Bøker utgitt av Ridinghouse

Focusing on John Hilliard's fascination with the monochrome and visual obstruction, this career-spanning volume draws together the artist's diverse engagement with photography.

Best-known for her ambitious sculptural works, this volume explores how Alison Wilding's compelling drawing and extensive use of collage have been integral to her development for five decades.

As Chosen By ... is a photographic series by Kate Friend. In these portraits, her 'sitters' are flowers or plants, each one selected by a recognisable public figure.

Published on the occasion of the exhibition Cecily Brown: The Triumph of Death, Museo e Real Bosco di Capodimonte, Naples, 10 February - 30 September 2022.

"Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of 'curating as practice'. Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine."--

Chronicling a great postwar Italian sculptor's years in RomeItalian sculptor Eliseo Mattiacci (1940-2019) is known for his contributions to the Arte Povera and Minimalism movements in postwar Italy. This lavishly illustrated publication is the first to focus on Mattiacci's years in Rome from the 1960s to the '80s.

This updated edition of German painter Georg Baselitz's collected writings brings together more than 30 texts by the artist, spanning 1961 to the present.

Published in 2022 by Kettle's Yar don the occasion of the exhibition Ai WeiWei: The Liberty of Doubt 12 February - 19 June 2022

Reckonings with mortality and art history in the final works of John HoylandThis richly illustrated publication explores the paintings John Hoyland (1934-2011) made in his final decade, including his final series, the Mysteries. Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding discuss his veneration of Van Gogh, his connections to Turner and his development of the visual language of the Abstract Expressionists.

Two volumes housed in a slipcase, Amor Mundi is an edited selection of over 400 works of contemporary art from the Collection of Marguerite Steed Hoffman.

On Gupta's Barbican commission exploring the voices of the silencedFor the Barbican's 34th Curve commission, Mumbai-based artist Shilpa Gupta (born 1976) builds upon her acclaimed project For, in your tongue, I cannot fit (2017-18), a multichannel, multilingual sound installation comprising 100 microphones suspended above 100 metal spikes. A new body of sculptural works extends these themes.

A survey of the four-decade career of celebrated British-Indian artist Sutapa Biswas and her new film, Lumen, meditating on the history of colonialism together with personal memories.

Perception and mimesis explored through the visual language of household detritusBalancing the profound with the absurd, London-based artist Neil Gall (born 1967) translates the visceral and psychological interactions between materials and their surfaces to unsettling, surreal and sometimes erotic effect in his drawings.

This book accompanys PEER's show presenting a group of sculptural works produced between the late 1940s and early 1990s. An exhibition that focused on Jevric's Proposals for Monuments was presented at the Henry Moore Institute in 2006, but this will be Jevric's first solo exhibition in London. Jevric worked primarily with a mixture of cement, iron dust, rods and nails, to create a range of distinct forms that investigate the relationship between solid matter and void; weight and weightlessness; containment and release. The surface of the works are roughly textured and pitted as if created by nature, rather than the artist's hand. Jevric referred to her work as ?spatial compositions? rather than sculptures, suggesting how her musical training provided her with an understanding of how abstract form, like tone and timbre, can be used to highly expressive ends.0 0By way of bringing Jevric's extraordinary work to contemporary British audiences, Richard Deacon (who met the artist at her studio on a number of occasions) and Phyllida Barlow and have been invited to write personal responses to this artist's work. Other texts include an introduction by Fedja Klikovac of Handel Street Projects, a preface by Ingrid Swenson from PEER gallery and an essay by Serbian art historian Jesa Denegri.00Exhibition: PEER gallery, London, UK (28.06.-14.09.2019).

An elegant compilation of Cezanne's drawings and prints from the collection of the late Karsten Schubert, bequethed to the Whitworth.

This fully illustrated publication is a groundbreaking approach to the study of Paul Cezanne's works on paper.

Essays on art and participation from the late Guy Brett, veteran champion of kinetic and Latin American art.

The first comprehensive selection of writings by British art theorist Adrian Stokes, including important posthumously published essays in addition to classic texts - highlighting him as a pioneering thinker on art and a virtuoso of the essay form.

The first biography of artist Bridget Riley, focusing on her early years and the development of her art, up to her breakthrough success in the mid-1960s.

This anthology of interdisciplinary essays examines the interlocking themes of artistic authorship, authenticity and legacy from legal, art market and art historical perspectives. It is structured in three sections: Authorship and Artists' Rights; The Artwork, Aura, and Authentication; Legacy and Its Stewards. The book addresses how artistic authorship is iterated over time by various figures, from the artist to the artist's heirs to art experts. It is through the law that artists' rights of authorship are articulated and tested against collectors, dealers, museums and even against other artists and photographers. It is increasingly through the law that conflicts are being resolved in the art market, as it expands (at least at the high end, and despite short-term dips across the world) and as artistic production dramatically increases to meet demand.

Working in London, New York and Cape Town, Roelof Louw (1936-2017) made sculpture from wooden slats, cast iron wedges, sandblasted and painted scaffolding poles, rope and neon; he also anticipated the participatory art of the present. The most authoritative overview on Louw, this book presents a new viewpoint on a familiar era.

This beautiful catalog showcases works by British artist Stezaker made between 1976 and 2017--interventions into found images dating mostly from the mid-20th century such as film stills, press and publicity photographs, magazines, and postcards.ards.

Showcases oil paintings by British painter and printmaker Christopher Le Brun that develop his long-standing interest in the 'double' - conceptual and embodied duality.

British conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. Using antique travel postcards, famous movie starlet headshots from the 1940s, and old movie stills, Stezaker creates a world full of mystery and humor in each artwork. Critic David Campany described Stezaker as drawn to that very sli

Following the continued success of Talking Art 1 comes Talking Art 2, a new collection of the artist interviews from the archives of the London-based arts magazine Art Monthly. The new addition to the ongoing series presents interviews made from 2007 to 2016 and features sixty-five international artists, ranging from Marina Abramovic to Artur Zmije

A tight selection of new drawings by noted British artist Cecily Brown (b. 1969) are featured in her challenging new monograph Shipwreck. These extraordinary works of wrecked shipsfrantic and prone bodiescarefully illuminate the tensions between the past and present. Brown notes that her inspiration comes from eugne Delacroixs shipwreck paintings,