The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

Since 1960, progressive forces within art education have stoked, and continued to fire, new impulses in the field of artistic production. As society at large embraced youth and popular culture, art school students with international aspirations exploded class barriers, fused fashion with Pop and insisted that art was integral to social change. These possibilities were unthinkable without shifts in priorities. Replacing a craft-based curriculum, the teaching in art schools across Britain, and notably in London, began to widen the range of artistic exploration. A new generation emerged, whose techniques, perspectives, and arguments had their origins in these innovations and whose most striking forms of expression maintain their influence on the most adventurous artists in the new millennium. This history of innovation has been largely unwritten. Here, scholars in the field explore key aspects of this dynamic period such as changes in architecture, exhibition display and approaches to art history. With 100 illustrations showing both the art school in action and the works that were made under its pull, this survey also provides key information for the London Art Schools - Camberwell, Chelsea, Wimbledon, Slade, Royal College of Art, Goldsmiths and Central St Martins.

An insightful exploration and moving meditation on identity, art, and belonging from one of the most celebrated writers of the last decade. What happens when we begin to consider stories at the margins, when we grant them centrality? How does that complicate our certainties about who we are, as individuals, as nations, as human beings? Through the lens of visual art, literature, film, and the author’s lived experience, Out of the Sun examines Black histories in art, offering new perspectives to challenge us. In this groundbreaking, reflective, and erudite book, two-time Scotiabank Giller Prize winner and internationally bestselling author Esi Edugyan illuminates myriad varieties of Black experience in global culture and history. Edugyan combines storytelling with analyses of contemporary events and her own personal story in this dazzling first major work of non-fiction.

John Farley, formerly principal cook at the London Tavern, designed his 1811 ""The London Art of Cookery..."" to be a complete source of recipes and cooking information for housewives and domestic servants. Containing ""every elegant and plain preparation in improved modern cookery -- Pickling, potting, salting, collaring, and sousing -- The whole art of confectionary, and making of jellies, jams, and creams, and ices -- The preparation of sugars, candying, and preserving -- Made wines, cordial-waters, and malt-liquors -- Bills of fare for each month -- Wood-cuts, illustrative of trussing, carving, &c,"" as well as preparations for meats, vegetables, and soups, this work is a complete reference full of recipes that would easily be adapted to today's kitchen.

Subject: In this intriguing book, Anne Robbins explores the little-known history of artists collecting paintings. Focusing on the collections of Lucian Freud, Henri Matisse, Edgar Degas, Frederic, Lord Leighton, George Frederic Watts, Sir Thomas Lawrence, Sir Joshua Reynolds, and Sir Anthony Van Dyck, she assesses the ways painters benefitted from owning someone else's work, their motivations for collecting, and how the history of a painting's ownership influences our own view of both the artist and the work. Robbins investigates paintings as the sources of creative inspiration, and even their use in teaching theories of art. She also examines how painters acquired the paintings they desired, whether through auction, dealerships, gift or exchange, and how they cared for the works: storing them, displaying them, and, in some cases, flaunting them for self-promotion. Robbins ultimately argues that the acts of acquiring art and of art making evolve in tandem-there are rich, multilayered connections between works owned and works painted. -- publisher's statement

Published on the occasion of Bridget Riley’s major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past fifty years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves, and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm, and density. As noted by Paul Moorhouse, “Throughout her development, Riley has drawn confirmation from Euge`ne Delacroix’s observation that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.” Created in close collaboration with the artist, the publication’s beautifully produced color plates offer a selection of the iconic works from the exhibition. These include the artist’s first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called “Egyptian” palette—a “narrow chromatic range that recalled natural phenomena”—and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley’s original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist’s wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary’s Hospital in West London, taken especially for this publication; and installation views of the exhibition itself, installed throughout the three floors of the gallery’s eighteenth-century Georgian townhouse located in the heart of Mayfair.

In 17th century Rome, where women are expected to be chaste and yet are viewed as prey by powerful men, the extraordinary painter Artemisia Gentileschi fends off constant sexual advances as she works to become one of the greatest painters of her generation. Frustrated by the hypocritical social mores of her day, Gentileschi releases her anguish through her paintings and, against all odds, becomes a groundbreaking artist. Meticulously rendered in ballpoint pen, this gripping graphic biography serves as an art history lesson and a coming-of-age story. Resonant in the #MeToo era, I Know What I Amhighlights a fierce artist who stood up to a shameful social status quo.