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Designed by Marks Barfield Architects, Cambridge Central Mosque is an innovative building, which is both sustainable and socially and architecturally integrated into its neighbourhood. Illustrated with architectural drawings and photography by Sir Cam, Morley von Sternberg and others, this book details its evolution and realisation, highlighting how the mosque breaks new ground, and reflects ongoing debates about Islam and Britishness. It discusses how geometry is a central feature, and focuses on its timber structure or ' trees', as well as on the many sustainable features of the building and its carbon neutrality. The mosque has become a unique place of community worship, and the book concludes by providing a sense of the day-to-day life of the mosque, as well as the lessons which can be learnt from it.

Nigel Hall: Sculpture & Drawings is an ambitious monograph which looks at his work in relation to sculptural developments in Britain, Europe and North America. It presents the two main strands of Hall's practice - sculpture and drawing - as distinct but also interrelated. Line and space are central to Hall's work, with the artist creating highly refined two- and three-dimensional works that deploy a range of geometrical forms. The works he makes are always meticulous and measured, whilst offering intuitive visual conundrums that encourage looking and thinking. Unpicking the complexities of Hall's work and its display both indoors and outdoors, Wood provides the definitive narrative of one of Britain's most accomplished sculptors working today.

Gesina ter Borch (1631-1690) was a Dutch watercolourist and draughtswoman whose work survives primarily in the form of three albums of watercolours and calligraphy, now held at the Rijksmuseum. Despite the fact that her oeuvre is securely attributed and thoroughly catalogued, Ter Borch has surprisingly never been the subject of a dedicated monograph, until now. For the first time, this book highlights Ter Borch's watercolours and calligraphy in their own right, as well as her work as an art teacher, an archivist, and an artist's model, and questions a historiography of women's art that frequently values oil painting over other media, and work for the market over 'amateur' production. Adam Eaker revisits Gesina ter Borch's role in the genesis of Dutch 'high-life' genre painting and its construction of gender and social class, comparing her art with that of her brother Gerard, and in so doing allows for a more nuanced understanding of the ideologies and achievements of Dutch genre painting.

Published 100 years ago, Le Corbusier's Vers une Architecture was conceived as a way of making sense architecturally of a moment of profound social and technological change. Today, we live at another pivotal moment for architecture and for the wider world. The climate emergency alone requires us to rethink everything we have previously taken for granted about how we conceive and construct buildings. Yet, moments of crisis and transformation are also opportunities for overturning conventions, facing uncomfortable truths and forcing disciplinary and societal ' reset' . What we need is not a new architecture, as Le Corbusier was popularly mistranslated as advocating, but another one: an architecture that is not bound to a single vision or future, but is diverse, pluralist and sustains multiple conversations about the active role that architects might play in the world. Towards Another Architecture brings together contributions from practitioners and thinkers working in a range of fields and geographies to advocate their vision(s) for another architecture.

Museums are under fire currently from all quarters on account of a wide range of ethical issues, from their association with morally dubious regimes to the questionable provenance of objects in their collections and the perceived lack of inclusivity of their exhibitions. This book examines why the art museum has become a focus for society's ethical concerns in the 21st century, whether it is ever possible for a museum to be a neutral space, and what a policy framework for a more ethical museum could look like. Gareth Harris's compelling and balanced analysis draws on interviews with museum leaders and a wide range of visual-arts professionals in the UK, Europe and the US.  It considers examples of best practice in a sector which is struggling to balance increased ethical demands with an often perilous financial situation in the aftermath of the Covid-19 pandemic.

This is a fascinating analysis of the history, current status and possible future of Hong Kong as an international art hub. Enid Tsui presents a balanced and insightful picture of recent changes in the city which was once the poster-child of artistic freedom in Asia as well as the undisputed leader of the region's booming contemporary-art market. Some of Hong Kong's traditional advantages look precarious following new laws imposed by China curbing freedom of expression and the city's long period of isolation during Covid-19. Yet despite the growing uncertainties over the 'red lines' of censorship, there are more world-class art institutions in the city than ever before and the market has proved resilient, with international auction houses and galleries continuing to expand their presence there. This book lifts the lid on a diverse art scene in a city of fascinating contradictions: a former British colony where artists have long been inspired by the interplay between east and west, and where the new M+ museum and other venues have to tread a tightrope between celebrating a distinct and vibrant culture based on different influences and abiding by the new national security regime.

AI and the Art Market is the first book to offer an approachable introduction to AI for art-market professionals, considering AI's impact on and possible applications within the art world, whether as a business tool or as an artistic medium. The two primary topics of how AI is affecting the art market and the market for AI art are united under the broad theme of how art-market professionals can be better equipped to work with AI in an art-world context, as relative novices. The book discusses questions such as: Can AI benefit your business? If you are open to working with the growing number of artists who use AI, how can you best support their practices and approach selling their work? What risks should you be aware of, and how can you distinguish between truly cutting-edge innovation and outlandish, unsubstantiated claims about AI? More broadly, how/is AI reshaping practices within the art market and what cultural changes should we be prepared for in the long term? AI and the Art Market puts forward a balanced overview of this increasingly Hot Topic, considering the benefits of AI while never shying away from its ethical complications and practical limitations.

This book charts a twenty-year period in theatre design that maps the growth of large-scale adaptable theatre through Charcoalblue's work, alongside the world's leading architects. From the remaking of London's Young Vic Theatre in the mid-2000s, through larger scale projects for the Royal Shakespeare Company, the National Theatre, the Royal Opera House and many other cultural organisations worldwide, the practice have provided specialist expertise. Highly illustrated with photos and drawings, the book includes sections on adaptable theatres, temporary spaces, anti-culture palaces, theatrical transformations, and hidden gems. Each case study provides insightful analysis. There are sections which focus on updating historic theatres and creating performance spaces for leading academic institutions. The book also includes useful technical sections which focus on acoustics, digital environments and even a section which discusses developing seating.

Providing a recent history of Southeast Asian art linked to the social and political contexts in which the illustrated work emerged, this groundbreaking book reveals the innovative creative strategies, often covertly encroaching on public space, developed by regional artists to ensure the communication of sometimes provocative, even seditious, ideas to a general audience. Surveying work created by Vietnamese, Thai, Burmese, Cambodian, Indonesian, Malaysian, Singaporean and Filipino artists, the publication's broad regional spread provides valuable insights for a global audience perhaps unfamiliar with the pioneering utilisation of the street, public locales, and techniques of audience co-opting that have made Southeast Asia, and continue to make it, a region instrumental in facilitating social change through art.

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual's capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

Exploring Emily Young's carved works from the 1980s to the present, Jon Wood's thoughtful survey places her sculpture within its resonant contexts, both art historical and more broadly cultural. In doing so, it draws attention to the richness of her sculptural imagination and the issues that charge it, from ecology and environmentalism to poetry and philosophy. The inclusion of Young's early paintings also draws out her long-standing preoccupation with narrative. Probing the relationship between the artist's sculpture and the material life of things, Young's original way of thinking, seeing and feeling is skilfully presented, so enriching our understanding of this important contemporary figure.

Featuring 26 of the most attractive and interesting historic town centres, this book analyses key routes and the urban or visual incidents along them and explains why they might provoke different sensations of joy, interest or containment for the inhabitant or passer-by. Each of the town studies includes two historical maps - one created by John Speed in the C16th, which explains the general overall layout of a town, its shape, size, defensive walls, and river crossings, and the other a first edition OS map from the late C19th, which reveals the extent that medieval arrangements have survived, or not. Key routes within selected towns are then selected and illustrated as a way to explaining the topography and layout of these towns and how one still experiences them. In particular, there is the recurring theme about how the town might naturally draw you through to its centre, the subtlety of character and placing of key buildings as markers, each of which is uniquely different for each town. The drawings which illustrated the town studies are not only beautiful, but can be discriminate in aspects emphasised.

A Circumpolar Landscape demonstrates that Canadian and Scandinavian landscape painting reaches far beyond national identity and a preoccupation with Eurocentrism. This study brings together the work of Emily Carr, the Canadian Group of Seven, Anna Boberg, and Gustaf Fjaestad among others, with each chapter highlighting the high level of interactivity between artists and the environment. Simultaneously, this book highlights the lack of awareness of the respective ecosystems in which many of these works were produced. Working around northern hemispheric latitudinal lines, this book considers how a similar ecology and topography - orientated around the themes of forests, wilderness, lakes, mountains, aurorae, and ice - was depicted and is shared across these northern landscapes. This powerful and timely book takes these respective art histories in the direction of the environmental humanities and an ecocritical art history, recognising the broader transnational and ecological framework of the Circumpolar North.

Speaking Sculptures in Late Medieval Europe explores medieval sculptors' motif of the open mouth. Too often dismissed as an illusionistic artistic device, or as an affective ploy to foster the emotional response of the viewer, ' speech mode', as it is called in this book, is here shown to have a deeper significance as an agent of engagement and persuasion. Through the evocation of sound, speaking sculptures fostered imaginatively an aural relationship between the sculpture and the viewer. Exploring a wide range of geographies, this work demonstrates that the speech mode in sculpture was not an isolated phenomenon but a familiar device in many areas of Late Gothic Europe. By highlighting fourteenth-, fifteenth- and early sixteenth-century examples, as well as key thirteenth-century precedents, Speaking Sculptures in Late Medieval Europe explores the use, effects and purposes of this silent rhetoric, and the agency it implies within the period eye and the period ear of pre-Reformation Catholic Europe.

Offering a radical rewriting of the history of contemporary art from a feminist perspective, four distinguished authors explore the lineages of performance, abstraction, craft and ecofeminism in ways that reveal the debt these important genres owe to the work of pioneering women artists. The painters, sculptors and performance artists featured here have shaped ideas now dominating the art world: the vulnerability of the environment, the rise of activist art, the challenge to the reign of high technology (including digital culture), and the development of a new language of abstraction. Having demolished the linear narrative of modernism, the privileging of a white male ethnocentric vision, the division of high and low art and the separation of art from larger social issues, feminist artists laid the groundwork for the globalised, multi-media, postmodern art world of today. Illustrated with a spread of work from the last sixty years (and including contextual discussion of earlier practitioners), this book makes a compelling case for placing feminist art and artists at the heart of contemporary art.

This book examines the collaborative process that produced the outstanding carving and sculpture on many of the most remarkable buildings of what was Britain's greatest period of wealth and global power. Investigating the processes and methodologies behind these shared artistic endeavours, it reveals the background, education and training of the sculptors, modellers and carvers involved and discusses the relationships between architects and sculptors, the varied nature of their artistic partnerships and the interplay between the two arts in their contrasting control of space and mass. Work by the major architects of the period, including George Gilbert Scott and Alfred Waterhouse, is discussed, as well as their relationship with architectural sculptors Farmer and Brindley. Likewise, the book examines the collaborations between John Belcher and Hamo Thorneycroft and Alfred Drury; Charles Holden and his work with Jacob Epstein and Eric Gill; and Edwin Lutyens, who worked with Derwent Wood and Charles Sergeant Jagger. The emergence and development of Modern architecture and sculpture is traced through the influences of Ruskin, Morris and the European avant-garde.

This lavishly-illustrated book re-assesses the work of the nineteenth-century botanical painter Marianne North (1830-1890) and the purpose-built gallery that houses her paintings at the Royal Botanical Gardens, Kew. Lynne Howarth-Gladston, a trained botanical illustrator and scholar, re-examines North's working methods, which extend beyond those of conventional botanical illustration, and discusses North's painterly techniques, in addition to her use of photography as a possible aid to her extraordinarily prolific output. Marianne North: A Victorian Botanical Painter for the 21st Century situates North both as an unconventional botanical painter and as a technically progressive artist who melded differing stylistic approaches, techniques and media from both scientific and aesthetic perspectives. The study presents North as a progressive, multi-faceted individual who was rooted in the complex circumstances of her own time. Yet it also reveals how her legacy continues to resonate with the concerns of the present day, such as contemporary intersections between art and science, artistic uses of multi-media, feminism, and climate change. Drawing on North's travel writing as well as her visual record, the book offers a unique view of one of the most intriguing figures in the history of botanical art.

Coming of age in the 1920s, Stella, as she was known to her friends, cast off societal expectations of a working-class immigrant family in New England and moved through the studios, galleries, and nightclubs of New York. Following an unprecedented 18,000 km bicycle trip across Europe in 1927, where she kept a daily journal and made hundreds of sketches, Pressoir developed an expressionistic style that straddled figuration and abstraction. She made provocative renderings of the female nude that challenged historical models, including unabashed self-portraits and intimate depictions of her longtime muse, a dancer from Harlem named Florita. Pressoir's work is illuminated here in an examination of her private travel journal, letters, and numerous paintings, prints and drawings, some of which were recovered from the veritable time capsule of her art studio after she died. Placing Pressoir's work in relation to trailblazing contemporaries such as Alice Neel, Florine Stettheimer and Suzanne Valadon, this book establishes Pressoir as a force to be reckoned with in the decades of emergent feminism and modern art in America and restores her to her rightful place in the expanding canon of art

Londoners Making London tells the story of nine projects that have re-defined local community-driven urban regeneration. Countering the expectation that the development of cities is controlled only by powerful developers, this book demonstrates that transformational change is increasingly driven not by architects or planners, but by individuals who, through their conviction and determination - often against all odds - have created better places for and with their communities. In areas such as Wandsworth, Shoreditch and Wood Green, young and old can be seen working together to create more cohesive, attractive and prosperous pockets of their city. Colourful street parties, urban gardening, activated shop fronts, invigorated empty spaces, or re-designed neighbourhoods are some of the stories which illustrate what can be done when people work together. In-depth interviews with instigators, community activists, campaigners and self-builders illuminate the projects, reveal what we might learn from them and how we might scale up their impact.

Belonging to the wider circle of Calvinist exiles from Catholic Flanders working in the Saint-Germain des-Prés area of Paris, Moillon was the sole female practitioner of a group that included Sébastien Stosskopf, Jacques Linard, and Lubin Baugin. Louise Moillon reassesses the importance of this painter of still-life (and occasional genre) paintings through a consideration of the context in which she was working; the centrality of the genre of still life in the Saint-Germain-des-Prés area of Paris in the earlier part of the seventeenth century; and provides close visual analyses of her works. Moillon offers a useful case study of a supremely talented artist whose relative posthumous invisibility may be explained by three key features: her gender; the genre of still life at which she excelled but which became increasingly overlooked after the foundation of the French Académie royale in 1648; and a change in her domestic role after her marriage, when she produced fewer works. This book questions some of the ways in which Moillon's story has been represented since the beginnings of the revival of interest in her work in the early twentieth century. In particular, it draws on more recent scholarship which grants early modern women from Moillon's social class greater agency than was previously assumed and grants her a rightful place alongside her male contemporaries.

Sofonisba Anguissola (c.1532-1625), an Italian Renaissance painter born in Cremona to a noble family, was one of the first women artists of Europe to establish an international reputation during her lifetime. This book explores the evolution of Sofonisba Anguissola's art from her training in Cremona, through her service at the court of Philip II in Madrid, to her later years as a married woman in Sicily and Genoa. It was at the Spanish court that Sofonisba Anguissola secured her reputation as a painter of international renown. Therefore, the volume places special emphasis on the social, political and cultural preconditions surrounding her role and status at the Spanish court, where she became a lady-in-waiting and painting instructor to Queen Elizabeth of Valois. In order to interrogate the circumstances of her service and her painting practice in Spain, and thus to better explain her later artistic career in Italy, the book focuses on her education, her noble status, her family ties, and her connections with noble courts in Spain and Italy. It draws on recent discoveries made by the author, as well as archival documentation, to reinterpret Anguissola and her artistic legacy.

This richly diverse study examines the evolving image and contested status of the artist in late nineteenth-century France through the lens of the artist's studio, which became a central theme in art and literature, stretching from Balzac to Proust and from Corot to Picasso. The studio was a hybrid space that blurred the distinctions between public and private, professional and domestic, artistic production and display. Besides a material space for art making, the studio was a social and commercial nexus and an extension of the artist's persona. Drawing on paintings, prints, photographs, and primary sources ranging from memoirs to popular journals, this book sheds new light on the modern studio's heightened significance as a laboratory of creative struggle and a platform for self-expression and the staging of artistic identity. Breaking new ground in focusing on the intersecting issues of artistic identity and the evolving role of the studio as creative arena, social and commercial locus, and informal exhibition space, McPherson allows us to participate in the popular ritual of visiting the artist's studio.

For sculptors Alfred Gruber (1931-1972) and Jacqueline Stieger (b.1936), their meeting in 1962 marked the start of a bountiful partnership - their artistic chemistry conjuring works that exploited the transformative qualities of common and precious metals. Chronicling their intertwined stories, which saw Gruber reach his pinnacle as a solo artist and Stieger establish innovative sculptural techniques that informed her onward career, their individual achievements are also given due focus in this ambitious publication. Tracing each artist's early history, their meeting in Switzerland and their eventual move to Yorkshire, the book includes assessment of their work with pioneers of modern church architecture in both Switzerland and the UK, their contribution to the development of art jewellery from the mid-1960s, the debt owed by European artistic friends and collaborators - including David Weiss, later of Fischli and Weiss - who worked for both Gruber and Stieger in the 1960s, and the development of Stieger's artistic language after Gruber's untimely death. Drawing on the Gruber Stieger art collection and supporting archive, together with numerous interviews conducted with Jacqueline Stieger, this book sheds much-needed light on the pair's unique oeuvre, both as a couple and as individuals.

Albrecht Dürer (1471-1528) enjoyed European-wide fame during his lifetime. Dürer was not only a brilliant painter, but also a pioneering printmaker, experimental draughtsman, book publisher, first German art theoretician and amateur poet. His art was avidly collected, repeatedly copied in diverse media, and often forged. Then, with his death, the posthumous Dürers were born. This book addresses his afterlife or, more correctly, afterlives. Beginning with the heartfelt eulogies of his friends and the creation of contemporary portraits of the Nuremberg master, Dürer's person, his likenesses, and his art have been celebrated for over five hundred years. Our contemporary Dürer is the subject of intense scholarly discussions on the one hand and of social and commercial popularization on the other hand.

Over a period of forty years, Hé lè ne Binet has photographed both contemporary and historical architecture - this is the complete monograph of her work, with two extensive critical essays. Marco Iuliano details Hé lè ne Binet's background, from her childhood in the Italian fishing village of Sperlonga and in Rome, through her early ' discovery' of architectural photographer Lucien Hervé, to other significant influences, like the Architectural Association in London where she met Zaha Hadid. The essay highlights in detail Binet's approach to photography, her process and archive. Martino Stierli sets Binet's work within the conceptual framework of architectural photography, discussing whether an architectural photograph is an inventory of a building or space, a translation into a two-dimensional image or, rather, an image in its own right; an artifact that loosely relates to the original object or phenomenon. The two essays are followed by a catalogue of Binet's work, which is framed within a series of her recurring themes emerged through dialogues between the authors and the photographer.

Mien Ruys, who worked mostly in the Netherlands for almost 60 years, was one of the most influential landscape architects of the 20th Century. A leading proponent of modernist design, she introduced clean lines, geometric shapes and innovative materials. One of the few women members of CIAM, she collaborated regularly with architects including Aldo van Eyck and Gerrit Rietveld, often on much needed social housing schemes. Uniquely, she combined this modernist approach with an extensive knowledge of plants and planting, which she learnt in her father's Royal Moerheim Nursery in Dedemsvaart. At the nursery, she met Gertrude Jekyll - who greatly influenced Mien as she developed her own loose, natural style of planting - and created 30 experimental gardens from which lessons which can still be learnt.

The behemothic global art market is one which few aspiring artists manage to penetrate. How then would a creative person with virtually no arts engagement, maybe with mental or other significant health issues, disability, or difficult social circumstances, find a way in? Providing a means of gaining an understanding and appreciation of largely overlooked artists and their work, Outside In: Exploring the margins of art champions the creatives and artworks produced by those traditionally kept on the periphery of the art world. In the context of the support offered by the charity Outside In, it explores the artists' motivations and approaches to making. In doing so, a robust case is made for the need to break down the significant barriers excluding talented artists from the art world, and to create an inclusive artistic community in turn.

This book offers the first critical account of Studio Aalto's religious modern architecture. Aalto's ecclesiastical oeuvre is viewed as an evocative subgenre of the practice's portfolio, but its relationship to religion has eluded enquiry. Where previously discussed, the longstanding collaboration between Aalto and the Church has been put down to reciprocal expediency, and the buildings perceived as spatially and structurally stirring experiments, yet devoid of religious meanings or implications. The idiosyncratic plasticity of the Church of the Three Crosses (1955-58) in Imatra, Finland-the most famous and architecturally impressive of Aalto's churches-is cited as ultimate evidence of Aalto's exploitation of the religious brief for the creation of a 'sculptural irrationality'. This book challenges the assumed autonomy of Studio Aalto's ecclesiastical oeuvre from religion. Analysing designs for churches, parish centres, funerary chapels and cemeteries in Finland, Denmark, Germany and Italy, the book shows that Aalto's engagement with religion transcended artistic opportunism. The book addresses Aalto's sacred oeuvre in its entirety, yet pays particular attention to the Church of the Three Crosses, broadly considered the apotheosis of Aalto's sacred career. Through a detailed analysis of the religious actors and factors that shaped the design and construction of Aalto's sacred works-from local parish building committees to bishops, and from liturgical reform movements to post-war debates on sacred art-this book shows that religious influences were neither extrinsic nor peripheral to Aalto's modernism, but intrinsic and intimately related to it. The study of previously uncovered primary archival materials establishes that Aalto's engagement with the Church was a consciously and productively symbiotic partnership which drew from shared interests and values, yet which also encompassed compromise and conflict. The resultant buildings neither glorify nor deny institutional religion - instead, this book argues, they challenge rigid dogmatism in religion as much as in modern architecture.

Art and photography have played a key role in capturing and reflecting on the conditions for the Brexit referendum. Illustrated by a range of work by artists including Cornelia Parker, Wolfgang Tillmans, David Shrigley, Tacita Dean and Jeremy Deller as well as the satirists Cold War Steve and Led By Donkeys, who offer fascinating insights into their work, along with ephemera such as campaign posters and leaflets, and more personal photographs which capture the searing impact of the vote on both UK and EU citizens, this impassioned and compelling book explores the role of the photograph and sometimes moving image in the ongoing consequences of what the author views as a political cataclysm. From Jeremy Deller's film of musicians protesting outside the House of Commons and Mark Duffy's extraordinary photograph of a debate held inside, to portraits of those whose lives have been changed immeasurably, this art of protest brings together disparate aspects of the bitterly fought battle to remain and the consequences of the decision to leave the EU on 1 January 2021 and serves as a reminder of this political and social schism. In doing so, the book offers insight into our society, exploring issues of national identity, migration, colonialism/decolonialism, racism, the flag, austerity, the border in Northern Ireland, Scotland and how artists can intervene in political debate. It offers an original, visually stimulating and attractive examination of this still topical subject, revealing how art and photography can capture and memorialise key moments in our history.

Examining for the first time the life and work of the sculptor Matt Rugg (1935- 2020), Michael Bird's impeccably researched text vividly charts Rugg's parallel careers as artist and teacher in the context of developments in creative pedagogy in Britain during the second half of the twentieth century, and their implications for practice and teaching today. Highlighting the impressive range of Rugg's output, from his distinctive 'painted drawings' to large-scale metal constructions, and the unifying strands in his thought, this book skilfully draws together Rugg's work, ideas and inspirational role as an educator. Lavishly illustrated, it charts successive phases of Rugg's continuous experimentation with found industrial materials and form, and the subtle interrelationship in his work between two and three dimensions. Dr Harriet Sutcliffe's research into the Basic Course led by Victor Pasmore and Richard Hamilton at King's College, Newcastle, in the 1950s and 1960s provides fascinating insights into both Rugg's oeuvre and wider developments in British art practice and pedagogy.