from the same period. Another dialog unfolds between the 16th and 18th centuries, with a look at a rare manuscript recounting adventures and colonization of Eastern lands in the 1500s, Antonio Filipe Pimentel’s article on the cenotaphs of the Escorial, Andrew Graham-Dixon’s penetrating examination of George Stubbs, horse portraitist in England in the 1700s, and Benedetta Craveri’s elegant depiction of an art-inspired love story in pre-Revolutionary France.

We the Forest aims to ‘rewild the imagination’ by opening children’s eyes afresh to the wonder of forests through a meld of science and contemporary artwork. New scientific discoveries show that the interconnectedness of the forest runs deeper than we ever imagined. This title explores how all life in the forest is linked and our own human connection to and dependence on the forest.

Engaging text evokes the magic of forests – from how trees communicate to their superpowers of regeneration and protection of the planet – accompanied by commissioned illustrations. Interspersed throughout are arresting artworks inspired by forests from a wide variety of contemporary artists: learn to speak in ‘tree’ with Katie Holten’s tree alphabet, peer through Levon Biss’s lens to see what a giant beetle would look like, or witness the terrible beauty of forest fires in Jeff Frost’s photos. Interactive elements encourage the reader in their own creative projects.

“Capturing the spirit of every Glastonbury since 1992, this coffee table book from award-winning photographer Liam Bailey brings together three decades of revelry and wonder among festivalgoers on Somerset’s most famous dairy farm.” — Redonline.co.uk

“…Iconic Photos That Capture the Messy Essence of Glastonbury.” — VICE

“The book’s images capture the rugged anarchy that spreads through Somerset each year around the solstice.” — MSN

“There are many books about the music scene but few that show punters in all their beautiful variety. Liam Bailey’s long-term documentation has really paid off – this book about the craziness of Glastonbury Festival is terrific.” – Martin Parr

Glastonbury is the striking distillation of over 30 years’ unprecedented photographic access to the world’s largest green-field music and performing arts festival. In over 120 memorable images, Liam Bailey invites us to share his experiences of being among its diverse tribes.

Although Glastonbury has evolved into a sprawling fixture of the British summer calendar, this famously vibrant event is still powered by the belief in alternative communal culture. It is this special energy that has kept Bailey returning every year since 1992. Above all, this ‘access all areas’ visual diary makes a case for the positive human potential of over 200,000 people being able to get together in the open air – to enjoy music, performance and each other.

Bailey’s work has been exhibited in the UK and abroad, and appeared in magazines and newspapers including The Independent, The Guardian and Condé Nast Traveller.

Photographer Scott Mead (b.1954) revisits his formative years spent documenting New England, USA, in Rites of Passage for the first time. Shot over a five-year period between 1971 and 1976, we follow Mead through early adulthood and explore scenes of discovery, ritual, rural beauty and urban metropolis.

At a junction between an American road trip and a personal visual diary, Mead’s images depict a world as it was then, shaped by political upheaval, profound civil changes and the Cold War. The cloth-bound hardback book features 100 large-format prints of Mead’s poignant photographs to be considered in a new context.

Rites of Passage shows Mead with a camera always at hand and presents his delicate, often amusing and sometimes uneasy portraits alongside cityscapes, landscapes and snapshots of the lives of friends and strangers. All of the artist’s proceeds from Rites of Passage benefit Great Ormond Street Hospital for Children in London.

‘Not only is this a visually luscious book of Ptolemy Mann’s work, it makes a fascinating – and timely – contribution to the ongoing debate about the relationship of art and textiles.’ — Alice Rawsthorn, author of Design as an Attitude.

‘[Ptolemy Mann] has been creating textile works of extraordinary colour and vibrancy for nearly 30 years. In 2021, after a period of experimenting with painting on paper, she turned her brush to her painstakingly dyed and handwoven cloths – the striking results can be seen in Mann’s first monograph, Thread Painting.’ — Killian Fox, the Guardian

British artist Ptolemy Mann’s studio practice bridges weaving and painting, creating distinctive, refined and radiant wall-based work, often on a large scale. Her early work was focused on weaving, and she then turned to painting on paper, later combining the two to paint directly onto her hand-woven artworks.

Focusing on the past decade, Thread Painting features over 140 stunning full-color images of these three phases in Mann’s artistic career, and is her first published monograph. Thread Painting includes written contributions from Ann Coxon, curator of international art at Tate Modern, and Chloë Ashby, arts critic and author. A conversation between Mann and childhood friend, artist and stage designer Es Devlin sheds light on Mann’s early influences and her meticulous process.

Thread Painting is a celebration of Mann’s unique work during a fascinating decade of artistic output, exploring the relationships between dye, thread, paper, paint and time.

Put down your phone, open your eyes and immerse yourself in your surroundings. The way to discover Britain is not through packed schedules and perfect Instagram posts; this is a book about traveling for those of us who’d rather take our time, focusing on authentic approaches to popular British destinations. From swimming in Snowdonia (Eryri) to walking Hadrian’s Wall, eating Pembrokeshire’s wild food to soaking up the history of Skye, travel is so much more than ticking off landmarks or filling an Instagram grid. Don’t go far, go slow.

Between 1978 and 1987, renowned British photographer Derek Ridgers captured London youth culture in all its glory. With skinheads, punks and new romantics, in clubs and on the street, his images have come to define a seminal decade of British subculture.

This completely reimagined edition of 78/87 London Youth showcases a fresh selection of those images from the depths of Ridgers’ exceptional archive – including several previously unseen – beautifully printed and bound in an oversized volume.

Each picture is a tribute to the trials and triumphs of youth, and a precious document of style and culture in 1980s England, from the height of punk to the birth of acid house. Several have been exhibited internationally in cities as far-ranging as Moscow, Adelaide and Beverly Hills, in the National Portrait Gallery, Tate Britain and Somerset House. Ridgers has also collaborated with a number of major fashion houses, including Saint Laurent and Gucci, and his images continue to inspire photographers, artists and fashion designers around the world.

‘As time passes, this kind of observational photography attains a new importance’ – Sean O’Hagan, The Observer

‘Ridgers’ portraits of young boys and girls are weighted with a raw poetry and beauty’ – Cory Reynolds, artbook.com

Dolce&Gabbana’s Alta Moda shows are the epicenter of Italian fashion. The luxury lifestyle brand began its annual grand flourishes in 2012 and has since made a custom of staging the last word in Italian elegance with shows unlike any other, each lasting an entire weekend at an exclusive, invitation-only location.

Behind the scenes of these unique events, the preparations are meticulous, with designers, models, crew members, directors and makeup artists, all adding their finishing touches before the first silhouette is cast out on the runway. Matt Lever is one of only a handful of photographers ever invited to the shows. Covering almost every show since their inception, his images of the backstage commotion take us on a visual journey through Dolce&Gabbana’s intimate inner workings.

Lavishly illustrated, La Dolce Vita is a sublime coffee-table volume, perfect for fans and followers of high fashion and a compelling work of art for anyone with in an interest in the sculpting of the most lauded pageants in the fashion calendar.

James VI & I, the only child of Mary, Queen of Scots, has often been overshadowed by the dramatic lives of his mother and son, Charles I. This book seeks to redress the balance by centering the first monarch to reign over both Scotland and England and uncovering the artistic treasures created during his extraordinary reign.

The cultural riches of James’s court are showcased, revealing his diverse roles as ruler, scholar, politician, father and patron of the arts. His court’s passion for jewelry and fine clothes is illustrated in the vivid portraits and miniatures by John de Critz and Nicholas Hilliard – just two of many artists and craftspeople who thrived in its artistic and intellectual climate.

Five richly illustrated chapters demonstrate James’s impact on early modern Britain, while reconsidering the reputation of a king traditionally presented as preferring hunting and drinking to the duties of daily governance. Packed with exquisite art works and sumptuous objects, this book brings James’s court vividly to life.

A multitude of colorful and naïve biblical and other religious pottery figures found their way into 19th century Victorian homes in Britain. They were bought by tradesmen, shop-keepers, clerks, teachers and the more skilled working class people. This book tells the story of these Staffordshire pottery figures, which sold in their thousands to stand on the mantelpieces of Christian families, both Protestant and Catholic.

Three chapters provide a social history context: the religious background, an assessment of who purchased the figures, the Victorian home and how it was furnished. The final four chapters review the pottery figures themselves, which are based on the Old Testament, the New Testament, relevant religious themes and portraits of preachers. A catalogue of well over 200 figures in full color with an assessment of their dating and rarity completes the book.

This is the first comprehensive record of Victorian religious figures placed in the context of their times.

A forum (the papers of which are published here) was held in Oslo in 2010 to gather ideas, seek advice and, in general, begin to shape the onward decision-making process for a new project known as After the Black Death: Painting and Polychrome Sculpture in Norway, 1350-1550. The forum was the first step towards gaining intellectual access to altarpieces, shrines, sculptures and crucifixes for which little (if any) historical documentary evidence has survived. Significantly, too, the forum was a step toward addressing issues related to visibility. While the frontals and sculpture that pre-date 1350 are, with few exceptions, the products of Norwegian, probably monastic workshops, the majority of objects that post-date the Black Death have no such claim to a unifying cultural tradition. By contrast, the majority are categorized as the products of North German and Netherlandish workshops that were imported to Norway prior to the Reformation.

Founded probably in the 5th or 6th century, the Cathedral of Genoa was later rebuilt in Romanesque style and devoted to St. Lawrence the martyr. Money came from the successful enterprises of the Genoese fleets in the Crusades. After a fire in 1296, the building was partly restored, the inner colonnades rebuilt and matronei and frescoes added. In 1550 the Perugian architect Galeazzo Alessi was commissioned by the city magistrates to plan the reconstruction of the entire building, but the construction of the cathedral didn’t finish until the 17th century.

Among the artworks inside the church are ceiling frescoes, paintings and altarpieces by Luca Cambiaso, Federico Barocci, Lazzaro Tavarone and Gaetano Previati, while sculpture include works by Domenico Gagini, Andrea Sansovino, Giacomo and Guglielmo Della Porta. Impressive are also the works of art and silverware kept in the Museum of the Treasury which lies under the cathedral. One of the most important pieces is the Sacred bowl brought by Guglielmo Embriaco after the conquest of Cesarea and supposed to be the chalice used by Christ during the Last Supper.

Contributors include: Gianluca Ameri, Beatrice Astrua, Michele Bacci, Piero Boccardo, Antonella Capitanio, Marco Ciatti, Marco Collareta, Anna De Floriani, Clario Di Fabio, Grazia Di Natale, Gabriele Donati, Lucia Faedo, Marco Folin, Maria Flora Giubilei, Henrike Haug, Karin Kranhold, Anna Rosa Calderoni Masetti, Roberto Paolo Novello, Linda Pisani, Stefano Riccioni, Giorgio Rossini, Philippe Sénéchal, Carlo Tosco, Gerhard Wolf, Photographs by Ghigo Roli.

Text in English and Italian.

This volume is a comprehensive monograph chronicling the personal and professional journey of the Indian architect and urban conservationist Brinda Somaya, from 1975 to the present. Belonging to the ‘Bridge Generation’, her work transcends stylistic vocabulary and draws its inspiration from Indian culture, the landscape of the subcontinent and principles of sustainable design and intervention.

The book explores a cross-section of Somaya’s diverse typology of projects, including housing, institutions, conservation, urban design, social design and industrial works that represent a unique ‘non-stylistic’ grammar that has a sense of ‘order and appropriateness’. Situating her work in a broader context, the essays in this volume offer multiple perspectives on Somaya’s accomplishments, while the dialogues outline the concerns central to her work.

Contents:
Foreword – James Stewart Polshek; Preface – Ruturaj Parikh; Acknowledgements; Introduction – Nandini Somaya Sampat; On India – Arun Shourie and Brinda Somaya; Bhadli village and Vasant Vidyalaya; Campus for Zensar Technologies; The Cathedral & John Connon School; Tata Consultancy Services Headquarters; Working from Mumbai – Kamu Iyer, Mary N. Woods and Brinda Somaya; The Street; The Community; Jubilee Church; Rajabai Clock Tower; Architecture and Culture – Saryu Doshi and Brinda Somaya; St Thomas Cathedral; Nalanda International School; Houses; Club Mahindra Kumbhalgarh; Campus for Goa Institute of Management; The Significance of Brinda Somaya’s Work in Post-Independence India – Jon Lang; Humility and Fierce Resolve: The Making of a Compleat Architect – Porus Olpadwala; The Empathetic Architect – Mary N. Woods; Brinda Somaya’s Practice and Contemporary Architecture in India – Ruturaj Parikh; Epilogue – Tod Williams and Billie Tsien.