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A lively introduction to and history of international contemporary art from 1960 to the present.

What does it mean?
Is it really art?
Why does it cost so much?
While these questions are perpetually asked about contemporary art, they are not the questions that E. H. Gombrich set out to answer in his seminal book The Story of Art. Contemporary art is very different from what came before. From the 1960s, where Gombrich’s account concludes, artists began to abandon traditional forms of art and started to make work that questioned art’s very definition. This is where Godfrey picks up the story.

Developments in contemporary art have followed no straightforward line of progress or sequence of movements. Recognizing this, Tony Godfrey creates a narrative from a series of often dramatic creative conflicts and arguments around what art is or should be. From object versus sculpture and painting versus conceptual to local versus global, gallery versus wider world, The Story of Contemporary Art traces a history in terms of drastic changes in social and political life over the last sixty years.

How do we experience being human in a world that seems to change so quickly? In exploring art’s relationship to this question, Godfrey asserts that multiple voices must be heard: critics, theorists, curators and collectors, but also audiences and artists themselves. Key to the book is the story of how a perception that art was made almost exclusively by white men from North America and Western Europe has been radically overturned. Compelling and intelligent, but never academic, this book tells us how.

A new concise history of modern painting, offering an indispensable reference to the complexities and characteristics of this medium.

While acknowledging the legacy of Herbert Read’s classic 1959 study A Concise History of Modern Painting in the World of Art series, academic and artist Simon Morley places the foundation of modern art much earlier than Read, at the emergence of Romanticism and the dawn of the industrial age. Structured loosely chronologically by period, the focus is as much on individual artists as well as movements, with works discussed within a broader context – stylistic, historical, geographical, and gender and ethnic frames – themes that recur throughout the chapters. Generously illustrated, the global and diverse range of artists featured include William Blake, Édouard Manet, Hilma af Klint, Kazimir Malevich, Willem de Kooning, Amrita Sher-Gil, Faith Ringgold, and Kehinde Wiley.

This guide also includes an Appendix in the form of questions the reader might like to ask in relation to the artists and the ideas discussed – in order to reconsider the works from a contemporary perspective.

Beautiful artist’s book about Tin Drum’s MR installation, Medusa. A meditation on emergent technologies, nature and architecture amidst the climate crisis with contributions from celebrated writers, academics and thinkers.

The mixed reality Medusa installation began with the questions: is there even such a thing as non-physical architecture? What is the function of architecture without physical form? Directed by Yoyo Munk and produced by Tin Drum, it headlined the 2021 London Design Festival at the Victoria & Albert Museum.

Yoyo Munk’s first book is an exploration into Medusa’s themes, reflecting on our changing relationship with architecture within the context of rapidly advancing technology and ongoing mass extinction. Featuring original artwork by Tin Drum, Medusa is a timely and moving artist’s book about climate grief.

Medusa includes fascinating conversations between Munk and Sou Fujimoto, the renowned architect and Medusa collaborator, James Bridle, author of Ways of Being; Veronica Strang, cultural anthropologist; and Seirian Sumner, author of Endless Forms: The Secret World of Wasps. A dazzling poetic contribution from Octavia Bright, author of This Ragged Grace: A Memoir of Recovery and Renewal is interspersed throughout the book. Medusa is an art object to be treasured, employing multiple inks, foils, papers and processes.

A brand-new perspective on early modern art and its relationship with nature as reflected in this moving account of overlooked artistic genius Adam Elsheimer, by an outstanding writer and critic.

Seventeenth-century Europe swirled with conjectures and debates over what was real and what constituted ‘nature’, currents that would soon gather force to form modern science. Natural Light deliberates on the era’s uncertainties, as distilled in the work of painter Adam Elsheimer – a short-lived, tragic German artist who has always been something of a cult secret. Elsheimer’s diminutive, intense and mysterious narrative compositions related figures to landscape in new ways, projecting unfamiliar visions of space at a time when Caravaggio was polarizing audiences with his radical altarpieces and circles of ‘natural philosophers’ – early modern scientists – were starting to turn to the new ‘world system’ of Galileo.

Julian Bell transports us to the spirited Rome of the 1600s, where Elsheimer and other young Northern immigrants – notably his friend Peter Paul Rubens – swapped pictorial and poetic reference points. Focusing on some of Elsheimer’s most haunting compositions, Bell drives at the anxieties that underlie them – a puzzling over existential questions that still have relevance today. Traditional themes for imagery are expressed with fresh urgency, most of all in Elsheimer’s final painting, a vision of the night sky of unprecedented poetic power that was completed at a time of ferment in astronomy.

Circulated through prints, Elsheimer’s pictorial inventions affected imaginations as disparate as Rembrandt, Lorrain and Poussin. They even reached artists in Mughal India, whose equally impassioned miniatures expand our sense of what ‘nature’ might be. As we home in on artworks of microscopic finesse, the whole of the 17th-century globe and its perplexities starts to open out around us.

The first in a series of four thematic volumes devoted to the world-class Kramlich Collection, the largest and most significant private collection of modern and contemporary media art.

How does art respond to contemporary social questions? How, especially, does moving-image art address the themes that move us most?

Drawn on works from the Kramlich Collection of time-based media art, The Human Condition comments on a range of complex political issues such as civil war, psychological isolation, human rights, gender relations, nuclear catastrophe and planetary degradation. Along the way, the featured artists innovate in their hybrid use of sound, image, performance, sculpture and screen technology.

Since their first acquisition in 1987, pioneering collectors Pamela and Richard Kramlich have established one of the foremost international collections of media, video, film, slide, photography and performance art. In the first of four volumes devoted to the collection, The Human Condition presents signature works by internationally recognized artists such as Marina Abramovic, Doug Aitken, Dara Birnbaum, James Coleman, Pierre Huyghe, William Kentridge, Christian Marclay, Steve McQueen, Richard Mosse, Bruce Nauman, Shirin Neshat and Nam June Paik. The Human Condition also features newly commissioned essays from leading curators and scholars specializing in time-based media art, including Erika Balsom, Bill Brown, Adrienne Edwards, Chrissie Iles, Isaac Julien, Barbara London, Mark Nash, Catherine Wood and others.

This book engages both newcomers and experts in the field with captivating imagery and rigorous reflection on some of the most influential contemporary art practices of the 20th and 21st centuries.

The Meaning of the Earth offers a retrospective on the work and lives of the relentlessly controversial artists Gilbert & George, connecting their beginnings as Living Sculptures to their pictorial work of today.

As Living Sculptures, Gilbert & George offered two pieces of advice to their live audiences every morning: ‘Sit on the edge of your bed and think, “What do I want to say to the world today?”‘ and ‘Fuck the teachers!’

The Meaning of the Earth offers a retrospective on the lives and work of the relentlessly controversial artists, placing them within the context of twentieth century British culture. Wolf Jahn tells the story of how Gilbert & George found their identity in opposition to pervasive ideas around social conformity and religion after meeting in 1967.

The artists staged an internal revolution, mining their psyches to create visionary and unwaveringly modern art. The ‘two people but one artist’ ask the questions that gnaw at us all: ‘Where do we come from?’, ‘Who are we?’ and ‘Where are we going?’ The book meditates on the artists’ role in this century, connecting their beginnings as Living Sculptures to their pictorial work of today.

The Meaning of the Earth is a continuation of Jahn’s 1989 work, The Art of Gilbert & George. The author writes a playful philosophical interrogation of Gilbert & George’s work that truly grasps its cosmic scale.

The story of the nude in art in our times, told by a popular art historian with a rare gift for sharing her passions and ideas.

The representation of the nude in art remained for many centuries a victory of fiction over fact. Beautiful, handsome, flawless – its great success was to distance the unclothed body from any uncomfortably explicit taint of sexuality, eroticism or imperfection. In this newly updated study, Frances Borzello contrasts the civilized, sanitized, perfected nude of Kenneth Clark’s classic, The Nude: A Study in Ideal Form (1956), with today’s depictions: raw, uncomfortable, both disturbing and intriguing. Grittier and more subtle, depicting variously gendered bodies, the new nude asks awkward questions and behaves provocatively. It is a very naked nude, created to deal with the issues and contradictions that surround the body in our time.

Borzello explores the role of the nude in twentieth- and twenty-first-century art, looking at the work of a wide range of international artists creating contemporary nudes. Her fascinating text is complemented by a profusion of well-chosen, unusual and beautifully reproduced illustrations. The story begins with a tale of life, death and resurrection – an investigation into how and why the nude has survived and flourished in an art world that prematurely announced its demise. Subsequent chapters take a thematic approach, focusing in turn on Body art and Performance art, the new perspectives of women artists, the nude in painting, portraiture and sculpture and in its most extreme and graphic expressions that intentionally push the boundaries of both art and our comfort zone. The final chapter illustrates radical developments in art and culture over the last decade, focusing in particular on artworks by women, trans artists and artists of colour. Borzello links these works to their art-historical and political predecessors, demonstrating the continually unending capacity of the nude to disrupt traditional hierarchies and gender categories in life and art.