Nature Morte

Thought-provoking and richly visual, Nature Morte brings together, for the first time, the poignant, provocative re-imaginings of the traditional still life by over 180 international contemporary artists. This visually stunning and timely book reveals how leading artists of the 21st century are reinvigorating the still life, a genre previously synonymous with the sixteenth- and seventeenth-century Old Masters. Michael Petry's careful selection celebrates works by emerging and established artists alike, from all over the globe, including John Currin, Elmgreen & Dragset, Robert Gober, Renata Hegyi, Damien Hirst, David Hockney, Gary Hume, Sarah Lucas, Beatriz Milhazes, Gabriel Orozco, Elizabeth Peyton, Marc Quinn, Gerhard Richter, Sam Taylor-Wood and Ai Wei Wei. Short and compelling introductions begin each chapter and are followed by dramatic, visually led spreads that pair each work with a perceptive reading of its significance to the still-life tradition. Petry's engaging, provocative text reveals how contemporary practitioners are revisiting the major motifs of the still life and translating them for the modern world. Petry explores the timeless themes of life, death and the irrevocable passing of time in these new works for our modern world; artworks that invite us to pause and reconsider what it means to be human.

Unofficial Histories Behind the Mass Expansion of Makkah Through a series of photographs, Ahmed Mater charts the city's origins to its more recent history over the last 5 years. It is a study of the site's recent transformation -- Makkah, until recently, embodied a unique urban tapestry, layered with histories that are stitched together by an abundance of organically rooted communities and cultures. It is a place that accommodated not only sacred structures and sites but also huge fluctuations in population during Ramadan (up to 3 million visitors a year travel to Makkah for Eid and Hajj). More recently, these sites and communities have been eradicated and are being replaced with five-star-studded high rise developments, transforming it from an active metropolis to the world's most exclusive, yet most visited religious tourist destination, reflective of an unprecedented experimentation with architecture and its possible impact on social stratification. This photographic essay is a celebration of Makkah's real and projected or imaginary states. It provides singular access to this site and its associated social and religious rituals, along with its architectural urban planned and proposed development. AUTHOR: Ahmed Mater, born in 1979, grew up in Saudi Arabia. He led a young artist collective, was a founding member of Al-Miftaha Arts Village in Abha, and went on to co-founded the non-profit entity, Edge of Arabia. His work was exhibited in numerous international institutions and forms part of public and private art collections. 400 illustrations

A history of Peter Nagy's work as an artist and a dealer from 1982 to the present, in New York and India.

American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and methods and dividing the art into opposing camps. While controversies have since subsided, critics still view art of the 1980s as a stylistic battlefield. Alison Pearlman rejects this picture, which is truer of the period's criticism than of its art. Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art. Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.

This volume undertakes a detailed analysis of the latest generation of learners' dictionaries of English. It assembles the papers delivered at the eponymous symposium held at the University of Erlangen-Nürnberg in April 1997. There are a number of reasons why these dictionaries are of special lexicographic interest: 1. the type of learners' dictionary associated notably with the name of Hornby can look back on a long tradition in British lexicography; 2. competition between various publishers since the late 70s has given crucial impetus to the development of these dictionaries; 3. these new dictionaries are decisively marked by the evaluation of large-scale computer corpora. Central to the volume is the in-depth comparison of four dictionaries published in 1995: OALD5, LDOCE3, COBUILD2, CIDE. The aim is to exemplify specific differences of approach in the four dictionaries from a wide range of viewpoints (definitions, information on valency and collocations, policy on usage examples, political correctness, etc.). A number of articles also enlarge on the history of learners' dictionaries of English, the significance of corpus linguistics for lexicography, and perspectives for the future, notably in connection with the electronic media.