Since she first emerged in the early 1990s as a member of a generation later tagged “the Young British Artists,” Tracey Emin (born 1963) has made art that takes as its starting point the most harrowing and intimate details of her personal history. Published for a major exhibition at the Hayward Gallery in London, Tracey Emin: Love Is What You Want brings together suites of works from across the artist's career, spotlighting her achievements in a wide variety of media, including sculpture, drawing, painting, text-based works, photographs, video and performance. Sometimes confrontational or sexually provocative, Emin's art resonates with the “personal is political” legacy of feminist art, while simultaneously speaking to relationships in general, as well as exploring spirituality, cultural identity, class and celebrity. Disarmingly frank and often deeply confessional, Emin's art is also animated by her playful and ironic wit, as this new survey monograph indicates.

Tracey Emin: Love Is What You Want

Arts & Photography

Smith, Ali

Corris, Michael

Rugoff, Ralph

Doyle, Jennifer

Lauson, Cliff

History & Criticism

Hayward Gallery Publishing

Diego Rivera, Dorothea Lange, Adolfo Pérez Esquivel: Art and activism have long been intertwined, and the political fallout has resulted in an artistic canon riddled with historical holes. One of the most glaring omissions from most listings of American art masters is Ad Reinhardt (1913–67). An artist who had significant ties to the American Communist movement and leftist political organizations, Reinhardt and his contributions to modern art have been largely pushed out of the spotlight for political reasons. But in this unprecedented in-depth study of Reinhardt’s life and work, Michael Corris returns the artist to his rightful place in the history of modern art and culture. A pioneering avant-garde artist with fierce political beliefs, Reinhardt immersed himself in the vibrant left-wing political and cultural circles of the 1930s and ’40s, only to be marginalized by the social and cultural conservatism that arose in postwar America. Corris examines Reinhardt’s work against this historical background, charting the development of his entire oeuvre, ranging from his abstract paintings to his popular graphic artwork, illustrations and cartoons. Ad Reinhardt also re-evaluates Reinhardt’s role and influence in the art world, chronicling his time as an artist and educator at the California School of Fine Arts, University of Wyoming, Yale University, and Hunter College, and examining his influence on younger artists who created successive avant-garde movements such as minimal and conceptual art. A long-awaited examination of a less-heralded American master, Ad Reinhardt is a fascinating portrait of an artist whose political radicalism infused his art with a poignant resonance that stretches, through this rediscovery, into the present.

Ad Reinhardt

Reaktion Books

What does it mean to say that a painting has been “invaded” by language? Art, Word and Image answers this question by exploring how visual images and writing can work in dialogue in an artwork. Whether the picture frame is encroached upon by doodlings, as with Adolf Wolfli’s seemingly irrational scribbles, or a plea to spirituality is blazoned across a vast canvas, as in the moving images of Colin McCahon, we can be sure that words here have a special meaning, one beyond everyday communication. Art, Word and Image, one of the first books to examine the use of language in art, is constructed around three major chronological essays by renowned scholars John Dixon Hunt, David Lomas, and Michael Corris. Their essays chart the use and significance of words in art—from Classical Greece through the Middle Ages and Renaissance to modern digital media.

Art, Word and Image: 2,000 Years of Visual/Textual Interaction

Lomas, David

Hunt, John Dixon

Hospitality (Transmission Annual)

Artwords Press

Provocation (Transmission Annual)

Who puts smiley faces over Warhol-esque silkscreens of Bruce Lee in full howling attack? Who superimposes loungey, gentlemanly, portraits of himself over Jackson Pollock's canvases, as if to take blasa responsibility for their drips? And who makes a tryptich in which Lee and Pollock face off? While we're at it, who puts a black Saint George's cross on a red flag? David Diao, whose artistic life "began thirty years ago very much under the influence of Greenbergian formalism." Diao has since wrestled and mastered twin artistic and racial dragons many times over. Of his MoMa series he says, "...here I stand, a real slanted-eye Asian, desiring however ambivalently to be in the MoMA... in any case I don't mind poking fun at myself at the same time. I am there, smack in the center of the muck."

David Diao: Work 1969-2005

Timezone 8

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Books by Corris, Michael