Art recent picks for June 2013

Make a modern art cake! using one of our fabulous new arty books for June 2013:-

Syndetics book coverModern art desserts : recipes for cakes, cookies, confections, and frozen treats based on iconic works of art / Caitlin Freeman ; photography by Clay McLachlan ; contributions from Tara Duggan ; curator’s notes by Janet Bishop ; foreword by Rose Levy Beranbaum.
“… Although all of baker-author (The Blue Bottle Craft of Coffee, 2012) Freeman’s inspirations have been prompted by the San Francisco Museum of Modern Art, it’s hard to believe that photographer Francesca Woodman’s works could be classified as iconic especially since her portfolio spans only a few years. Nonetheless, this is a remarkably innovative collection of more than 30 dessert recipes, all of which are modeled on art owned by the museum …” (adapted from Syndetics summary)

Syndetics book coverArtwork / Peter Campbell.
“Peter Campbell was the resident designer and art critic for the London Review of Books. He worked for the magazine from its first appearance in 1979 and wrote more than 300 pieces, mainly about art but also about such things as escalators, weeds, bicycles, bridges and hearts. Each fortnight from 1996 onwards, Peter created a cover illustration for the LRB, coming up with a seemingly infinite array of unpredictable images: a yacht and a starfish, a tram, two knickerbocker glories, a game of dominoes, a man walking past a lighted window at night… Artwork is a collection of Peter’s finest works over the years”. (adapted from Syndetics summary)

Syndetics book coverHow to read contemporary art / Michael Wilson.
“Today’s artists create work that’s challenging, complicated and often perplexing. Exploring the significance and impact of a broad selection of the most prominent artists working in Europe, North and Latin America, Asia and Australasia, including Francis Alys, Marina Abramovi’c, Allora and Calzadilla, Maurizio Cattelan, Luc Tuymans and many more, ‘How to Read Contemporary Art’ provides a thoughtful and accessible key to understanding the everchanging face of art practice at the beginning of the 21st century. Organized alphabetically by artist, it describes each artists use of media and symbolism in reference to their key pieces, and provides useful biographical information. Encompassing work in video, film, photography, installation, sculpture, painting, drawing, digital media and performance, this is a vibrant and vital companion for art lovers everywhere”. (adapted from Syndetics summary)

Syndetics book coverBiennials and beyond : exhibitions that made art history, 1962-2002 / conceived and edited by Phaidon editors and Bruce Altshuler ; introductory essay and chapter introductions by Bruce Altshuler.
“This superbly produced companion volume to Altshuler’s Salon to Biennial: Exhibitions That Made Art History: 1863-1959 (2008) begins with the premise that installation photographs, catalogues, newspapers, and journals are vital documents of artistic and curatorial practice that need to be rescued from potential obscurity. Organized chronologically, the book showcases 25 seminal art exhibitions through archival photographs of artists, their art, and exhibition spaces alongside catalogue statements, exhibition materials, letters, and interviews from artists, including Jim Dine, Douglas Huebler, and Joseph Kosuth, as well as criticism from publications including Art in America, Artforum, Studio International, and Frieze…” (adapted from Syndetics summary)

Syndetics book coverGreat and mighty things : outsider art from the Jill and Sheldon Bonovitz collection / edited by Ann Percy with Cara Zimmerman ; contributions by Francesco Clemente, Lynne Cooke, Joanne Cubbs, Bernard L. Herman, Ann Percy, Colin Rhodes, and Cara Zimmerman.
“Accompanying an exhibition at the Philadelphia Museum of Art, this volume celebrates the artistically diverse “outsider” artists that comprise the Bonovitz Collection, one of the most extensive of its kind. The included artists worked outside of the conventional art establishment-making street corners into galleries or discarded roofing into canvases, for instance-before being brought into the art market by collectors and curators, often posthumously. The catalogue itself is the book’s heart, offering lavish reproductions alongside brief notes on the artists’ biographies and methods…” (adapted from Syndetics summary)

Syndetics book coverJohn Singer Sargent watercolors / Erica E. Hirshler and Teresa A. Carbone ; introduction by Richard Ormond ; technical essay by Annette Manick and Antoinette Owen ; contributions by Karen A. Sherry, Janet Chen, and Connie H. Choi.
“John Singer Sargent’s approach to watercolor was unconventional. Disregarding contemporary aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes, loosely defined forms, and unexpected vantage points startled critics and fellow practitioners alike. One reviewer of an exhibition in London proclaimed him “an eagle in a dove-cote”; another called his work “swagger” watercolors. For Sargent, watercolors were not so much about swagger as about a renewed and liberated approach to painting. His vision became more personal and his works began to interconnect as he considered the way one image–often of friends or favorite places–enhanced another”. (adapted from Syndetics summary)