Books published by Lund Humphries Publishers Ltd

This book assesses the paintings of Tal R (b. 1967), an Israeli-born Danish artist whose enigmatic work offers intersections of personal experience and wider history through a visual jigsaw, finely balanced between representation and abstraction, of what the artist has termed 'Kolbojnik', a Hebrew term for leftovers.

Kurt Jackson's Sea captures the beauty of the artist's constantly evolving relationship with one of nature's most challenging subjects.

This is the definitive account of the life and work of Edward Seago (1910-1974), the highly popular, versatile and talented British painter whose work was inspired by John Sell Cotman, John Constable and Alfred Munnings.

"Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to activism by artists, and activist forms of art. Author Gregory Sholette approaches his subject from the unusual dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe."--

Featuring previously unpublished material from Lobdell's studio and archive, this book looks at the role of artist Frank Lobdell in the formation of Abstract Expressions in California.

Architecture Through Drawing examines architectural drawings as objects which encapsulate complex spatial and cultural ideas.

This is the first comprehensive monograph on the innovative abstract paintings and expansive painting installations of German artist Katharina Grosse.

By examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture - occupying and adapting Victorian studios and commissioning new ones - and, in doing so, shows them coming to terms with the past, and in the process, inventing different modes of being modern.

This is the first major monograph on the paintings of Jim Shaw (b. 1952), whose work blends the reflected cultural climate of his adopted home, Los Angeles with the multi-layered world of American popular culture to create rich dream-like worlds.

This newcollection of poems, paintings, drawings, sculptures and printmaking by renownedartist Kurt Jackson, celebrates the staggering diversity of the plantkingdom.

Abrams's thoughtful book, the first full monograph on the artist, highlights Whitney's commitment to abstract painting over four decades of consistent practice.

The expressive paintings of Rose Wylie (b.1934), mix styles and subject matter, high art with low and kitsch to create bold depictions of modern life. This monograph, the first of its kind, follows the artist's fascinating artistic journey celebrating her achievements to date while also examining her current practice.

The paintings executed by Kurt Jackson (b.1961) do not reveal his day-to-day working practice. Behind his finished canvases are hundreds of sketchbooks borne out of his continual routine of making drawings, marks, notes, poems and scribbles. This book, newly available in paperback, examines the importance of the sketchbook to Jackson.

This book explores, debates and exhibits practices of contemporary architectural drawing, taking at its basis a series of meetings between a cohort of architects, critics and curators who discussed contemporary drawing practices and production in their own work and research. The participants - Laura Allen, Bryan Cantley, Nat Chard,  Peter Cook, Mark Dorrian, Riet Eeckhout, Adrian Hawker, Perry Kulper, CJ Lim, Shaun Murray, Mark Smout, Neil Spiller, Natalija Subotincic, Michael Webb, Mark West and Michael Young - focused on drawings or drawing-related artefacts, around which dialogues took place. Beyond the usual representational imperatives of architecture drawing, the group considered and discussed its agency as a site of emergence and imagination. Organised in relation to specific topics and framed by contextual essays by Nat Chard, Mark Dorrian, Riet Eeckhout, Michael Young, Thomas-Bernard Kenniff and Carole Levesque, the book includes a selection of exquisite and fascinating key drawings by the various contributors, together with edited transcripts of discussions around drawing which developed at the symposia. The drawings presented in the book are in dialogue with one another, while their authors are themselves in extended conversation. This double aspect will make the book a distinctive publication and an enduringly important document and resource for thinking about architectural drawing.

As the twenty-first century unfolds, notions of our cultural past and how our history has influenced our present shift almost daily. Within this, accepted artistic trajectories are being questioned and new connections made. In this wide-ranging and thought-provoking publication, experts in their field address specific aspects of British art of the twentieth century. Presenting new perspectives on established narratives, subjects range from British Surrealism and the rise of corporate and private patronage, to nationality and British identity. Complemented by a range of striking images, this publication succeeds in showing the strength of the British artistic tradition while also encouraging the reader to rethink and explore the existing narrative.

Censored Art Today is an accessible, informed analysis of the debates raging around censorship of art and so-called 'cancel culture', focusing on who the censors are and why they are clamping down on forms of artistic expression worldwide. Art censorship is a centuries-old issue which appears to be on the rise in the 21st century - why is this the case?Gareth Harris expertly analyses the different contexts in which artists, museums and curators face restrictions today, investigating political censorship in China, Cuba and the Middle East; the suppression of LGBTQ+ artists in 'illiberal democracies'; the algorithms policing art online; Western museums and 'cancel culture'; and the narratives around 'problematic' monuments. His fascinating study, which draws on extensive research and interviews, reveals why censorship has become the hottest of topics, impacting substantially on artists.

By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum's 19th-century history, describes how the young museum's rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A's leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.

The most ambitious project of Henry Avray Tipping, the influential architectural editor of Country Life, Mounton was a new country house and garden, designed without limitations of expense to be the perfect expression of his immense knowledge of history, architecture and horticulture. All was designed to impress a distinguished social circle. However, within weeks of its completion, the Great War started. The world of English country-house living changed irrevocably, so Tipping never saw his hopes for the house come to fruition. Featuring a wealth of previously unseen material including correspondence, articles and illustrations, this book insightfully details the design and building of the home H. Avray Tipping created for himself with the help of the young Chepstow architect Eric Carwardine Francis. It also gives a rich and evocative portrait of Tipping and his friends, with visits from Lloyd George and from Tipping's gardening colleagues, including Harold Peto, Gertrude Jekyll and William Robinson. The grand layout of the Mounton gardens on the plateau above a limestone gorge included a 24-pillar pergola, terraces overlooking the Severn estuary, a two-storey tea house, a rock garden and remarkable and innovative water gardens. Over time, the house was neglected and the magnificent gardens became overgrown. Mounton could so easily have been demolished and yet, a hundred years after Tipping completed it, a loving work of restoration of house and gardens was launched. The final two chapters reveal the careful adaptation of the interiors of Mounton House and the spectacular remaking of the gardens by the renowned garden designer Arne Maynard, all fully illustrated with plans and striking new photography. This is the story of the creation, destruction and regeneration of a singular vision.

From artworks and chairs to architecture, landscaping and interior design, Michael Boyd's devotion to the principles of modernism is comprehensive. An artist and musician, he acquired his expertise as a collector, surrounding himself with rare and beautiful finds. His immersion in the philosophy and creativity of the masters inspired him to restore a succession of classic modern houses, curate exhibitions, create a versatile range of furniture and rugs, and design sculptural gardens. Millennium Modern: Living in Design details his work across the first two decades of the new millennium and reflects his belief that the tenets of modernism - honesty and simplicity - developed more than a century ago, are equally relevant to our pluralistic age. In contrast to the pioneers who wanted to do away with the past, his creations are deeply rooted in the history of design. Essays by Boyd and architectural writer Michael Webb, along with comments from collaborators and critics, explore each facet of his residential design. This beautifully illustrated volume reveals Boyd's holistic design practice from his discovery of design classics in flea markets, to his own furniture designs, which feature in residential interiors, hotels and museums, through to his sensitive restoration of the houses by Paul Rudolph and Oscar Niemeyer, Richard Neutra and Craig Ellwood, and the sculptural landscapes he designed to enhance these residences, as well as masterpieces by John Lautner.

This book presents a rich and rewarding history of houses in England through the stories of nine houses, dating from the 1600s to the 1980s, which have been inhabited by the author, an architect and academic. Chronologically ordered, the book covers rural vernacular houses from the 17th Century, Georgian and Victorian townhouses, villas and converted industrial buildings, Edwardian semis and 20th-century council housing and mixed tenure new developments. Firstly reflecting on the author's own experience of the house, each chapter then examines its historical context, before making a detailed analysis of the buildings design and layout, usefully illustrated with architectural drawings. Each chapter concludes with a useful discussion of lessons learnt from each house/historic period and compares them with contemporary houses which use similar materials, construction techniques or ideas. It not only details the evolution of the design and construction of houses through the centuries, but also includes concise but highly informative sections on the history of various types of construction and materiality, such as brickmaking and timber and steel frame; sections on conversion and adaptive reuse and what works and what doesn't; the evolution of styles; housing density; ownership; and the three broad waves of council/social housing etc. On reflecting on her own experiences, the author provides useful insights into how we relate to our homes, how they shape and affect us and the value and meaning of the home.

John Ward (b.1938) has a longstanding reputation as one of Britain's foremost potters, and yet very little has been written about his manifold achievements. Authoritative and enlightening, this will be the first account of Ward‿s life and work, tracing the evolution of his ideas and his practice as a potter and placing them critically within the history of British Studio Pottery. The qualities of Ward‿s best pots are hard to define. As the late Emmanuel Cooper noted as long ago as 1996: “...the apparently contrasting qualities of drama and quiet reflection, is one of the most engaging aspects of his work. This sense of balance, of the tension between pushing and pulling, light and shade, movement and rest, makes Ward‿s work distinctive, distinguished and intriguing.â€? Setting out to explore and define those distinctions - expressing what makes Ward‿s pots compelling and historically significant - the potter's important artistic contribution will finally be expressed. Â

In this first major study of the work of the painter John Wonnacott (b.1940), Charles Saumarez Smith has surveyed a body of work produced at a tangent to the orthodoxies of modernism. Exploring the artist's formative experiences at the Slade, which connected him with artists such as Frank Auerbach and Michael Andrews and the School of London more broadly, Saumarez Smith roots Wonnacott's approach in his commitment to the discipline of drawing, his acute skills in observational analysis and the mechanics of graphic invention that makes his visual response to the world so memorable. Alongside commissioned portraits created in the grandest of architectural spaces, from naval bases to the Painted Hall at Greenwich and including John Major in 10 Downing Street and the Royal Family in Buckingham Palace, he has produced a revealing diary of self-portraits stretching back from his early teens and landscape paintings of light and sky which are celebrations of his native Essex coastline. In presenting the full range of Wonnacott's impressive oeuvre, the scope of the artist's remarkable achievement is revealed.