Exhibition books

Accompanying a major touring exhibition, Picasso and Modern British Art is the first book to explore Pablo Picasso’s lifelong connections with the United Kingdom.

Picasso’s enormous impact on British modernism is examined through seven artists in particular for whom he proved an important stimulus: Duncan Grant, Wyndham Lewis, Ben Nicholson, Henry Moore, Francis Bacon, Graham Sutherland and David Hockney. Their responses to Picasso’s work are wide and varied: from Francis Bacon's extraordinary Three Studies for Figures at the Base of a Crucifixion (1944) that draws from Picasso’s paintings of figures on the beach at Dinard, works that Bacon said first inspired him to take up painting, to David Hockney’s pictorial ‘homages’ to Picasso after visiting the major Picasso retrospective exhibition at Tate eight times, the beginning of a life-long obsession with the artist. Such was Picasso’s status that it extended beyond the artistic to the political sphere, with the tour of his anti-Fascist work Guernica at the end of the 1930s and his presence at the Sheffield Peace Conference in 1950 making headline news.

With over 150 illustrations and texts by leading experts in the field, this book sheds light on a little-known aspect of Picasso’s career, while at the same time redrawing our mental map of British culture in the early and mid-twentieth century.

James Beechey is an art historian and the author of Patrick Heron: Paintings 1970-84. Chris Stephens is Curator (Modern British Art) and Head of Displays at Tate Britain and the editor of Henry Moore and Francis Bacon.
Contributors Andrew Brighton, Christopher Green, Helen Little and Richard Humphreys, plus an interview with John Richardson.

To accompany the 2011 exhibition at Tate Modern, 120 signed and numbered special editions of the exhibition catalogue have been produced.

Japanese artist Yayoi Kusama (b.1929) is arguably Japan's most famous living artist. Her originality, innovation and powerful desire to communicate have propelled her through a career that has spanned six decades. During this time, Kusama has explored painting, sculpture, printmaking, photography, collage, film and video, performance and installation, as well as product design.

From the late 1950s to the early 1970s Kusama lived in New York and was at the forefront of many artistic innovations in the city. Returning to Japan in her forties, she rebuilt her career, waiting years for the international recognition she has recently achieved. In her ninth decade her imagination remains richly creative as she continues to extend the range of her large-scale, dazzling installations and relentlessly hand-paints extensive series of minutely detailed figurative fantasy paintings. Kusama has exhibited widely around the world, including representing Japan at the Venice Biennale, and her work is in many major collections.

Accompanying the first major retrospective exhibition of the artist's work to be staged in the UK, this lavishly illustrated book features an introductory essay by Tate curator Frances Morris as well as four other substantial essays by leading international critics. Topics covered include Kusama's time in New York, her career after her return to Japan, her installation works and an exploration of her art from a psychoanalytical point of view.

Japanese artist Yayoi Kusama (b.1929) is arguably Japan's most famous living artist. Her originality, innovation and powerful desire to communicate have propelled her through a career that has spanned six decades. During this time, Kusama has explored painting, sculpture, printmaking, photography, collage, film and video, performance and installation, as well as product design.

From the late 1950s to the early 1970s Kusama lived in New York and was at the forefront of many artistic innovations in the city. Returning to Japan in her forties, she rebuilt her career, waiting years for the international recognition she has recently achieved. In her ninth decade her imagination remains richly creative as she continues to extend the range of her large-scale, dazzling installations and relentlessly hand-paints extensive series of minutely detailed figurative fantasy paintings. Kusama has exhibited widely around the world, including representing Japan at the Venice Biennale, and her work is in many major collections.

Accompanying the first major retrospective exhibition of the artist's work to be staged in the UK, this lavishly illustrated book features an introductory essay by Tate curator Frances Morris as well as four other substantial essays by leading international critics. Topics covered include Kusama's time in New York, her career after her return to Japan, her installation works and an exploration of her art from a psychoanalytical point of view.

Frances Morris is Head of Collections (International Art) at Tate.

Contributors Jo Applin, Juliet Mitchell, Mignon Nixon, Rachel Taylor and Midori Yamamura.

"No matter how I may suffer for my art, I will have no regrets. This is the way I have lived my life, and it is the way I shall go on living." Yayoi Kusama

Yayoi Kusama is one of the most significant contemporary artists at work today. This engaging memoir reveals her to be a fascinating, maverick figure, channelling her obsessive neuroses into an art that transcends cultural barriers.

The decade Kusama spent in New York saw her status change from poverty-stricken artist living in a freezing loft and existing on scraps of food, to doyenne of the counter-cultural art scene. She tells the story of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd, Andy Warhol and the reclusive Joseph Cornell, with whom she forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan and to relative obscurity in the early 1970s, Kusama admitted herself to a psychiatric hospital in Tokyo. It is from this base that she has emerged to add to the seemingly endless stream of artworks and writings that in the past decade have won her international acclaim and seen her the subject of many major exhibitions across the world.

This remarkable autobiography, translated by Ralph McCarthy, provides a powerful insight into the mind of a unique artist, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant- garde.

As well as being a prolific artist, Yayoi Kusama is the author of numerous volumes of poetry and fiction, including The Hustler's Grotto of Christopher Street, Manhattan Suicide Addict and Violet Obsession.

Ralph McCarthy has translated many Japanese authors including Osamu Dazai, Ryu Murakami and Kancho Oda.

With contributions by John Akomfrah, Tim Batchelor, Sonia Boyce, Emma Chambers, T.J. Demos, Kodwo Eshun, Leyla Fakhr, Paul Goodwin, Nigel Goose, Karen Hearn, David Medalla, Lena Mohamed, Panikos Panayi and Wolfgang Tillmans.

This book offers a unique perspective on the history of British art, charting how it has been shaped by successive waves of migration. It cuts a swathe through five hundred years of history and traces not only the movement of artists themselves, but also the circulation of art and ideas, from the hugely influential arrival of Northern European artists such as Anthony van Dyke in the sixteenth and seventeenth centuries to the influence of Italy and the development of neoclassicism on eighteenth-century artists such as Benjamin West, and on to the broad cultural interchange of the Victorian era. James McNeill Whistler and John Singer Sargent were two of many artists who moved between Britain, France and the United States in the nineteenth century. In the early twentieth century, David Bomberg and Mark Gertler were among the group of second-generation Jewish artists who played a considerable role in the establishment of British modernism. The rise of fascism in the 1930s, causing artists such as Oskar Kokoschka and Kurt Schwitters to flee to Britain, foreshadowed the explosion of a multicultural diaspora. Several generations of artists have since explored what it means to be both ‘black’ and ‘British’, and contemporary artists continue to investigate the meaning of identity today.

Generously illustrated, and including artist interviews and texts by leading curators and art critics, this illuminating book tells a previously hidden but vital story in the shaping of British art and culture.

Compact, accessible and beautifully illustrated, this book is the perfect introduction to Rubens's link with Britain through the example of a single astonishing painting, the initial sketch for the ceiling art in the Banqueting House at Whitehall Palace, London.

Alighiero Boetti (1940–1994) was one of the most innovative artists of the twentieth century. Originally associated with the Arte Povera group in Turin, in the 1960s he made works using materials sourced in hardware stores, shifting by 1970 to create art using drawing, Biro pens, newspaper images and artist’s books. Based in Rome, he travelled constantly to distant destinations including Guatemala, Ethiopia, Japan, and, most frequently, Kabul, in Afghanistan. It was in Kabul that he set up a hotel and commissioned artisans to create embroideries, most famously his 'mappe', intricate maps of the world coloured according to political affiliation. Boetti’s work is always poetic and playful, and he enjoyed creating different kinds of games involving time patterns and numeric sequences. At the same time he remained in touch with and inspired by the world around him, responsive to the complex political shifts that took place during the 1970s and ‘80s.

Published on the occasion of a major touring exhibition, this comprehensive, lavishly illustrated overview brings together leading international critics and curators, each examining a different aspect of Boetti’s achievements, together helping to explain why he remains both influential and inspiring nearly two decades after his death.

Norwegian painter Edvard Munch (1863 - 1944) is a key figure in the development of painting in the twentieth century. The themes of desolation and despair behind his best- known works such as The Sick Child (1886), The Scream (1893), Vampire (1893-4) and Ashes (1894) resonated with those living in a new modernity, and acted as aninfluential precursor to the Expressionist movement in Europe.

This accessible survey traces Munch's life and work: from his tragic childhood where he experienced the deaths of his mother and sister at a young age; to his travels in Europe during the emergence of Impressionism and Post-Impressionism; to his circle of friends including Henrik Ibsen; and his prolific body of work including etchings, woodcuts, lithographs and set designs.

Including 60 full colour illustrations, this lucid and informative introduction is an indispensible guide to one of the most intriguing and dramatic figures in twentieth-century art.

Angela Lampe is Curator of Modern Art at the Musee National d'Art Moderne, Centre Pompidou. Clément Chéroux is Curator of Photography at the Musee National d'Art Moderne, Centre Pompidou.

This unique collection of statements and mini-essays is the result of an invitation to various practitioners and cultural figures to address the importance of film and analogue in the digital age. It includes contributions from a wide range of significant voices such as actors, archivists, artists, chemists, cinematographers, critics, curators, editors, film conservators, film directors, film historians, filmmakers, musicians, photographers, record producers, software designers, theorists and writers.

With an introductory essay on Tacita Dean's work by Nicholas Cullinan and a new text by the artist, FILM is an important contribution to one of the most urgent cultural debates of our time.

Published to accompany The Unilever Series installation, 10 October 2011

Contributors:
Rosa Barba, Lothar Baumgarten, Robert Beavers, Joe Boyd, Nicole Brenez, Kerry Brougher, Matthew Buckingham, Iria Candela, Paolo Cherchi Usai, Stuart Comer, David Curtis, Thomas Demand, Nathaniel Dorsky, Stan Douglas, Noam M. Elcott, Mitch Epstein, Víctor Erice, Jeffrey Eugenides, Morgan Fisher, Luke Fowler, Michael Friend, Jane Giles, Jean-Luc Godard, Mark Godfrey, Rodney Graham, Mathew Hale, Roni Horn, Alexander Horwath, Peter Hutton, Chrissie Iles, Runa Islam, Bruce Jenkins, Branden W. Joseph, Laurence Kardish, Ed Krcoma, Peter Kubelka, Martin Kukula, Elisabeth Lebovici, Zoe Leonard, Sharon Lockhart, Babette Mangolte, Peter Märtin, Jonas Mekas, Philippe-Alain Michaud, Jonathan Monk, Michael Newman, Annabel Nicolson, João S. de Oliveira, Lisa Oppenheim, Damián Ortega, Tim Page, Jayne Parker, Paul Pfeiffer, Dick Pope, Keanu Reeves, Lis Rhodes, Ben Rivers, Bojan S'arcevic´, Matt Saunders, Martin Scorsese, Guy Sherwin, Amie Siegel, Iain Sinclair, Steven Spielberg, Simon Starling, Bruce Sterling, Heather Stewart, Amy Taubin, Adam Thirlwell, Mark Toscano, Wolfgang Treu, Peter Tscherkassky, Jeff Wall, Emily Wardill, Marijke van Warmerdam, Marina Warner, T.J. Wilcox, Christopher Williams, Jeff Williams, Jordan Wolfson, Neil Young

Gerhard Richter is widely regarded as one of the most important painters at work today. Born in Dresden in former East Germany in 1932, he moved to the West in 1961, settling in Düsseldorf, where he held his first exhibition in 1963. With a working life that spans half a century, he has exhibited at many of the world's leading art institutions and twice represented Germany at the Venice Biennale. Equally at home with abstract and figurative styles, constantly questioning the role of the artist in the modern world, for five decades Richter has challenged and reinvigorated painting itself.

On the occasion of a major, touring, retrospective exhibition, a collaboration between Tate Modern, London, the Neue Nationalgalerie Berlin and Centre Pompidou, Musée national d'art modern in Paris, this important book covers Richter's entire career. While many previous books have focused on one aspect of Richter's oeuvre, this stunningly illustrated survey encompasses the entire range of his works, including photo-paintings, abstracts, land and seascapes, portraits, glass and mirror works, drawings and photographs.

An array of international critics and curators examine specific periods of the artist's career, bringing fresh perspectives to bear and placing individual works in the context of world events. With over 300 illustrations and a new interview with the artist, this book will remain the most comprehensive survey of Richter's monumental achievements for many years to come.

Gerhard Richter is widely regarded as one of the most important painters at work today. Born in Dresden in former East Germany in 1932, he moved to the West in 1961, settling in Düsseldorf, where he held his first exhibition in 1963. With a working life that spans half a century, he has exhibited at many of the world's leading art institutions and twice represented Germany at the Venice Biennale. Equally at home with abstract and figurative styles, constantly questioning the role of the artist in the modern world, for five decades Richter has challenged and reinvigorated painting itself.

On the occasion of a major, touring, retrospective exhibition, a collaboration between Tate Modern, London, the Neue Nationalgalerie Berlin and Centre Pompidou, Musée national d¿art modern in Paris, this important book covers Richter¿s entire career. While many previous books have focused on one aspect of Richter¿s oeuvre, this stunningly illustrated survey encompasses the entire range of his works, including photo-paintings, abstracts, land and seascapes, portraits, glass and mirror works, drawings and photographs.

An array of international critics and curators examine specific periods of the artist¿s career, bringing fresh perspectives to bear and placing individual works in the context of world events. With over 300 illustrations and a new interview with the artist, this book will remain the most comprehensive survey of Richter's monumental achievements for many years to come.

The sculptor Barry Flanagan (1941–2009) was one of Britain’s most original and inventive artists and a key figure in the development of British and international sculpture. He is best known for the large-scale bronze hare sculptures that he began producing in the early 1980s and that can be seen in major galleries and public spaces around the world. Less well known is the astonishing variety of his earlier work, in which he experimented with materials as varied as cloth, plaster, sand, hessian and rope.

A contemporary of Gilbert & George and Bruce McLean, Flanagan studied sculpture at St Martin’s School of Art in London from 1964 to 1966. Taking this period as a starting point and following his career up to the seminal Large Leaping Hare of 1982, the authors explore the ways in which Flanagan challenged traditional notions of the language of sculpture, drawing inspiration from his profound engagement with literature and poetry.

This first comprehensive study of Flanagan’s early period accompanies a major exhibition at Tate Britain. Extensively illustrated, with essays by leading experts, it reveals Flanagan to be one of the most innovative and influential British artists of the second half of the twentieth century.

Clarrie Wallis is Curator of Contemporary British Art at Tate
Andrew Wilson is Curator of Modern and Contemporary British Art at Tate
Jo Melvin is a lecturer at Chelsea College of Art & Design, London

In 1849 the Illustrated London News published an exhibition review discussing the life and work of the hugely popular painter of apocalyptic landscapes, John Martin (1789 ¿1854). This, the artist claimed, was so unfortunate a tissue of errors from beginning to end that he felt compelled to write his own account, in order that it might supersede the unauthorised sketches of my life which have hitherto appeared.

That account, the fullest autobiographical statement by the artist, is reprinted here in full, with an introduction and explanatory notes by Martin Myrone. This key document offers a fascinating insight into Martin's extraordinary career and the fraught politics of a rapidly transforming art world.

Martin Myrone is Curator (18th- and 19th- century British Art) at Tate and the author of The Blake Book.

Lewis Carroll's stories based around the character of Alice have proved to be among the most enduring literary creations of all time. For almost 150 years they have led a double life, on one hand classics of children's literature and on the other endlessly fascinating source material for artists, writers, filmmakers and creatives of all kinds.

For the first time, this extensively illustrated book examines the visual art that has been inspired by the Alice stories. This ranges from Lewis Carroll's original sketches and Tenniel¿s iconic illustrations to Surrealist paintings, sculpture, film, photography, comics and contemporary art. Essays by leading authorities grant fresh insights Carroll's life and work and the book includes a new fairy tale specially written by Carol Mavor.

Artists featured include Fiona Banner, Peter Blake, Salvador Dali, Max Ernst, Anna Gaskell, Dan Graham, Yayoi Kusama, Rene Magritte, Sally Mann, Paul Nash, Adrian Piper and Annelies.

Gavin Delahunty is Head of Exhibitions and Displays at Tate Liverpool. Christoph Schulz is an independent curator.

Contributors include Dame Gillian Beer, Alberto Manguel, Carol Mavor and Edward Waekling.

Contains nudity

Vorticism was born in London during the summer of 1914, as Europe teetered on the brink of a cataclysmic war. The Vorticists set out to break decisively with the past and to forge an art that expressed the dynamism of the modern age.

Named by the American poet and critic Ezra Pound and largely driven by the explosive energy of the British artist Wyndham Lewis, the movement lasted a mere four years. In that time it had a profound influence, not only on painting and sculpture but also on woodcuts, photography and graphic design. The journal Blast, founded by Lewis and Pound, remains one of the most original and iconoclastic publications of the twentieth century. Artists associated with the movement include Lewis, David Bomberg, Alvin Langdon Coburn, Jacob Epstein, Henri Gaudier- Brzeska, William Roberts, Helen Saunders, and Edward Wadsworth.

For the first time, drawing on new research, this book goes beyond a purely British interpretation of Vorticism, tracing the movement¿s connections with both New York and mainland Europe. Published to accompany a major, touring exhibition, with contributions from leading scholars on both sides of the Atlantic, this extensively illustrated survey provides a long overdue reassessment of a moment in art history that continues to reverberate down the years.

Mark Antliff is Professor, Art History & Visual Studies, Duke University, Durham, North Carolina.

Vivien Greene is Curator of 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum, New York.

The bright colours and graphic strength of Miró's paintings have made him an immensely popular modern painter, but the artist would have been extremely disappointed to see his work treated as little more than interior décor.

In this accessible survey of the artist's life and career, Iria Candela explains the complex roots and darker shades that lie behind the evolution of Miró's work, from the culture of his Catalan homeland to his exposure as a young man to the latest experiments of the avant-garde in Paris and the rise of Fascism in Spain. She examines not only Miró's paintings but also his sculpture, prints and murals, quoting from many of the artist's own revealing statements. For anyone wanting to explore the visual legacy left by the artist who declared that he wanted to 'assassinate painting', this vividly illustrated book is the perfect guide.

Watercolour has long been seen as a distinctive part of the British cultural heritage, with artists from Britain widely acknowledged to be among its greatest exponents. At the same time it is a universal medium, used around the world by enthusiastic amateurs as well as by professional artists. What can watercolour achieve in terms of technique and expression that no other media can? And why is it so central to Britain's idea of itself?

This book explores the art of watercolour from its beginnings in medieval illuminated manuscripts, cartography and early botanical illustration, through the 'Golden Age' of British watercolour and the radical experiments of the Symbolists, right up to its rediscovery by contemporary artists such as Tracey Emin and Anish Kapoor today. While it includes classic works by famous names including J.M.W. Turner, William Blake, Thomas Girtin and Samuel Palmer, it also features many less familiar figures, raising questions about British art and identity as well as examining the techniques and processes involved in watercolour itself.

Edited by a leading expert in British art, with contributions from other specialists, this visually stunning book casts new light on an outstanding British artistic tradition.

Alison Smith is Curator, Head of Acquisitions, British Art to 1900 at Tate Britain.

Contributors are Thomas Ardill, Anna Austen, Tabitha Barber, David Blayney Brown, Karen Hearn, Matthew Imms, Nicola Moorby, Philippa Simpson and Katharine Stout.

Paul Gauguin was one of the most extraordinary and innovative artists of the late nineteenth and early twentieth centuries and his life and art have gripped the imagination of thepublic for over a hundred years. The vivid, unnaturalistic colours and bold outlines of his paintings and the strong, semi-abstract quality of his woodcuts had a profound effect on the development of twentieth-century art. At the same time, his extensive travels and his decision to forsake France for the South Seas have led him to be perceived as both the ultimate bohemian artist and as a European colonial adventurer.

This beautifully illustrated book, covering the whole of Gauguin's career and accompanying a major touring exhibition, focuses on his use of narrative, both as inspiration and fuel for his work and as a tool to create a personal mythology around himself as an artist. Essays by leading international experts, drawing on the latest research, go beyond the romance of the Gauguin biography to present him as a key figure in European modernity and its embrace of worlds and artefacts it described as primitive or savage. As well as featuring many well-known oil paintings and drawings, the book examines Gauguin's woodcarvings and ceramics and explores his legacy as a writer.

Belinda Thomson is an independent scholar and Honorary Fellow at the University of Edinburgh.

Tamar Garb is Durning Lawrence Professor in the History of Art, University College London.

Contributing authors:
Philippe Dagen teaches Contemporary Art at the Sorbonne and is a critic for Le Monde.
Amy Dickson is an assistant curator at Tate Modern.
Charles Forsdick is James Barrow Professor of French at the University of Liverpool.
Vincent Gille works at the Maison de Victor Hugo in Paris.
Linda Goddard is Lecturer in Art History at the University of St Andrews.

Paul Gauguin was one of the most extraordinary and innovative artists of the late nineteenth and early twentieth centuries and his life and art have gripped the imagination of thepublic for over a hundred years. The vivid, unnaturalistic colours and bold outlines of his paintings and the strong, semi-abstract quality of his woodcuts had a profound effect on the development of twentieth-century art. At the same time, his extensive travels and his decision to forsake France for the South Seas have led him to be perceived as both the ultimate bohemian artist and as a European colonial adventurer.

This beautifully illustrated book, covering the whole of Gauguin's career and accompanying a major touring exhibition, focuses on his use of narrative, both as inspiration and fuel for his work and as a tool to create a personal mythology around himself as an artist. Essays by leading international experts, drawing on the latest research, go beyond the romance of the Gauguin biography to present him as a key figure in European modernity and its embrace of worlds and artefacts it described as primitive or savage. As well as featuring many well-known oil paintings and drawings, the book examines Gauguin's woodcarvings and ceramics and explores his legacy as a writer.

Belinda Thomson is an independent scholar and Honorary Fellow at the University of Edinburgh.

Tamar Garb is Durning Lawrence Professor in the History of Art, University College London.

Contributing authors:
Philippe Dagen teaches Contemporary Art at the Sorbonne and is a critic for Le Monde.
Amy Dickson is an assistant curator at Tate Modern.
Charles Forsdick is James Barrow Professor of French at the University of Liverpool.
Vincent Gille works at the Maison de Victor Hugo in Paris.
Linda Goddard is Lecturer in Art History at the University of St Andrews.

The Belgian painter, printmaker, sculptor and filmmaker René Magritte (b. 1898) was one of the leading figures in the Surrealist movement, producing some of the most iconic images of the twentieth century.

He abandoned abstract painting on encountering the work of de Chirico and joined the Surrealist circle in Paris in the second half of the 1920s. Soon he was producing works in his trademark style; painted in a flat, inexpressive manner, his pictures combine apparently mundane, everyday scenes with elements of the fantastic or erotic, creating a disturbing, dream-like atmosphere that is all his own.

In the early 1930s he returned to Brussels, where he continued to live and work for the rest of his career, remaining faithful to Surrealism and developing a vocabulary of symbols, floating rocks, bowler-hatted, umbrella-carrying men, incongruous nudes, concealed or shrouded faces that is among the most recognisable in modern painting. In Brussels Magritte lived a well- ordered, regular life, his conventional clothes and apparently bourgeois habits in tune with the Surrealist aim of subverting society from within.

Published on the occasion of a major retrospective exhibition, this book is designed in the format of an A to Z, fully illustrated in colour, each entry written by one of a range of international scholars. The entries under the letter A alone - Absence, Abstraction, Appropriation, Anonymity, Artifice, Automatism and Automatic Writing - show how such an approach can serve to reveal and explore the themes and motivations in this most enigmatic artist's work.

Christoph Grunenberg is Director of Tate Liverpool.
Darren Pih is Curator at Tate Liverpool.
Contributors include: Patricia Allmer, Xavier Cannone, Krysztof Fijalkowski, Gisela Fischer, Neil Matheson, Darren Pih, Ian Walker and John Welchman.

Nam June Paik (1932-2006) was one of the most innovative artists of the twentieth century, whose influence is still felt in music, the visual arts, film and video.

Born in South Korea, Paik began his career as a composer in Japan and in Germany, where he met Karlheinz Stockhausen and John Cage and collaborated with Joseph Beuys. Moving to New York in 1964, he formed relationships with a number of artists associated with the Fluxus group, particularly the cellist Charlotte Moorman who became one of his closest collaborators. He continued to experiment in performance and video art, using manipulated televisions as elements in sculptural works, creating robot sculptures and installations.

An international range of contributors trace the course of Paik's life and career, exploring his connections with key figures in the twentieth-century avant-garde, his theoretical writings and his lasting influence. Extensively illustrated, with extracts from interviews and reminiscences from many who were close to Paik during his lifetime, this will be the most thorough and illuminating exploration of Paik's legacy yet published.

Sook-Kyung Lee is Exhibitions & Displays Curator at Tate Liverpool.

Susanne Rennert is Curator at Kunst Palast, Düsseldorf.

Contributors: Dieter Daniels, Chrissie Iles, Young Chul Lee, Susanne Neuberger, Susanne Rennert, Joan Rothfuss, Jochen Saueracker, Stephan von Wiese and David Zerbib.

Susan Hiller was born in the United States in 1940, and studied and worked as an anthropologist before becoming an artist and settling in London in the early 1970s.

Hiller's startlingly original works are inspired by overlooked and unnoticed aspects of our culture, including postcards, dreams, automatic writing and first-hand accounts of encounters with alien life and near-death experiences. She has described her work as 'paraconceptual', situated at a meeting point between conceptual art and the paranormal. The results of her explorations are displayed in media as varied as artist's books, video, projections, drawings and large-scale installations.

Comprehensive and extensively illustrated, accompanying a major solo exhibition, this book surveys the breadth of Hiller's long and fruitful career to date. Including a new conversation with the artist and contributions by leading critics, as well as a selection of previously published texts, this is the most thorough investigation of Hiller's achievements yet published.

Yve-Alain Bois is professor of art history at the School of Historical Studies, Institute for Advanced Study, Princeton.

Guy Brett is an art critic and curator who lives and works in London. He is author of Carnival of Perception (2004).

Ann Gallagher is Head of Collections (British Art) at Tate.

Jörg Heiser is co-editor of Frieze magazine. His book All of a Sudden: Things that Matter in Contemporary Art was published in 2008.

Alexandra M. Kokoli is Lecturer in Critical and Contextual Studies at Gray's School of Art, Aberdeen and editor of Susan Hiller's The Provisional Texture of Reality: Selected Talks and Texts, 1977-2007 (2008).

Jan Verwoert is a writer, based in Berlin. He is a contributing editor for Frieze magazine and teaches at the Piet Zwart Institute in Rotterdam. A collection of his essays, Tell Me What You Want What You Really Really Want, was published in 2010.

Picasso: Peace and Freedom reveals a radically different figure from the one often presented in art historical accounts. In it we meet a politically and socially engaged artist, who joined the French Communist Party in October 1944 and remained a member until his death in 1973. Actively engaged in the Peace Movement, for which he was a prominent spokesperson, his work during this period chronicled human conflict and war but also expressed a deep desire for international understanding and equality.

After the Second World War, Picasso, already widely recognised as the world's greatest living artist, emerged as a celebrated political figure and hero of left-wing causes. His 'Dove of Peace' became the international emblem of the Peace Movement and a symbol of hope during the Cold War period. He was a tireless campaigner for freedom and justice, contributing generously both to the Party and a range of humanitarian causes.

Picasso's political commitment and its implications for his work can be seen as one of the last undiscovered territories in the study of the artist. A wealth of new material and research makes a direct link between his art and his politics. Picasso's habit of precisely dating his works means that each can be aligned with world events that were unfolding at the time, whether the Fascist victory and dictatorship in Spain, the Liberation of France, the Algerian War of Independence or the Cuban Missile Crisis.

Alongside masterworks related to the themes of war and peace from the 1940s onwards, this richly illustrated book features posters, prints, drawings, ceramics and an extensive range of ephemera including contemporary letters, archival documents, period publications and newspapers.

Contributing authors:
Lynda Morris is Curator and AHRC Research Fellow at Norwich University College of the Arts.
Christoph Grunenberg is Director of Tate Liverpool.
Piotr Bernatowicz is an art historian, critic, and Lecturer at the Institute of Art History at Adam Mickiewicz University, Poznan.
Pierre Daix is an art historian and writer.
Vojte'ch Lahoda is Professor of Art History at Charles University, Prague, and Deputy Director of the Institute for Art History of the Academy of Sciences of the Czech Republic in Prague.
Annette Wieviorka is a historian and Director of Research at the Centre National de la Recherche Scientifique in Paris.

Picasso: Peace and Freedom reveals a radically different figure from the one often presented in art historical accounts. In it we meet a politically and socially engaged artist, who joined the French Communist Party in October 1944 and remained a member until his death in 1973. Actively engaged in the Peace Movement, for which he was a prominent spokesperson, his work during this period chronicled human conflict and war but also expressed a deep desire for international understanding and equality.

After the Second World War, Picasso, already widely recognised as the world's greatest living artist, emerged as a celebrated political figure and hero of left- wing causes. His 'Dove of Peace' became the international emblem of the Peace Movement and a symbol of hope during the Cold War period. He was a tireless campaigner for freedom and justice, contributing generously both to the Party and a range of humanitarian causes.

Picasso's political commitment and its implications for his work can be seen as one of the last undiscovered territories in the study of the artist. A wealth of new material and research makes a direct link between his art and his politics. Picasso's habit of precisely dating his works means that each can be aligned with world events that were unfolding at the time, whether the Fascist victory and dictatorship in Spain, the Liberation of France, the Algerian War of Independence or the Cuban Missile Crisis.

Alongside masterworks related to the themes of war and peace from the 1940s onwards, this richly illustrated book features posters, prints, drawings, ceramics and an extensive range of ephemera including contemporary letters, archival documents, period publications and newspapers.

Contributing authors:
Lynda Morris is Curator and AHRC Research Fellow at Norwich University College of the Arts.
Christoph Grunenberg is Director of Tate Liverpool.
Piotr Bernatowicz is an art historian, critic, and Lecturer at the Institute of Art History at Adam Mickiewicz University, Poznan.
Pierre Daix is an art historian and writer.
Vojte'ch Lahoda is Professor of Art History at Charles University, Prague, and Deputy Director of the Institute for Art History of the Academy of Sciences of the Czech Republic in Prague.
Annette Wieviorka is a historian and Director of Research at the Centre National de la Recherche Scientifique in Paris.

Publication to accompany the Fiona Banner Duveens Commission 2010 at Tate Britain

22 x 28cm,
16 pp self cover,
20 illustrations

Together with Holbein, Anthony van Dyck (1599 -1641) is widely regarded as the most important name in pre-eighteenth-century British art. Born in Antwerp he was a precocious talent, rising swiftly to become the chief assistant to Peter Paul Rubens, then the chief painter of Northern Europe. His importance to British art cannot be overstated; during the turbulent years of the reign of Charles I he single-handedly reinvented portrait painting, leaving behind a legacy that would influence generations to come.

Van Dyck first came to Britain in 1620 to work for James I. Charles I recognised in van Dyck the potential to be the perfect creator of the royal image. The painter returned to London in April 1632 and was almost immediately knighted and provided with an enviable property and pension, becoming the chief painter of the court. His portraits of the royal family and courtiers, imbued with an understated authority and relaxed elegance, were an instant success. His pictures of Charles especially seemed to represent the king as both a powerful sovereign and 'nature's gentleman'. His popularity stemmed from his ease when moving in aristocratic circles, and his talent for flattering almost all subjects.

As well as van Dyck's years in England, this book explores his enduring influence on British art and culture in the centuries following his death, reflected in the way eighteenth- and nineteenth-century British sitters wanted their portraits to convey the gravitas and sophistication the earlier painter had mastered so well. Extensively illustrated and with contributions by leading authorities on seventeenth-century art, this is the most thorough examination ever published of van Dyck's British sojourn and the influence it had on the cultural life of the nation.

Karen Hearn is Tate Curator of sixteenth- and seventeenth-century British Art.
Contributors: Tabitha Barber, Tim Batchelor, Christopher Breward, Christopher Brown, Diana Dethloff, Emilie Gordenker, Susan North, Kevin Sharpe, Susan Sloman, Simon Turner and Robert Upstone.

Have we become a society of voyeurs? The proliferation of camera phones, YouTube videos, satellite technology and reality television series would certainly suggest that this is so. If our capacity to look seems increasingly boundless, however, it also threatens to make us a nation under surveillance. Amid endless political debates about terrorism, the security camera has become one of the icons of our age.

Despite these developments, there have been surprisingly few attempts to examine the history of what might be called invasive looking. Published to coincide with a major exhibition at Tate Modern, Exposed aims to fill this critical void. Images ranging from the 1870s to the present day present an alternately shocking, illuminating and witty perspective on subjects both iconic and taboo. The work of street photographers and paparazzi, amateur shots of death and disaster, police surveillance photography and the recent trend for self-documentation of private acts on the internet are all examined and explored by eminent critics, alongside the work of some of the leading artists of the last hundred years.

Sandra S. Phillips is Senior Curator of Photography at the San Francisco Museum of Modern Art.

Contributors: Simon Baker, Philip Brookman, Marta Gili, Carol Squiers and Richard B. Woodward.

Gabriel Orozco was born in Veracruz in Mexico in 1962. Since the early 1990s, his career has been characterised by constant surprise and innovation. He roams freely and fluently between drawing, photography, sculpture, installation and painting, creating a body of work that resists categorisation. Ranging from subtle interventions in the landscape to meticulously executed sculptures and quick snapshots, art intermingles with reality and idea is inseparable from experience.

This volume, designed in collaboration with the artist, offers a comprehensive examination of Orozco's career from the late 1980s to the present. Critical essays by Ann Temkin, Briony Fer, and Benjamin H. D. Buchloh provide new approaches to grounding Orozco's work in the larger landscape of contemporary art. They are complemented by a richly illustrated chronology that combines biographical information with focused discussions of selected objects. Each entry pays particular attention to Orozco's material practice and introduces the artist's own reflections on the work he has created.

Accompanying a major touring retrospective exhibition, this extensively illustrated survey is the most thorough examination of Orozco's achievements published to date.

Ann Temkin is Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York.

Contributors: Benjamin H.D. Buchloh is the Andrew W. Mellon Professor of Modern Art at Harvard University and co-editor of October journal.

Briony Fer is Professor of History of Art at University College, London.

Paul Gauguin's vivid and sensuous paintings are among the most reproduced and recognisable in the history of art. Most books on the artist concentrate on one aspect of his story, whether it is the time he spent in Brittany, in Arles with his friend Vincent van Gogh or in the South Seas. By contrast, this concise and colourful introduction looks at his career in its entirety, reaching beyond the myths to discover one of the most fascinating and engaging artists of modern times.

Extensively illustrated, and written by an acknowledged expert on French art of the period, this is the perfect place to start for anyone interested in the life and work of this extraordinary artist.

Nancy Ireson is the Schroder Foundation Curator of Painting at the Courtauld Gallery, specialising in French art of the late nineteenth and early twentieth centuries. She is the author of Interpreting Henri Rousseau.

The British painter Chris Ofili was born in Manchester in 1968 and is one of the most notable painters of his generation. He lives and works in London and Trinidad. Ofili's best- known works are complex and highly decorative canvases, built up from layers of paint combined with other materials including sequins, glitter, map pins and images cut from magazines. Their subject matter often refers to his Nigerian heritage and the wider African American and Afro-Caribbean experience, making reference to sources as diverse as Zimbabwean cave paintings, blaxploitation movies, comic books, funk and hip-hop album covers, pornography and the Bible. A trademark element in his paintings has been his use of varnished elephant dung, sometimes decorated with map pins, either as a support for the paintings of applied directly to the canvas. Ofili's painting The Holy Virgin Mary caused controversy when it arrived in Brooklyn in 1999 as part of the exhibition Sensation where it was attacked by the then-mayor Rudi Guiliani for being blasphemous. Ofili won the Turner Prize in 1998 and represented Great Britain in the Venice Biennial of 2005. In recent years he has also created sculture in bronze and numerous works on paper.

The book will illustrate works from throughtout Ofili's career, including new works made especially for this exhibition. It will include a new interview with the artist, giving insight into his inspiration and motivation, as well as including essays by leading critics theat examine the remarkable achievements of an artist at the forefront of the contemporary art scene worldwide.

Edited by Judith Nesbitt with contributions by Okwui Enwezor, Ekow Eshun and Atillah Springer.

Comic art - art that gains its effect through visual humour, caricature, exaggeration and slapstick, whether in print, reproduction or through the moving image - has long helped shape and inform British culture.

This entertaining and irreverent history aims to present a wide-screen vision of comic art, from the eighteenth century to the present day, it features works by classic cartoonists and caricaturists, from Gillray, Rowlandson and Cruikshank, to Steve Bell, Robert Crumb, David Low and Ronald Searle. Beginning with the origins of the caricature, the book encompasses cartoons, comic books, film, photography, audio, new media and contemporary art. It traces the development of different genres and techniques, and deals with the development of successive media, from the engraving through to the newspaper and the online blog.

Through extensive illustrations of classic and little-known facets of comic art, the book succeeds in telling an alternative history of Britain. Leading critics are joined by well-known comedians, cartoonists and historians, making this a very contemporary take on what is still a rich and vibrant seam in the public life of the nation.

Martin Myrone is Curator (18th & 19th Century British Art), Tate Britain and is the author of The Blake Book, Henry Fuseli and George Stubbs.

Tim Batchelor is Assistant Curator at Tate Britain.

Cedar Lewisohn works for Tate Media and is the author of Street Art.

Widely regarded as one of the leading sculptors of the last twenty years, Juan Munoz came to prominence in the mid-1980s, when he was at the vanguard of a return to the human form. Munoz's figures, however, are not the usual stuff of classical sculpture. Located in architectural settings, they may be seated on benches, on plinths or halfway up a wall. Moreover, although naturalistic in execution, they are less than life-size, so that when viewed from a distance they appear to scale but when viewed from close-up they appear to be still distanced from the viewer, a favourite optical device.

Accompanying the first retrospective exhibition of Munoz's work in the UK, this book will not concentrate solely on sculpture and installation but will also include the artist's drawings, performance and sound works, and explore the connections between his activities in these varying media. With extensive illustrations and essays by leading international crtitics, it will also feature a previously unpublished lecture by Munoz and transcriptions of performance texts. The essays will be interspersed with facsimile pages from Munoz's notebooks.

If in his sadly curtailed career Munoz succeeded in making the human figure once more of vital concern, he also relocated it, through his unique vision and what he called his sleight-of-hand, to a place at once familiar and strange.

With essays by Alex Potts, Manuela Mena and Michael Wood, as well as an interview with Munoz by James Lingwood, and an extract from Munoz's obituary by Richard Serra.

Peter Doig has developed a highly distinctive approach to figurative painting and print-making that has seen him exhibited at major museums and galleries world wide and won him international acclaim. Born in Edinburgh in 1959, raised in Canada, and based in London for two decades, he now lives in Trinidad. Though he has consistently engaged with a tradition of romantic realism, somewhat at odds with the prevailing mainstream, his work has, paradoxically had a deep influence on contemporary painting. Doig always paints from photographic sources: film stills, newspaper photos, postcards, album covers and a host of other randomly found images. He gives himself free rein to reinvent the image into grand and magical pictorial tableau. He has also taken inspiration from the changing environments and societies in which he has lived, from the ski-slopes and frozen lakes of his Canadian childhood, to the tropical landscapes of the Caribbean and the urban environment of London and Port of Spain.Published to accompany a major touring exhibition, this book will feature a contribution from leading art historian and critic Richard Shiff, as well as a revealing conversation between Doig and British artist Chris Ofili. Over 60 major paintings are reproduced, as well as a comprehensive collection of works on paper. The original interview between Peter Doig and Chris Ofili was commissioned by and published in BOMB Magazine in its Fall 2007 issue.

Luke Frost (b. 1974) is the sixth artist to emerge from the Tate St Ives residence programme at Porthmeor Studios, St Ives. An abstract painter, much of his work consists of solid blocks of colour, built up in layers with the surface left smooth. His strictly formal arrangements explore the contrast, balance, rhythm and saturation of colour in a structural environment, along with the artist's aim to reflect and create a volt of excitement. Formative influences include American artists Dan Flavin and Peter Halley, and the British painter Ian Davenport.

Using one of the historic Porthmeor Studios in St Ives, previously occupied by Borlase Smart, Ben Nicholson and Patrick Heron, Frost has had the opportunity to develop his professional practice with the support of Tate St Ives.

To enter Mike Nelson's The Coral Reef is to leave the physical fabric of the city and enter a parallel world. Rooms, doors, passageways, all bear traces of habitation and decay, making narrative promises that are never fulfilled. The visitor to The Coral Reef soon becomes disorientated, even lost, as they explore its depths.

Mike Nelson (b.1967) is one of the leading contemporary artists working in Britain today. He has twice been nominated for the Turner Prize and will represent Britain at the Venice Biennale in 2011.

Glenn Brown is one of the most renowned painters of his generation. Working from sources including the paintings of Dalí, Auerbach and Rembrandt, as well as the largely unknown artists who create imaginary worlds on the covers of mass-market science fiction paperbacks, Brown investigates the languages of painting. He wildly embellishes his source material, transforming the familiar into the alien by making changes in size, colour, surface texture and brushwork. Naturalistic colour becomes lurid, figures are elongated or enlarged into the grotesque, and heavy impasto, although painstakingly copied, is rendered entirely flat. Dalí, Fragonard and John Martin are transformed in playful juxtapositions of elements of kitsch and the sublime.

Accompanying a major, touring retrospective exhibition, Glenn Brown features over seventy paintings, sculptures and previously unpublished new works, some of which are illustrated in luxurious gatefolds. Leading critics and curators examine the trajectory of Brown's career and his importance on the international art scene.

Colour Chart addresses the impact of standardized, mass-produced colour on the art of the past sixty years. Taking the commercial colour chart as its central metaphor, the book chronicles an important artistic shift that took place during the middle of the twentieth century: a frank acknowledgement of colour as a matter-of-fact element rather than a vehicle of spiritual or emotional content. Collected here are forty-four artists who explore in their works two senses of the phrase 'ready-made colour': colour bought off the shelf, rather than mixed on a palette, and colour assigned by chance or arbitrary system, rather than composed with traditional chromatic harmonies in mind.

Published to accompany a major exhibition first shown at The Museum of Modern Art and now on tour at Tate Liverpool, the book begins with Marcel Duchamps virtuosic painting Tu'um, made in 1918. With its long array of colour samples advancing across the canvas, Tu'um is a forbear of the work that followed. This early recognition of colour's commercial nature was fully explored more than three decades later by artists such as Robert Rauschenberg, Andy Warhol, Gerhard Richter, Alighiero Boetti, and others who, between the 1950s and the 1970s, redefined the parameters of colour. The repercussions of this transformation continue to be felt into the twenty-first century, in work by artists including Sherrie Levine, Mike Kelley, and Damien Hirst, as well as others who explore colour in digital technology. This volume traces lineage of the questions provoked by artists' new relationship to colour, and the variety of answers that were the result.

Ann Temkin is the Blanchette Hooker Rockefeller Curator in the Department of Painting and Sculpture at The Museum of Modern Art.
Briony Fer is Professor of Art History at University College, London.
Nora Lawrence is a Curatorial Assistant in the Department of Painting and Sculpture at The Museum of Modern Art.

Tate Liverpool Colour Chart: Reinventing Colour, 1950 to Today. Exhibition dates 29 May - 13 September 2009.

Born in Warsaw, Poland, in 1958, Miroslaw Balka is the tenth artist to be invited to transform the dramatic space of the Turbine Hall at Tate Modern. An artist who has achieved critical acclaim internationally for works that combine installation, sculpture and film, this will be Balka's first public commission in the United Kingdom.

Balka's work explores themes of history and common experience, drawing on his Catholic upbringing and the fractured history of Poland. In recent years, he has focused on the Holocaust, which for Balka is a permanent scar on the collective memory. The dramatic installation for 190 x 90 x 4973 (2008) created a claustrophobic tunnel out of plywood with no visible destination, typifying Balka's ability to create subtle and intensely serious pieces.

Taking its name title from Samuel Beckett's poetic novel, How It Is features responses to Balka's work from leading writers Zygmunt Bauman, Paulo Herkenhoff, Julian Heynen and Laszlo Krasznahorkai, as well as dramatic installation photography of the finished project.

Helen Sainsbury is a curator and Curatorial Programme Manager at Tate Modern.

Zygmunt Bauman is Professor of Sociology at Leeds University and the author of Modernity and the Holocaust (1989) and Liquid Modernity (2000).

Julian Heynen curated Balka's exhibition Lichtzwang (2006) and is Artistic Director at Large of the Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

Paolo Herkenhoff is a writer and curator and directed the Sao Paulo Biennial (1998)

László Krasznahorkai is a Hungarian writer, and the author of Satan Tango (1985) and The Melancholy of Resistance (1989)

This important new book addresses a key area of post-colonial studies coined by the British academic Paul Gilroy in 1993- the notion of 'The Black Atlantic' - and its relation to visual art from 1900 to today. It traces the imaginary and actual journeys of influential artists and intellectuals from North America, the Caribbean and Latin America across the Atlantic to Europe, the reverse direction to that of the slave-ships that carried their ancestors,and from Europe to Africa to the United States, exploring the visual expression of the hybrid Black culture manifest in their work. While the narrative of modernism has often excluded artists and intellectuals of African descent, the concept of the Black Atlantic demonstrates that they have been central to the formation of modernity.

Key academics, curators and artists from both sides of the Atlantic examine aspects of Gilroy's concept in relation to visual Modernism and contemporary art. Topics expolred include negrophilia and the early twentieth century Parisian avande- garde; the Harlem Renaissance; the cultural links between Africa and Brazil; contemporary and 'post-black' art; and the way Paul Gilroy's original concept of the Black Atlantic, developed in the early 1990s, remains relevant to current discussions of migration and exploitation. With extensive illustrations, a timeline of key figures and events and an extensive bibliography, this is both a visual feast and an essential reference.

Artists featured include: Jean-Michel Basquiat, Romare Bearden, Constantin Brancusi, Aaron Douglas, Ellen Gallagher, David Hammons, Palmer Hayden, Langston Hughes, Wilfredo Lam, Fernand Leger, Glenn Ligon, Chris Ofili, Pablo Picasso and Kara Walker.

Edited by Tanya Barson and Peter Gorschluter.

With contributions by: Petrine Archer-Straw, Roberto Conduru, Manthia Diawara and Edouard Glissant, Courtney J Martin, Kobena Mercer, Huey Copeland with Thelma Golden and Glen Ligon.

What is the sublime? Is it a thing, a feeling or a state of mind? Scholars and philosophers have debated the meaning of the term as long as artists, writers and musicians have tried to evoke it. Tracing ideas of the sublime from classical times through to the present, Art and the Sublime illustrates works by great artists in the Tate Collection, each of which epitomises the overpowering feelings of awe, terror and insignificance that are associated with the word. It accompanies a dramatic display at Tate Britain.

16 pp self cover
280 x 210 mm
20 colour illustrations