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An album with over 100 drawings by the Spanish master.A collaboration between Skira and the Museo Nacional del Prado in Madrid, which celebrated its 200th anniversary in 2019, this work is an accurate reproduction of the precious Cuaderno C (Album C) composed of over 100 drawings by the master Goya. The Album C is an example of the complexity of Goya's work; made over the course of the War for Independence and the following years of repression, its theme is influenced in many aspects by the historical moment (1808-1820). It covers a vast range of topics, from aspects of everyday life (with the presence of numerous beggars) to dreamy visions of the night world; a vast group of sheets is made up of drawings of prisoners of the Inquisition and scenes of cruelty in prisons. Another group concerns a critique of habits of monastic orders and the representation of monastic life, secularised after the decrees of French authorities.The Cuaderno C (Album C) is the most important and unique album that has survived almost intact, without dismemberment or subsequent selling, and it is held at the Museo del Prado, formerly in the Museo della Trinità. Of the 126 drawings known, 120 are at the Museo del Prado, one at the National Library in Madrid (C 56), one at the British Museum of London (C 88), two at the Hispanic Society of America in New York (C 71 and C 128) and another two in a private collection in New York (C 11 and C 78). Unlike the first two drawing albums [Albums A and B], bought by Goya already bound, he made the Album C himself with sheets of Spanish paper and not with Dutch paper from better quality, due to the economic situation of the artist and the countryin war and post-war periods.An essay by José Manuel Matilla Rodríguez, art historian and head of the Department of Drawings and Prints at the Museo Nacional del Prado, accompanies the volume of drawings.

The first publication devoted to the important series by the American artist.Published in collaboration with the Kavi Gupta and Paul Kasmin galleries, this volume offers the first in-depth look at American artist Roxy Paine's Dioramas. Initially conceived in the 1990s, it was not until 2012 that Paine began to produce the first of his technically ambitious Dioramas, eventually producing seven museum-scale works that broaden and deepen his engagement with altered realities and the psychogeography of American life and modern culture. The Dioramas represent an important reinvention of the diorama, the nineteenth-century ur-form of modern spectacle, for the twenty-first century.Edited by Saul Anton, the volume includes an extended conversation between Paine and Wexner Center of the Arts curator Michael Goodson, who organized Serotonin Reuptake Inhibitor, a 2016 exhibition of the Dioramas at the Beeler Gallery of the Columbus College of Art & Design. The volume also includes essays by Blaffer Museum director Steven Matijcio and critics Saul Anton and Mia Kang that explore their rich historical and social resonance, and reflect on their place in the landscape of contemporary art and art history.Since the 1990s, Roxy Paine has positioned his work at the intersection between the monumental and the microscopic, the natural and the artificial, the material and the ideal. Featuring documentation and images from all seven dioramas produced between 2012 and 2017, this volume shows how he has continued to track these themes into new social and historical areas.

The book follows Wolski's sustained engagement with the themes of organicity and the natural form. Over the last three decades, Wolski has deployed a diversity of non-representational vocabularies-ranging from geometric shapes inspired by early twentieth-century abstraction to Surrealist-inspired biomorphic forms-to investigate the idea of unification between the individual self and nature. While primarily a sculptor, Wolski is concerned with the question of materiality, which he often sees as a form of philosophical inquiry in and of itself.Wolski's practice often verges on the spiritual, although it maintains an active dialogue with the outside world. The artist's career-which began in the 1980s-has been historically aligned with the rapid deterioration of planet Earth and the depletion of its natural resources, thus turning the artist's personal rumination on nature into an open manifestation of his environmental awareness. Through this resolutely inter-disciplinary body of work, Wolski continues to examine such wide-ranging and socially topical issues as the relationship between the individual and one's habitat, the role of nature as a guardian of human history, and nature's influence on artistic and philosophical expression in the modern era.Xawery Wolski was born in Warsaw, Poland, in 1960 and currently lives and works in Mexico City. He was educated at the Academy of Fine Arts (Warsaw), the Academy of Fine Art (Paris), and the Institute of Higher Education in Visual Arts (Paris).

Petra Cortright's varied style is finally encapsulated in a wide-encompassing monograph that covers the directions her art has taken throughout her career. Known for her video works available on YouTube and in galleries, Petra Cortright has experimented with the image of physical bodies in digital spaces, exploiting the main formal properties of video software. Her video research led to outcomes at times controversial (such as her works with strippers in VirtuaGirl), at times heralded and lauded. The work also includes Cortright's painted created with a digital software, mixing concrete and abstract elements and printed on a wide variety of material. Such works are the product of an experimentation with Photoshop layers on a so-called "mother-file", enriched with the use of digital tools, and then manipulated through the use of industrial printing techniques. Petra Cortright (born 1986) is a Los Angeles-based artist working in video, painting, and digital media.

Celebrities "au naturel", without makeup and hairstyling, in the photographer's portraits.Private Sitting is a project Gianluca Fontana undertook in order to break beyond a limit, to try to cross the line between the person and the persona and to investigate that boundary through the lens of the emotions - the little gaps, moments of uncertainty, introspection or liberating joy.Each shot is the sum of deliberate sacrifices: no make-up artist or hair stylist, no costumes, a minimum of light, neutral backgrounds and no other person on the set.Gianluca Fontana has been able to create an intimate space and repay the sense of challenge inherent in this project, while his subjects have been able to seize the opportunity to join a gallery of portraits that absorbs and recapitulates the most significant artistic expressions of contemporary photography.Begun five years ago, the project has involved fifteen women (Alessandra Mastronardi, Ambra Angiolini, Anita Caprioli, Carolina Crescentini, Cristiana Capotondi, Giulia Elettra Gorietti, Isabella Ferrari, Kasia Smutniak, Margareth Madè, Marta Gastini, Matilde Gioli, Miriam Dalmazio, Tea Falco, Valeria Bilello and Vittoria Puccini), who certainly know the "aesthetic tricks" of an increasingly sophisticated form of photography. In this case, however, they have allowed themselves to be photographed with no "special effects".

A monograph dedicated to one of the main figures of the Iranian contemporary art scene.Shahriar Ahmadi is one of the leading exponents of the new Iranian art.40-something, he has been able to elaborate a painting that also visually is the crossing between Middle East and West, in the purest spirit of the Persian tradition.The Sufi philosophy of Rumi together with the Existential Western Philosophy meet in the large canvases that Ahmadi has been painting since the mid-nineties: great pictorial cycles of a figurative expressionism Persian that combine imagination with symbols and meanings of a globalize world.Shahriar Ahmadi was born in 1978 in Iranian Kurdistan.Once he moved to Tehran, he studied western modern painting and the philosophical currents related to Sufism. His first solo exhibition dates to 2000 at the Barg Gallery of Tehran.His international recognition was sealed by his participation to the exhibitions at the AB Gallery in Luzern in 2014, at the Etemad Gallery in Dubai and culminated with the Iranian Pavilion at the 56th edition of the Venice Biennal in 2015.

The extraordinary Italian heritage of art and nature.The volume is published in a completely revised edition, updated and extended with the inclusion of all new properties, illustrating places and monuments that over the years have become part of the heritage of FAI, the association that takes deals with their conservation and restoration. This extensive collection of images and critical articles on the various locations and monuments covers the numerous stages of the acquisition of historical mansions, castles, monasteries and citadels with important frescos, art collections and natural reserves in some of the most suggestive corners of the Italian peninsula: from the castles of Avio, Manta and Masino, to the Abbey of San Fruttuoso, from the Bay of Ieranto to the Torba Monastery, from Villa del Balbianello to Villa Della Porta Bozzolo, Villa and Panza Collection in Biumo (with the prestigious collection of contemporary art), Villa dei Vescovi and Parco Villa Gregoriana. And also, Cala Junco, Castel Grumello, Villa Necchi Campiglio, Casa Carbone, Palazzo and Torre Campatelli, Villa Fogazzaro Roi, the Wood of San Francesco in Assisi, the historic Olivetti Shop in Venice (a Carlo Scarpäs masterpiece), up to the latest acquisitions such as the millenary Abbey of Santa Maria in Cerrate, Casa Noha, the ¿Colle dell¿Infinito¿, the Belvedere of Vasto, the Saline dei conti Vecchi, Casa and Torre Campatelli, Casa Bortoli and Casa Macchi.