Ornament is Crime Modernist Architecture Matt Gibberd and Albert Hill

An unprecedented homage to modernist architecture from the 1920s up to the present day Ornament Is Crime is a celebration and a thought-provoking reappraisal of modernist architectu...

The first book to document the history of the groundbreaking company Architectural Pottery, tracing its critical influence on midcentury design and its enduring appeal today Architectural Pottery’s strikingly minimalist designs heralded new domestic housewares that could uniquely accent the modern home - inside and out. Formally expressive yet accessible, their refreshingly unembellished, elegant pots and...

Antique print titled 'Pour l'Usage des Poëles'. Old print showing the design of various vases and other ornaments. This print originates from 'Recueil Élémentaire d?Architecture' by ...

The definitive monograph of Oehlen's work to date. Limited to 1,000 numbered copies, each signed by Albert Oehlen. Also available: An Art Edition limited to 100 copies, each signed by the artist and accompanied by an original artwork. Often wryly funny and just as smart, Albert Oehlen’s paintings play the medium for all it’s worth and then some. After realizing that the so-called death of painting freed him to explore "the number of aspects through which one could expand painting," Oehlen started work on a wide variety of figurative and non-objective offerings, in what he has called his "post-non-figurative" art. The artist continuously challenges himself, setting up rules that force him to overcome convention and his own routine in order to arrive at a satisfying image. During his career he has chosen to paint in primary colors only or in gray, to integrate mirrors into his canvases, or to start on computer paintings when the first PCs became available. In his most recent work Oehlen expands painting through the use of advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humour, his work seems to be winking at us as it dares us to change the way we perceive an image. This XL monograph covers the entire Scope of Oehlen’s oeuvre: Roberto Ohrt discusses the early years, when Oehlen came into his own alongside Kippenberger, Bu¨ttner, and others, part of a scene that broke rules in art and rock music. Klaus Kertess examines the years from 1988 onwards, when Oehlen saw himself more self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium. Martin Prinzhorn and John Corbett...