Published in conjunction with an exhibition organized by the Vancouver Art gallery from February 18 to 28 May 2017.

The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization. The study analyzes the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a trajectory from plays that were initially performed in traditional theatres in accordance with a naturalistic play structure to plays that favour of a radical reconfiguration of visual representation. Indeed, since the beginning of the new millennium, playwrights and theatre-makers have increasingly experimented with new dramatic forms and site-specific venues, while forging collaborations with art makers and curators. The book focuses on plays from the 1980s onwards, such as Howard Barker's Scenes from an Execution, Nick Dear's The Art of Success, Alan Bennett's A Question of Attribution, Timberlake Wertenbaker's Three Birds Alighting on a Field and The Line, David Edgar's Pentecost, Martin Crimp's Attempt on Her Life, Rebecca Lenkiewicz's Shoreditch Madonna and The Painter, David Leddy's Long Live the Little Knife, and Tim Crouch's My Arm, An Oak Tree and England, and considers the vital contribution to the field made by set designers. Ultimately, through this study, we come to understand how modern drama can offer a set of interpretative tools to enhance our understanding of the mechanisms underlying the social construction of art and, furthermore, the potential of theatre and the gallery space to question our fundamental cultural assumptions and values.

A compendium of fifty full page illustrations and paintings collected from the 2014 and 2015 "Moleskine Project" group show at Spoke Art gallery in San Francisco. Featuring an all-star roster of international artists in an embossed leather bound cover with rounded corners, ribbon bookmark and elastic band closure.

As dazzling as the art it celebrates, this volume is packed with 1,000 full-color illustrations and features in-depth interviews with more than 125 train artists and "writers" to provide unprecedented perspective into graffiti.

Everyone who looks at contemporary art is familiar with galleries. But visual features of these mysterious temples tend to be taken for granted. The basic purpose of this book is to enliven the reader’s latent knowledge of galleries, including architectural motifs, the intended impression that is conveyed to the visitor, and human interactions within them. The contemporary art world system includes artists’ studios, art galleries, homes of collec-tors and public art museums. To comprehend art, one needs to understand these settings and how it travels through them. The contemporary art gallery is a store where luxury goods are sold. What distinguishes it from stores selling other luxuries – upscale clothing, jewelry, and posh cars – is the nature of the merchandise. While much has been written about the art, this book uncovers the secretive culture of the galleries themselves. The gallery is the public site where art is first seen – anyone can come and look for free. This store, a commercial site, is where aesthetic judgments are made. Art’s value is determined in this marketplace by the consensus formed by public opinion, professional re-viewers and sales. The gallery, then, is the nexus of the enigmatic, billion dollar art world, and it is that space that is dissected here. The first chapter briefly describes the beginnings of the present contemporary art gallery. The second presents the experience of gallery going, presenting summary accounts of vis-its to some contemporary galleries. The third expands and extends that analysis, with de-tailed close up descriptions and comparative evaluations of many diverse contemporary galleries, in order to identify the challenges provided by these marvelous places. Then the fourth chapter indicates why, in the near future, due to the proliferation of myriad art fairs and online platforms extant today, such galleries might disappear altogether.

A visual guide to approximately 20 Florida art colonies and districts. The book will discusses in detail a variety of towns in Florida renowned as “Art Colonies,” together with several “Arts Districts” in both small towns and larger cities that have been designated by the local government and/or by developers as neighborhoods set aside to foster the arts. Many of the communities sponsor annual art festivals or shows that have been held for more than 40 years. The book features color photographs that capture the variety of art forms that are uniquely Florida and covers special aspects of art in Florida such as the great number of Florida artists, the influence of arts projects and social realism of the New Deal, mural painting in Florida, the “Highwaymen,” and the extremely rich 19th and 20th century history of Florida artists. Colonies and districts include: Bradenton Village of the Arts, Eau Gallie Arts District, St Petersburg Warehouse Arts District and Central Arts District, Tampa and Tallahassee.