Bøger udgivet af Black Dog Publishing London UK

Includes projects such as the acclaimed Finsbury Square office building, the London Stock Exchange at Paternoster Square, the 20 storey office building on Aldermanbury Square in London, the library and music school buildings for Bedford School, the gallery for Tim Taylor and the major refurbishment of St Martin-in-the-Fields on Trafalgar Square.

Roula Partheniou: Index is the first publication to present the work of Canadian artist Roula Partheniou, exploring her practice of taking the familiar and altering it to become something extraordinary.Shown in her public installation and sculptural works, ubiquitous objects are subtly transformed and manipulated using perceptual mimicry. This involves recreating everyday, common forms and objects with painted fibreboard and polymer clay, questioning how much visual information we need to recognise objects, and allowing the viewer to reconsider and challenge such assumptions. Influenced by Minimalism and the notion of "paring-down", Partheniou plays with ideas of illusion, perspective and the Gestalt principle of the double take.This book is a beautifully produced artist book, bringing together significant body of works including 'House & Home & Garden', 2015; 'Odd One Out', 2015; and 'Parts and Wholes', 2013, among others. Richly illustrated throughout, the book begins with a photo essay and includes critical texts by Jennifer Matotek, Jon Davies, Ivan Jurakic, and Fynn Leitch and an interview with the artist by Nate McLeod, providing insight into Partheniou's practice and elucidating her critical contribution to contemporary art discourse. Published in partnership with Dunlop Art Gallery.

Blak Origin Moment is the first major monograph from the Louisville, Kentucky-born, New York-based artist Noel Anderson, coinciding with a career landmark exhibition at the Contemporary Arts Center in Cincinnati.

Reflecting ideas ranging from humanity's diverse cultural history to contemporary society and a future world that is conscious of its place in the cosmos, CTRLZAK's projects draw on tradition and cultural contexts to create a new hybrid future by learning continuously from the past.As a hybrid studio integrating diverse disciplines and cultures, CTRLZAK creates artworks, objects and spaces inspired by the natural world as well as the global experiences and rich cultural backgrounds of its founders. Above all, thestudio crafts points of reflection where form follows meaning.Form Follows Meaning explores CTRLZAK's work from its inception in 2009-when it was founded by artists and designers Katia Meneghini and Thanos Zakopoulos-to the present day.Featuring a selection of the studio's projects, Form Follows Meaning goes beyond aesthetics and functionality to present creative work that is striking and meaningful.CTRLZAK's creations have been extensively exhibited in galleries around the world and have been selected by museums and institutions including MoMA, the Louvre and the Venice Art Biennale.

The Schoolhouse and the Bus: Mobility, Pedagogy and Engagement serves as a document of two intersecting projects by leading practitioners of socially engaged art, Suzanne Lacy and Pablo Helguera. Since the early 1970s, Los Angeles artist, writer and professor Suzanne Lacy has been staging performance-based interventions that engage with social themes and urban issues, advocating for radical political change. Profoundly influenced by Lacy, New York-based Pablo Helguera represents the next generation of socially engaged artists. Through his performances, installations, exhibitions and writings he addresses history, pedagogy, sociolinguistics, ethnography and memory.Comprising text, photography, installation, collage, video and archival documentation, The School of Panamerican Unrest and The Skin of Memory/La Piel de la Memoria are representative of two seminal works by Helguera and Lacy (with anthropologist Pilar Riano-Alcala). Collectively these works incorporate many overlapping themes in the artists' practices, including immigration, race and social organisation, while more generally proving the efficacy and importance of socially engaged art today.

Moving between representation and abstraction, referencing design and embracing the decorative, British artist Tim Braden's work is a celebration of the act of making things. His paintings evolve from historical anecdotes surrounding twentieth-century artists and designers such as Sonia Delaunay and painter-turned-modernist-landscape-architect Roberto Burle Marx.Braden plays with scale and expectation, creating "found" abstract compositions from cropped fragments of his own figurative paintings that are realised as oversized watercolour paintings on canvas, or small oil sketches on card. Painterly themes like the interior and the landscape are key motifs in his work, as well as depictions of the experience of looking at art in situ.Assembling a body of work produced over the last decade, and drawing together the many themes and styles of his work, Looking and Painting is the first monograph on Braden in ten years. The book brings together, for the first time, many paintings that have never been shown in public.Tim Braden: Looking and Painting includes a response to Braden's work by Jennifer Higgie, editor of Frieze magazine, and contributions by Christopher Bedford, director of the Baltimore Museum of Fine Art, and Dominic Molon, curator at Rhode Island School of Design Museum.Braden has exhibited widely, including at Baibakov Art Projects, Moscow; Gemeente Museum, The Hague; Hamburger Bahnhof at Museum für Gegenwart, Berlin; Kunstnernes Hus, Oslo; Museum Van Loon, Amsterdam; the Van Gogh Museum, Amsterdam; and the Goethe Institute, New York. He lives and works in London.

Based on the history of the Peckham Pioneer Centre, the research conducted there and its subsequent conversion into a gated community, Correspondence O expresses the complex and changing landscape of public health and the social shift away from a group mindset to a more egocentric, user-focused and technology infused understanding of wellness. Accompanying the film of the same name by artist Ilona Sagar, Correspondence O is a new publication, bringing together an arrangement of original text by the artist, intertwined with a rich range of never before seen archival material drawn from the Wellcome Trust, RIBA and Pioneer Health Foundation archives.The Peckham Experiment was at the forefront of a dramatic shift in the public perception of health, yet its significance has been historically overlooked. George Scott Williamson and Innes Hope Pearse established it privately in 1928, before the foundation of the NHS in 1948, building it around principles of self-organisation, local empowerment and a holistic focus on social connection as fundamental to health. The learning from the Peckham Experiment is as relevant today as it was then. This is not though, simply an historical account. Correspondence O is a darkly speculative publication and film that examines modern society, particularly with regard to the unanticipated consequences of our obsession with personal wellbeing and new wearable technologies. This timely work is the result of in-depth research and experimental collaborations with a number of different practitioners and institutions, and features newly commissioned writings by Owen Hatherley, Dr. Felicity Thomas, Nina Wakeford and Prof. Paul Fletcher.Ilona Sagar's solo exhibition Correspondence O will launch at South London Gallery in December 2017, produced by The Ballad of Peckham Rye in partnership with the South London Gallery and supported by The Wellcome Trust.

Saturated with rhythm-generating patterns and inherently directional shapes, the work of British abstract painter Jeremy Moon (1934-1973) subverts the static quality of painting with its formations of perceptible movement. Best known for his large scale geometric paintings that explore form and space through unmodulated planes of colour, Moon embraced imperfection and incorporated subtle asymmetries to deliberately destabilise the unity of his compositions, further challenging the austerity associated with geometric abstraction. Jeremy Moon: Free Flight traces the artist's short, yet prolific career from his emergence onto the London art scene in the early 1960s. Alongside critical texts and interviews, this title features an overview of Moon's preparatory drawings, paintings and sculptures, as well as facsimiles of archive materials from the artist's estate.Moon's hand-drawn inventory of completed paintings and sculptures reveals the importance of drawings as integral components to his artistic process, and as the start and end points in which his experimental ideas took their purest form.

Woods and The Sea: Estonian Design and the Virtual Frontier explores how Estonian designers have stoked creative spirit and forged distinctive goods through their sense of place and history, from stern Soviet orthodoxy through whirlwind globalisation, to a wired and forward-thinking social nature.Through narrative storytelling Woods and The Sea takes the reader to the studios of designers such as Bruno Tomberg, who fostered Modernism amongst a small, underground arts scene, to the industrial shops kept by Matti Ounapuu that bridge Olympic-era Tallinn and Tupolev with contemporary folding electronic scooters and to the remote rural practices of a youth movement made prominent by the country's early embrace of internet culture. With essays exploring both the history and future of Estonian design alongside these portraits, Woods and The Sea is a vividly evocative documentary- style design and art book, and academic treatise.Featured designers include Bruno Tomberg, Maile Gruenberg, Tarmo Luisk, Martin Pärn, Reet Aus, Mait Summatavet, Kaarel Kurismaa, Peeter Kuutma, Aet Tamm, Mare Soovik, Mari Adamson and Heldur Pruuli.

Easy to follow, beautifully illustrated collection of hands-on sculptural activities for children. Children of all ages are encouraged to explore how they can transform a wide variety of materials through a series of open-ended projects. Inspiration is taken from architecture, landscapes, and objects in the everyday environments around us.

Known for his use of industrial materials, Bohm is one of the most influential German non-figurative and minimalist artists of his generation. Hartmut Bohm is the first substantial publication oft he artist's work to be published in the English language.

"As for humans, God tests them so that they may see that they are like the animals. Surely the fate of human beings is like that of the animals; the same fate awaits them both. As one dies, so dies the other. All have the same breath; humans have no advantage over animals. Everything is meaningless." Ecclesiastes, Chapter 3, Verses 18-19. What does it mean to be human? Unlike animals, who have little to no consciousness of their own existence or the inevitability of death, humans are painfully conscious of themselves, the limits of life, and the emptiness that lies ahead. Becoming Animal explores the existential nature of human experience through a rich survey of major modern and postmodern artworks in a visually and critically ambitious cross-section of twentieth- and twenty-first century art. This investigation builds from a literary and philosophical framework that addresses the development of consciousness and self-awareness. Through a series of apparently irreconcilable artistically and politically divergent movements, empty transcendence is confronted by the enduring concepts of eternity and utopia. In particular, Symbolism and Minimalism are juxtaposed; art movements that shaped the nineteenth and twentieth centuries' exploration of the relationship between life and death, emptiness and meaning, with their specific artistic languages. Featuring artists such as Carl Andre, Francisco de Goya, Albert Oehlen, Gardar Eide Einarsson and Matias Faldbakken, Becoming Animal also includes essays from international thinkers on emptiness and transcendence in modern and contemporary art, including Giorgio Agamben, Claus Carstensen, Anne Gregersen and Rosalind Krauss. Becoming Animal coincides with an exhibition produced by a collaboration between Den Frie Centre of Contemporary Art, the Museum of Religious Art, Norsk Museum and Svensk Museum, which will run from spring 2018 to autumn 2019.

Nothing Will Surprise You Here is a collection of photography from Velibor Bozovic'. The book documents the Montreal celebration in 1988 which marked the 150th anniversary of the invention of photography, in which the city designated six streets within a new housing development to be named after important historical photographers from Montreal.

Spielraum is a publication about Jasmina Cibic's latest work, developed with the Ludwig Museum, Budapest; the International Centre of Graphic Arts, Ljubljana; and the Museum of Contemporary Art, Belgrade.Cibic's own artwork reflects critically upon the power structures evident in the art and architecture that emerged from countries involved in the non-align movement. Her multimedia works often gather and re-stage found materials that are in some way infused with the spectre of political ideology and have, over time, changed their function so as to perform national identity.This publication is fully illustrated with the artist's works from the project and is set out as a reader that not only explores issues addressed in the work-namely concepts of soft power and strategies of nation building developed through art and architecture.

This is a report of recent and ongoing urban research. The aim is to examine disfunctionalities in contemporary methods of urban planning and to research and set out alternative modes of urbanization.

Presenting on-going research into a process of generating architecture based on actions and their subsequent transposition into form and programme, this book describes a number of competitions, theoretical and built projects completed during 1994-1997.

The commission for the Jewish Community School was won in competition in 1991 by the Israeli architect Zvi Hecker. This volume documents the architectural, cultural and spiritual issues involved in the building of the school.

This text explores the idea of entropia, which can be defined as the space between utopia and dystopia. This space is explored via three projects (Home Office, High-rise and Embassy), each of which examines the respective violence of the past and future.

Tectonics: A Building for Earth Sciences at Oxford documents the design and building of an ambitious architectural project for the Department of Earth Sciences at Oxford University, by a team including Wilkinson Eyre Architects, Pell Frischmann, Hoare Lea, Laing O'Rourke and EC Harris. The book brings together both design and client teams to explain the story of the project, its context and commission, describing in detail the architectural minutiae of the building.

The new Sainsbury Laboratory in Cambridge's Botanic Garden, opening in late 2011, will be the leading international centre for the study of plant science, and enabled by the bequest of the Sainsbury family. The book is divided into three sections; "science," "architecture" and "art." The "science" refers to the scientific practice of the laboratory, the "architecture" to the cutting-edge building and the "art" to the profiled artists who are involved in the project.

Since its founding in 2001, Dermot Foley Landscape Architects has developed a wide variety of successful projects from an impressive list of clients, contributing its own distinctive voice to the rapidly evolving Irish and international landscape.

"This book is a comprehensive reader analysing the role of modern architecture, city planning and consumption in the construction of the Swedish welfare state. The book draws mainly from the formative phase of the Swedish model, but also on European and American examples, and attempts to highlight the contradictions and complexities of the process of modernisation."--Publisher.

Kitaj: The Architects profiles an artist at work from a unique and very personal perspective. The book collects the diary entries of Kitaj s subjects through each sitting season, from the first preliminary sketches to the final delivery of the painting in late 1981. Providing an insightful and telling insight into Kitaj s artistic method, Colin St John Wilson and his wife MJ Long s observations capture the creative process through the explorations of initial ideas, happy accidents, compositional struggles and dissatisfactions, to the finished artifact. Fragmentary traces of conversations within the entries bring the relationships between artist and models to life, providing telling glimpses into the artist s thinking of the work and how he positioned it with regards to art history in his mind. Photographs of the canvas from various stages of the painting capture the gradual build up of layers, the subtle shifts in composition and Kitaj s refinements of his subject s characteristic poses.

Presents perspectives from academics and architecture historians, exploring the projects in India and the Middle East; major cultural commissions; and masterplanning work for Oxford Street in London, The Horniman Museum, and the Avenue of the Emirates in Abu Dhabi. This work is aimed at those interested in architectural innovation at every scale.

Examines the full breadth of Dannatt's architecture, ranging from the domestic and academic and the order and elegance, as well as his underlying philosophy.

Investigates shifts in the social fabric of our communities that will be necessitated by environmental change.