The work of the Chinese artist Jia Aili (*1979 in Liaoning) possesses an unparalleled intensity. Whether reflecting on China's inauguration of the atomic bomb or the first satellites in 1970, the theme of Aili's oil paintings is the dramatic transformation of Chinese society over the past 50 years. The works simultaneously also convey a feeling of wonderment and fascination for the achievements and new possibilities that technological progress offers. It is a feeling Aili has particularly developed in his apocalyptic-seeming desert landscapes, which only allow space for isolated masked figures, usually astronauts. The monograph documents Aili's exhibitions over the past 10 years and shows the young Chinese artist's disparate sources of inspiration with the aid of discussions of individual works.

While readers will come away from Chinese Art with a nuanced understanding of Chinese culture, the volume is also a work of art in its own right—a must-have collectible for any devotee of Chinese art and culture. Assouline’s Ultimate Collection is an homage to the art of luxury bookmaking—the oversized volume is hand-bound using traditional techniques, with several of the plates hand-tipped on art-quality paper and housed in a luxury silk clamshell.

"Born in a time of open economy and increasing prosperity in China, Jia Aili represents a young generation worried about losing age old traditions and values in a fast evolving world, questioning the true meaning of life. The solitary figures in his epic-scale and visually stunning works seem to be searching for hope amidst the ruins of modern civilisation. In the midst of his desolate landscapes there exists a yearning and hope for a possibility of redemption and saving. 'Seeker of hope : works by Jia Aili' will showcase Jia Aili's works ranging from monumental oil paintings and installations to delicate paper works. The catalogue includes an essay exploring Jia Aili's practice relating it to China's modern history and how it has impacted his work, as well as an interview with Jia Aili and Chinese art curator and critic Zhu Zhu." -- book cover.

The first expert and comprehensive analysis of the surprising impact of body-worn cameras Following the tragic deaths of Eric Garner, Michael Brown, and others at the hands of police, interest in body-worn cameras for local, state, and federal law enforcement has skyrocketed. In Cops, Cameras, and Crisis, Michael D. White and Aili Malm provide an up-to-date analysis of this promising technology, evaluating whether it can address today’s crisis in police legitimacy. Drawing on the latest research and insights from experts with field experience with police-worn body cameras, White and Malm show the benefits and drawbacks of this technology for police departments, police officers, and members of the public. Ultimately, they identify—and assess—each claim, weighing in on whether the specter of being “caught on tape” is capable of changing a criminal justice system desperately in need of reform. Cops, Cameras, and Crisis is a must-read for policymakers, police leaders, and activists interested in twenty-first-century policing.

By following the stories of nine contemporary Chinese artists, The Phoenix Years shows how China's rise unleashed creativity, thwarted hopes, and sparked tensions between the individual and the state that continue to this day. It relates the heady years of hope and creativity in the 1980s, which ended in the disaster of the Tiananmen Square massacre. Following that tragedy comes China's meteoric economic rise, and the opportunities that emerged alongside the difficult compromises artists and others have to make to be citizens in modern China.Foreign correspondent Madeleine O'Dea has been an eyewitness for over thirty years to the rise of China, the explosion of its contemporary art and cultural scene, and the long, ongoing struggle for free expression. The stories of these artists and their art mirror the history of their country. The Phoenix Years is vital reading for anyone interested in China today.

Postmodernism in the visual arts is not just another 'ism.' It emerged in the 1960s as a transformation of artistic creativity inspired by Duchamp's idea that the artwork does not have to be physically made by its creator. Products of mass culture and technology can be used just as well as traditional media. This idea became influential because of a widespread naturalization of technology - where technology becomes something lived in as well as used. Postmodern art embodies this attitude. To explain why, Paul Crowther investigates topics such as eclecticism, the sublime, deconstruction in art and philosophy, and Paolozzi's Wittgenstein-inspired works.