Whitechapel Gallery Orden de los libros

Whitechapel Gallery's triennial open submission, showcasing the best new contemporary art in the capital.

In 'The Age / L'Età', Emma Talbot, winner of the 8th Max Mara Art Prize for Women, questions deeply rooted positions of power, governance, attitudes to nature and representations of women through an acutely personal lens. Through painting, drawing, three-dimensional work and animation, Talbot shows us alternative ways of existing in our contemporary world and suggests new modes of being that embrace climate care, feminism and age-positivity.00Including complete installation photography of the commission at Whitechapel Gallery, this beautifully detailed accompanying catalogue includes two new texts by Emma Talbot on The Twelve Labours of Hercules and The Twelve Permaculture Design Principles; new essays by the curators Laura Smith and Wells Fray-Smith; a new essay on permaculture by scholar and writer Macarena Gómez-Barris; and a new interview with the artist.00Exhibition: Whitechapel Gallery, London, UK (30.06. - 04.09.2022)

Accompanying a major large-scale thematic exhibition at Whitechapel Gallery, this extensive catalogue charts the artists' studio through the last century: as a laboratory or stage set; as place of refuge, or a public space; as a site of resistance or an arena for communal activity. Featuring over 80 artists and collectives from around the world, the catalogue will focus in two sections on 'the public studio' and 'the private studio', accompanied by six thematic essays and full colour plate sections of works by Brancusi, Fischli & Weiss, Roni Horn, Bruce Nauman, Cindy Sherman, Andy Warhol, Nikhil Chopra, Gutai Group, Inji Efflatoun, Francesca Woodman, Ai Weiwei, Marisa Merz, Faith Ringgold and Francis Bacon, amongst many others.

The first accessible reader on magic's generative relationship with contemporary art practice.

Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. Indispensible guide to the art history and theoretical framework of art-as-practice, clarifying the complex issues at stake in thinking about and enacting practice.

Emma Hart is the sixth winner of the Max Mara Art Prize for Women, which nurtures new work by female artists based in the UK following an Italian residency. This book accompanies Mamma Mia! (2017), a charged installation of ceramic lamps resembling heads and upturned jugs which project speech bubble shapes upon the floor. The intricate patterns which form part of the work were designed by Hart following her experience with family psychotherapists in Milan, and refer to repeated patterns of human behaviour and their effect on relationships. The catalogue includes texts by Craig Burnett, Daniel F. Herrmann and Marinella Paderni contextualising this major new work; an interview with guest curator Bina von Stauffenberg exploring the impact of Hart's Italian residency on her work; and full colour installation shots, family photos and striking graphics which bring Hart's ideas to life with characteristic vibrancy.

Taking its title from British architect Alison Smithsons description of how young people bring together elements of style to define their identity and social allegiances, sculptor Leonor Antunes (b. 1972, Portugal) new commission at the Whitechapel Gallery gathers references to overlooked figures in the history of twentieth century architecture, art and design, in particular two women artists who lived in Mary Martin (190769, UK) and Lucia Nogueira (195098, Brazil), both known for their sculpture, but also works on paper and weavings, and jewellery respectively. Antuness commission features hanging and floorbased sculptures woven from materials including metal, leather and rope, morphing into looping and twisting volumes and illuminated by lights designed by the artist. Focussing on artisanal techniques, the gallery floor is covered in a geometric pattern made of cork and linoleum based on a drawing by Mary Martin, while examples of Nogueiras jewellery are displayed in sculptural glass display cases by Danish designer Nanna Ditzel (19232005). This elegantly-designed accompanying catalogue includes complete photography of the commission as well an essay on the work by curator Lydia Yee and new critical writing by Habda Rashid and Douglas Fogle

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