Reckonings with mortality and art history in the final works of John Hoyland This richly illustrated publication explores the paintings John Hoyland (1934-2011) made in his final decade, including his final series, the Mysteries. Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding discuss his veneration of Van Gogh, his connections to Turner and his development of the visual language of the Abstract Expressionists.

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

The authors have added evidence from documentary sources, and from extensive scientific analysis of the works themselves, to show how the latest paints and experimental techniques have brought special qualities to the work of modern painters."--BOOK JACKET.

Joshua's gallery 'Factual Nonsense' was quite unlike any other. Called a 'crazy powerhouse of ideas' it was a kind of cultural think-tank located in the then run-down East End area known as Shoreditch, which would later become a cohesive and creative hub (since rebranded as 'Silicon Roundabout'). Joshua was the driving force that turned the area's fortune and reputation around. Under the auspices of his Factual Nonsense banner, he held some of the most important and influential public art events of the late 20th Century. The first of these was an anarchic swipe at the notion of a traditional village fete called 'A Fete Worse than Death', with some of the biggest but the still yet unknown stars of the art world, including Damien Hirst and Angus Fairhurst, famously dressed as clowns and produced the first spin paintings at the Fete (for sale for the princely sum of £1). Whilst Hirst's spin machine has, from lowly beginnings at the Fete, gone on to appear recently at the World Economic Forum, a billionaire's playground, creating spin paintings for rich oligarch's wives as entertainment, Joshua was to die alone, poverty stricken back in 1996 on the cusp of international fame. Never reaping the rewards that were to come from the economic upturn and Charles Saatchi's Sensation exhibition, his death was a marker for the beginning of an era of international fame and success for his contemporaries and the end of the 'classic' avant-garde. The list of the seventy or so names of people I have interviewed for the book over the past year reads like a who's who of the contemporary art world, with contributions from the likes of Jay Jopling, Damien Hirst, Sarah Lucas, Sam Taylor-Wood, Gary Hume, Gavin Turk, Maureen Paley and Sir Peter Blake. Although Joshua never achieved the recognition that he deserved in his lifetime, he was a pivotal figure in the London art scene during the early 1990's. Josh moved into Hoxton and opened a gallery there and started a veritable art movement, while the place was a neglected London backwater. His lasting legacy was to bring together a group of artists and gallerists and create what is now known as the YBA scene. The text is illustrated with previously unseen photographs, letters and extracts from Joshua's diaries, which give insight into his thought process as well as the deterioration of his mental state towards the end of his brief but eventful life.

John Hoyland is one of Britain's leading abstract painters. This work presents a selection of his important works and considers his position as a major, innovative force in post-war British painting.

In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.