Early plans for the Whitechapel Library included provision for an unrealised weathervane. Over a century later this original intention has been achieved through Rodney Graham's Erasmus Weathervane - a glittering addition to the London skyline. This publication celebrates the inauguration of Graham's weathervane on the cupola of the Whitechapel Gallery's roof. Rodney Graham was born in 1949 in Canada and lives and works in Vancouver. He has continually worked across different mediums including photography, sculpture and installation as well as music, film, performance and writing and his work has taken the form of architectural models, books, camera obscuras, wallpaper and musical scores.
Gillick is renowned for his brightly coloured Plexiglas and aluminium installations that mediate the visual languages of architecture, design and sculpture. The Wood Way is a sequence of propositions about the built world and the political ethics surrounding it. The structures refer to an evolving urban landscape, which is subject to negotiation, renovation and a continual state of change. The exhibition title is derived from the German word 'Holzweg' and refers to deliberately or mistakenly taking the wrong route and ending up in the woods. In the context of the exhibition this literally refers to the complex system of exposed wooden panels in which the work is situated and reflects the duality of Gillick's scepticism and excitement for the built environment and how we operate within it. [Born in 1964, Gillick studied at Goldsmith's College and progressed to exhibitions across Europe and the USA. As a writer and curator, Gillick has collaborated with artists, writers, architects and designers. Recent UK projects include a commission for Tate Britain and a solo exhibition at the Arnolfini in 2000. He currently lives in London and New York.]
The latest curatorial partnership between Whitechapel Gallery, London and The Gallery at Windsor features one of the most significant and influential American artists of our time, Jasper Johns. In dialogue with the artist Robert Rauschenberg and his friends the composer John Cage and choreographer Merce Cunningham, Johns evolved a new language in art in the 1960s. As all four artists became immersed in dance and performance, the body itself entered Johns' work, at first as fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchings. Johns' prints overlay images and textures to stress process, and at the same time reflect the way our consciousness overlaps memory and perception. The Gallery at Windsor presents `the body' as it has appeared in Jasper Johns' lithographs and etchings created with Universal Limited Art Editions (ULAE) print studio from the 1980s to the present. This exhibition is organised by the Whitechapel Gallery, London, where Jasper Johns had his first UK show in 1964. It is curated by Iwona Blazwick and Bill Goldston in partnership with Hilary Weston and with the artist. In 1960, Russian emigree Tatyana Grosman invited Johns to transform his legendary paintings into equally radical works on paper. As co-founder of ULAE with her husband Maurice Grosman, Tatyana invited a host of young artists to the modest cottage in Long Island that was ULAE headquarters. As one artist recommended another, the ULAE press came to make prints with some of the most important artists of the time. Today, under the leadership of Bill Goldston, ULAE continues to make prints with living artists that are held in major museum collections. Awarded the Presidential Medal of Freedom in 2011, Jasper Johns has been the subject of major retrospectives and is one of the most influential American artists of his generation. Yet he continues to experiment, pushing the boundaries of printmaking today. The publication features an essay by Iwona Blazwick 0-9 uses of the body, in which Johns' interest in the body is explored through ideas such as form, sign, being, performance, memory and icon. The illustrated plate section contains all 30 works in the exhibition. There is a Q&A between Candy Stobbs and Director of ULAE, Bill Goldston which looks at the historic art of printmaking and the longstanding creative relationship between Jasper Johns and ULAE. Also included is a section of archival images from ULAE which includes historic portraits of Jasper Johns and his contemporaries.
Accompanying his first major UK exhibition in a decade, this unique publication focuses on five works by the American conceptual artist Mark Dion. Since the late 1980s Dion (b. 1961, Massachusetts) has been delving into the tropes and research methods of scientists, explorers, museum curators and archaeologists. He has created a body of work that playfully presents art as scientific enquiry or field work, questioning how knowledge is gathered, classified and displayed. Five installations will be displayed at Whitechapel Gallery: a scholar’s study invites us to unravel intricate drawings and models; the Bureau for the Centre of the Study for Surrealism and its Legacy displays the strange magic of obsolete things; the muddy banks of the Thames have also yielded their treasures for poetic display in a gigantic cabinet; while a Dickensian Curiosity Shop tempts us with the bizarre aura of American bric-a-brac. Each immersive environment is also a habitat, evoking the characters that observe, conserve or exploit the natural world. The catalogue features new short essays on each of the exhibited works, an interview between the artist and Iwona Blazwick and a reprint of a short story by National Book Award for Fiction winner Andrea Barrett.
Can a sculpture be a river? Can contemporary art unite conflicting systems of belief? Do other species appreciate culture? And can public art revive communities and ecosystems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architecture and botany to create immersive spaces of contemplation. In this publication an international roster of curators, art critics, philosophers, architects and scientists discuss the social and ecological potential of art in urban and rural space.
Can a sculpture be a river? Can contemporary art unite conflicting systems of belief? Do other species appreciate culture? And can public art revive communities and ecosystems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architecture and botany to create immersive spaces of contemplation. In this publication an international roster of curators, art critics, philosophers, architects and scientists discuss the social and ecological potential of art in urban and rural space.
Working towards the melding of her artistic work and the discipline of architecture, Cristina Iglesias has long been preoccupied with exploring notions of space and of a space within a space. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, with data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively consuming as the viewer approaches them. This publication is the first mongraph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech. 186 illustrations
Alex Katz is a towering figure in contemporary painting, a key New York-based artist since the early 1960s. Katz is best known for his distinct portraits of sophisticated, irresistible women, masterfully painted using precise, broad areas of colour Alex Katz first emerged on the New York art scene during the heyday of Abstract Expressionism and before the birth of Pop art, but always worked independently of these movements. Katz is best known for his distinctive portraits of sophisticated, irresistible women, masterfully painted using precise, broad areas of colour. Alongside these unmistakably ‘Katzian’ female portraits are pictures of men, groups, landscapes and interiors, rendered in paint on canvas or metal cut-outs as well as drawing and collage. All attest to the artist’s attention to detail, economy of means and consummate technique. Larger-than-life paintings such as The Black Dress (1960), Blue Umbrella (1972), Red Coat (1982) and White Visor (2003) have entered the collective consciousness as the epitome of a particular, late twentieth-century feminine ideal. A major touring retrospective was organized by New York’s Whitney Museum of American Art in 1986, and Katz has exhibited widely all over the world. His works are in the collections of The Museum of Modern Art, New York; Tate, London; the Musée National d’Art Moderne, Paris; and the Nationalgalerie, Berlin, among many others. A leading world expert on Katz, distinguished New York art critic Carter Ratcliff writes the definitive, comprehensive Survey, following Katz’s work from the 1950s to the present. In the Interview New York-based curator and critic Robert Storr discusses in detail with the artist his practice and technique in the context of a changing art world. Curator Iwona Blazwick enters in her Focus the silent world of Sylvia (1962-63), a classic Katz portrait that resonates with the urban landscape occupied by both artist and sitter. For Artist’s Choice Katz has selected nine works by New York School Poets, all of whom share a particular, often personal connection to his work. Artist’s Writings range from an early text from 1959 on Katz’s dislike of the term ‘academy’ to a recent text that reflects on his beginnings as an artist. Key interviews with some of the of the twentieth century’s most prestigious art figures – including critic David Sylvester and artists Francesco Clemente, Jane Freilicher and Richard Prince – are also included.
Polish: A Comprehensive Grammar is a complete reference guide to the grammar system for intermediate to advanced learners of Polish. It presents an accessible and systematic description of the language, focusing on real patterns of use in contemporary Polish.The Grammar is a comprehensive work and an invaluable resource for students and anyone interested in linguistics and the way modern Polish works. Features include:coverage of all parts of speech full cross referencing well selected and illuminating examples. The book is organised in such a way to promote a thorough understanding of Polish at all levels of structure; the sound system, formation of word and phrases and sentence construction. It offers a stimulating analysis of the complexities of the language, providing clear explanations and examples of each point.Polish: A Comprehensive Grammar is the essential reference work on Polish grammar for all learners and users of the language.
Polish: A Comprehensive Grammar is a complete reference guide to the grammar system for intermediate to advanced learners of Polish. It presents an accessible and systematic description of the language, focusing on real patterns of use in contemporary Polish.The Grammar is a comprehensive work and an invaluable resource for students and anyone interested in linguistics and the way modern Polish works. Features include:coverage of all parts of speech full cross referencing well selected and illuminating examples. The book is organised in such a way to promote a thorough understanding of Polish at all levels of structure; the sound system, formation of word and phrases and sentence construction. It offers a stimulating analysis of the complexities of the language, providing clear explanations and examples of each point.Polish: A Comprehensive Grammar is the essential reference work on Polish grammar for all learners and users of the language.
Bring the exciting world of tourism into your classroom with this three-level course which uses authentic materials, including Dorling Kindersleys Eyewitness Travel Guides Brings the world of work into the classroom Provides effective communication strategies for workplace situations Develops language awareness through an integrated syllabus
Poland, Warsaw, 92 Krochmalna Street.The Orphanage for Jewish Children.Once upon a time, Blumka lived here, along with the director, Doctor Korczak, the teacher, Mrs. Stefa, and two hundred children.Among the children was Zygmuś, who saved a fish's life, Reginka, whose stories could brighten the darkest night, Pola, who tried to grow a pea inside her ear, Chaimek, who was brought to trial by ants, Szymek who won an onion-peeling competition...and a little mouse for whom crumbs of food magically appeared every day.Blumka recorded all of this in her diary, and when words failed her she followed the stories with drawings.Until the day war broke out...Blumka's Diary off ers us captivating glimpses of life in the Orphanage with the even occasionally sad moments magically transformed through the innocent writing style of a child.Iwona Chmielewska blends fact with fiction brin gingto life the faces of the children whose tragic fate must not be forgotten.
In a turbulent environment, companies face disruptive events and must build organisational resilience in order to thrive. This unique book offers new, cutting-edge research on how trust can build and develop resilience. The authors combine theoretical and empirical perspectives on the two issues of trust and organisational resilience in an environment that is difficult to predict. The authors firstly discuss the challenges the turbulent environment poses before exploring the influence of trust and providing practical case studies on topics such as brand trust, dynamic capabilities and business models. Examples are drawn from high-growth enterprises demonstrating first-hand how organisations that develop trust have survived turbulent conditions. This novel book is the first to combine the two disciplines of trust and resilience and will be a valuable reference for researchers and upper level students of strategic management and crisis management in particular.
In a turbulent environment, companies face disruptive events and must build organisational resilience in order to thrive. This unique book offers new, cutting-edge research on how trust can build and develop resilience. The authors combine theoretical and empirical perspectives on the two issues of trust and organisational resilience in an environment that is difficult to predict. The authors firstly discuss the challenges the turbulent environment poses before exploring the influence of trust and providing practical case studies on topics such as brand trust, dynamic capabilities and business models. Examples are drawn from high-growth enterprises demonstrating first-hand how organisations that develop trust have survived turbulent conditions. This novel book is the first to combine the two disciplines of trust and resilience and will be a valuable reference for researchers and upper level students of strategic management and crisis management in particular.
