Every month, the art association HMKV presents the latest videos by international artists in its series “HMKV Video of the Month” which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV.

For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labor conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old ‘new’ right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview.

Text in English and German.

Do fashion and art go together? Fashion and art are both physical and psychological instruments that define our identity in this world. They bring moments of enchantment and passion. Discover the romantic clash between art and fashion in the form of a love story between two young people and get to know the true nature of two worlds that seem completely different from each other. This book is a mix of fiction and non-fiction. The love story between an artist and a fashionista teaches us that both fashion and art can be an élan vital for men and women. Do you remember your first encounter with art and fashion? Was it collecting art or consuming fashion? Fashion is action. Art is a reflection of this action. The authors of this book bring together experts from both disciplines, including 20 top designers and artists.

The essays in this lavishly illustrated volume offer a multi-faceted portrait of American financier J. Pierpont Morgan (1837–1913) as a collector of art. A riveting exploration of Morgan’s acquisitions from antiquities to medieval manuscripts to Old Master paintings and European decorative arts, Morgan—The Collector introduces the reader to how and why he amassed his vast collection. The lively essays also serve as a tribute to Linda Roth, curator at Wadsworth Atheneum Museum of Art, Hartford, CT, who dedicated much of her forty-year career to researching Morgan and the over 1,500 works from his collection now in the museum. This much-needed publication focuses on Morgan as a collector and is directed at both a scholarly and more general audience that is interested in the history of collecting, America in the Gilded Age, Pierpont Morgan, and European art.

This fine tribal rug collection, built over many years by a Buenos Aires artist/architect, has at its heart a superb selection of ‘Bird’ designed rugs, alongside many other characteristic knotted-pile rugs woven by the nomadic tribes of the Khamseh Confederation in southwest Iran during the 19th century. In addition, smaller numbers of related weavings are featured, made by by neighbouring South Persian nomads (such as the Qashqa’i and the Afshar) as well as two highly focused groups of Shikli Kazak and ‘Keyhole’ design village rugs from the Transcaucasus region. The collector/author’s lucid bilingual texts explain his passion for these stunning woven creations. His choices of collectable pieces are informed by his perspective as a successful artist and architect working in the Argentinian capital.

Text in English and Spanish.

This delightful coloring book introduces young readers to the art of India, which can be found everywhere from monuments and textiles, to sidewalks, vehicles, movies, and objects of everyday use.

With 34 attractive illustrations, the book takes the reader through a broad spectrum of visual arts, from seals of the Indus valley civilization, embroidery, folk and performing arts, murals, monuments, mehendi, and movies, to objects of everyday use. This excellent book will ensure ample inspiration for curious young minds (and some older ones too!).

The temples of the Early Chalukyas, dating from the 6th to 8th centuries, are unrivalled in all of India for their comparatively early date and unusually complete condition, the remarkable juxtaposition of their different constructional techniques and building styles, and for the sheer beauty of their figural and decorative carvings. In spite of their appeal and outstanding historical significance, these monuments have until now lacked an adequate publication.

This volume is the first to fully describe and illustrate the architecture and art of the Early Chalukya temples in Badami, and nearby Mahakuta, Aihole and Pattadakal, all situated on or near to the Malprabha River in central Karnataka. Michell’s definitive text is complemented by forty of his measured drawings, which constitute the most thorough graphic documentation ever undertaken. These are accompanied by more than 150 splendid, newly commissioned photographs by Surendra Kumar.

Contents:
Preface; Historical Background; Architecture; Sculpture; Badami; Mahakuta; Aihole; Pattadakal; Maps; Building Chronology; Glossary of Architectural Terms; Glossary of Indian Names; Select Bibliography; Photo Credits; Index.

The bamboo: tall, strong and flexible. This fast-growing shoot has been used as a construction material, a foodstuff and fuel for millennia, from India to Japan. Tanabe Chikuunsai IV’s art elevates bamboo to new heights. By weaving together small pieces of fibrous stalk, he creates vast, detailed sculptures without the use of rivets or adhesives. Under Chikuunsai IV’s skilled craftsmanship, bamboo is more than a functional tool: it is modern art, a unifying symbol of Japanese culture. His sculptures revere traditional workmanship, while conveying important contemporary messages – the codependence of nature and man, and the importance of protecting our environment.

Part autobiography, part introduction to the craft, this monograph follows Chikuunsai IV’s growth from a child marveling at his grandfather’s mastery of bamboo, to a maestro in his own right. Bamboo weaves his past to his present, providing a sturdy foundation on which his art continues to build.

“Love bamboos, live with bamboos,” says Chikuunsai IV. As this book demonstrates, he has done precisely that.

Costume jewelry is commonly understood to mean fashionable yet affordable adornments made from non-precious material. Originating in in mid-1700s France with the rise of the bourgeoise, the earliest ‘costume jewelry’ mimicked fine jewelry styles. Since then, costume jewelry has always been evolving. From Victorian sentimentalism to the mass-produced ornaments available today, costume jewelry has developed into an artform in its own right. An encyclopedic study of its history is long overdue. Flush with expert information, identification tips and historical anecdotes, Adorning Fashion explores the development of costume jewelry across the past four centuries. The styles of each era – Victorian, Edwardian, Arts & Crafts, Jugenstil, Art Nouveau, and each decade of the twentieth century – are given individual attention. Production methods are also explained in depth. Alloys and gilded electroplating can mimic silver and gold, while the refraction index of treated glass can, to the untrained eye, be mistaken for diamond.
Adorning Fashion discusses the contributions of a remarkable roster of designers and innovators, including Kokichi Mikimoto, Arthur L. Liberty, Carlo Giuliano, René Lalique, Elizabeth Bonté, the Castellani brothers, Jean Fouquet, Jean Després, Fulco di Verdura, Jean Schlumberger, Salvador Dalí, Miriam Haskell, Lina Baretti, Countess Cissy Zoltowska, Line Vautrin, Kenneth Jay Lane, Francisco Rebajes, Diane Love, Christian Dior, Balenciaga, Chanel, Van Cleef & Arpels, Paco Rabanne, Yves Saint Laurent, Napier, Haskell, Trifari, Brania, Bulgari, Versace and more.

The finest books produced during the quarter century prior to the outbreak of the Great War were almost invariably printed by the private presses, but post-war, with the development of new technology, the accolade of excellence passed into the hands of a small number of commercial firms, with the Curwen Press very much to the fore. Like those earlier printers, Harold Curwen was inspired by the Morrisian ideal, but he did not adhere to the tenet that ‘hand made’ was necessarily better than ‘machine made’, which led him to become one of the pioneering figures in the technical revolution that transformed the printing industry. Harold Curwen joined the family firm in 1908 and by 1916 had instigated a general replanning of the works and, aided by the wartime staff shortage, felt able to push ahead with the installation of modern machinery. He was in the forefront of the development of offset lithography, which ensured that the Curwen Press would be in the vanguard of fine color printing throughout the next decade. Harold also pioneered, as far as England was concerned, the pochoir technique of hand-stencilling. 1922 was the beginning of the Curwen Press’s golden decade, during which it produced The Woodcutter’s Dog, the English language edition of Julius Meier-Graefe’s two volume biography of Van Gogh for the Medici Society, the exhibition catalogue of books and manuscripts for The First Edition Club, Goldoni’s Four Comedies and the delightful little pocket engagement book, The Four Seasons, illustrated by Albert Rutherston. Rutherston was later to illustrate Thomas Hardy’s Yuletide in a Younger World, the first of the Ariel Poems for Faber & Gwyer which were to become a feature of the collaboration between the two firms. In addition there was the ‘Safety First’ Calendar, adorned with Lovat Fraser’s cautionary illustrations. Following restructuring in 1933 the Curwen Press had a further forty years of distinguished work ahead both in the printing of books, particularly those illustrated by Barnett Freedman, as well as jobbing work, including some of the finest posters for the London Underground by Bawden, Wadsworth, John Banting, Betty Swanwick, Barnett Freedman and others. Also avaliable: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 Peter Blake ISBN: 9781851496181 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 David Mellor ISBN: 9781851496037 E.McKnight Kauffer ISBN: 9781851495207 Edward Bawden and Eric Ravilious ISBN: 9781851495009 El Lissitzky ISBN: 9781851496198 Festival of Britain 1951 ISBN: 9781851495337 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Rodchenko ISBN: 9781851495917 Abram Games ISBN: 9781851496778

This new title in the highly successful Design Series features the design work of the acclaimed artist Peter Blake. Best known of the British pop artists, Peter Blake came to fame in the late 1950s and early 1960s with iconic works like On the Balcony and First Real Target both now in the Tate Gallery. Tate held an exhibition of his works in 1983 as well as a more recent retrospective at Tate Liverpool in 2007. His famous works for album covers, such as The Beatles, Sgt. Pepper’s Lonely Hearts Club Band the Band Aid single Do They Know Its Christmas, the Oasis greatest hits album Stop the Clocks and Paul Weller’s Stanley Road brought him to a wider audience. This stunningly designed book celebrates the brilliant creative talent of a unique British artist. Also avaliable: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 David Mellor ISBN: 9781851496037 E.McKnight Kauffer ISBN: 9781851495207 Edward Bawden and Eric Ravilious ISBN: 9781851495009 El Lissitzky ISBN: 9781851496198 Festival of Britain 1951 ISBN: 9781851495337 Harold Curwen & Oliver Simon: Curwen Press ISBN: 9781851495719 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Rodchenko ISBN: 9781851495917 Abram Games ISBN: 9781851496778

Iain R Webb’s Postcards from the Edge of the Catwalk is a personal photographic portfolio spanning three decades that documents the glittering brouhaha surrounding the ready-to-wear and haute couture fashion collections in New York, London, Milan and Paris. The photographs, snapped by the award-winning fashion journalist from the insider vantage point of his front row seat and invite-only parties, capture a world of show-stopping creativity and inspirational individual style.

The most gifted textile designer of her generation, Shirley Craven won a string of awards during the 1960s. This book celebrates her remarkable achievements at Hull Traders and documents her arresting hand screen-printed furnishing fabrics in full. Big bold abstracts were her speciality, striking in color and breathtakingly original in style. A visionary small company with high ideals, Hull Traders made its mark initially with designs by artists Eduardo Paolozzi, Nigel Henderson and Ivon Hitchens. Under Craven’s direction Hull Traders issued a string of ground-breaking textiles during the 1960s by forty artist-designers, recorded here in their entirety for the first time. Contributors included Althea McNish, John Drummond, Peter McCulloch, Doreen Dyall, Roger Limbrick, Cliff Holden, Richard Allen and Dorothy Carr. In 1966 Hull Traders branched out into furniture with the launch of Bernard Holdaway’s revolutionary tomotom range made of painted cardboard tubes – an icon of the Swinging Sixties, based entirely on circular forms, sold all over the world. Drawing on pioneering new research by leading post-war design historian Lesley Jackson, this book traces the fascinating, hitherto untold story of Hull Traders and its unique creative alliance with Shirley Craven and Bernard Holdaway. Featuring stunning new photography and rare archive photographs, it captures the explosion of creativity during the 1960s and provides a visual feast of inspirational post-war pattern and form. Beautifully designed, Shirley Craven and Hull Traders is a companion volume to Jacqueline Groag ISBN: 9781851495900, Zandra Rhodes: Textiles Revolution, Medals, Wiggles and Pop 1961-1971, Artists’ Textiles: In America and Britain 1945-1976 ISBN: 9781851496297 and Pop! Design, Culture, Fashion 1955-1976 ISBN: 9781851496907, all recently published, to great acclaim, by Antique Collectors’ Club.

This volume contains the papers presented at the ICON Paintings Group conference ‘Wet Paint – Interactions between Water and Paintings’ held in Edinburgh on 12th October 2018. There are many ways in which water and humidity can physically alter paintings, sometimes with disastrous effect e.g the staining of canvases; flaking and blanching paint; warping of wooden panels and cockling canvas supports. However, water is also a useful material for conservators that can be employed in the treatment of painted surfaces in the form of aqueous cleaning solutions, moisture treatments to reduce deformations and as a carrier for adhesives. Contents: The Conservation Legacy of the 1966 Flooding: the Experience of the Opificio delle Pietre Dure in Firenze through the Restoration of The Last Supper by Giorgio Vasari / L’eredità conservativa dell’Alluvione del 1966: l’esperienza dell’Opificio delle Pietre Dure di Firenze attraverso il restauro dell’Ultima Cena di Giorgio Vasari – Andrea Santacesaria. Methodology for Monitoring the Impact of Moisture on Lined Canvas Paintings in Historic Houses – Vladimir Vilde, David Thickett, David Hollis and Emma Richardson. The Conservation of Two Water Sensitive Fourteenth-Century Italian Fresco Fragments by Spinello Aretino, Previously Treated and Displayed as Easel Paintings in the Nineteenth Century – Eric Miller, Lynne Harrison and Helen Howard. The Application of Water-based Cleaning Systems in the Treatment of George Stubbs’ Wax Paintings – Annie Cornwell. 25 Years After the Perth Museum & Art Gallery Flood: Reflections – Clare Meredith. Edvard Munch’s Monumental Aula Paintings: Reviewing Soiling and Surface Cleaning Issues and Searching for New Solutions – Lena Porsmo Stoveland, Maartje Stols-Witlox, Bronwyn Ormsby, Francesco Caruso and Tine Frøysaker. Bulging in Wax-Resin Impregnated Canvas paintings: review and cases – Cecil Krarup Andersen, Christine Slottved Kimbriel, Karen-Marie Henriksen, Cecilia Gregers-Høegh, Marie Christensen and Martin N. Mortensen. ‘It is a formal problem to represent water, to describe water, because it can be anything ‘ [1] Watery subjects, media, materials and conservation solutions for paintings by David Hockney – Rebecca Hellen, Rachel Scott and Bronwyn Ormsby. Using High Molecular Weight Polysaccharides to Clean Vinyl Paintings: a Case Study on a Polymateric Contemporary Artwork – Paola Carnazza and Serena Francone. The Challenges of the Reconstruction of the Paint Layer on Painted Wooden Panelling Damaged by Rainfall – Maja Sucevic Miklin. Paintings Affected by Mould at the Palace of Westminster – Alison Seed and Sally Higgs. Oil Based Paint Under a Layer of Water: A Rare Miniature Painting Technique from the Eighteenth Century – Tatjana Wischniowski.

The drawings discussed in this book, published in association with the British Museum, were all included in the exhibition, Fra Angelico to Leonardo: Italian Renaissance Drawings, which took place in the Round Reading Room at the British Museum from 22nd April to 25th July 2010. This is a collaborative project with the Gabinetto Disegno e Stampe degli Uffizi and the same selection of drawings will be shown in Florence in autumn 2010. While making extensive use of these existing studies, many of which are cited in the chapters that follow, in this publication great emphasis is placed on how the results from examination and analysis can go beyond determining simply the materials used but to draw conclusions about the reason and manner of their use and the patterns of use across fifteenth-century Italy.

The Conference on Comparative Lining Techniques held at the National Maritime Museum, Greenwich is legendary. It was the first major conference solely concerned with the structural conservation of paintings and, by bringing together a distinguished international group of practitioners to discuss lining paintings, it changed the nature and status of the debate. The conference responded to a period of accelerating change, especially the introduction of new materials and technologies, and the papers presented compare established practice with cutting edge research and development, empirical craftsmanship with scientific methodology with the goal of refining the practice of lining and minimising the risks of change to the painting. The extraordinary atmosphere, the films, demonstrations, the Lining Exhibition Gallery encouraged radical review. The papers and conference materials record practice and principles at a critical moment in the history of conservation and constitute one of the most important foundational texts about conservation in the late twentieth century. This volume contains the papers as originally presented – some with a present day comment by the author. Additions include a glossary of terms (previously issued as a handbook) and an up-to-date bibliography.