Celia Forner has collaborated with 15 contemporary artists to create objects which defy a conventional definition of jewellery, sitting somewhere between sculpture and wearable art. These artists? designs are crafted from a variety of materials, ranging from traditional gold and silver with precious and semi-precious gems to enamel, aluminium, bronze and iron. Beginning with an exquisitely crafted gold cuff by Louise Bourgeois, the project has evolved to include artists such as John Baldessari, Phyllida Barlow, Stefan Brüggemann and Subodh Gupta. The catalogue features extensive illustrations, including photos of actress Rossy de Palma modeling the various creations. Quotes from the artists themselves offer perspective into their creations and the inspiration behind them.00Exhibition: Hauser & Wirth, New York, USA (20.04.-17.06.2017).

Bernstein.

Combines a survey of world art with maps showing the associations and dissemination of culture across the globe.

This book focuses on the production and circulation of portable luxury goods in the early Iron Age (1200-600 BCE). The study is particularly interested in community formation as mediated by artthough not at the national level, as is customary with most studies of antiquity. Rather, it is concerned with the complex networks that gave rise to extended communities across a range of spaces near and far. It tells a story about many communities coming together, overlapping, interacting, and reforming through various relationships between human beings and objects. It studies these processes for the early Iron Age Levant (including present-day Turkey, Syria, Lebanon, Israel, and Jordan), focusing on portable luxury arts, in particular ivories and metal works."

Taking a wide-ranging approach rare in jazz criticism, Ted Gioia's brilliant volume draws upon fields as disparate as literary criticism, art history, sociology, and aesthetic philosophy in order to place jazz within the turbulent cultural environment of the twentieth century. He argues that because improvisation--the essence of jazz--must often fail under the pressure of on-the-spot creativity, we should view jazz as an "imperfect art" and base our judgments of it on an "aesthetics of imperfection." Incorporating the thought of such seminal thinkers as Walter Benjamin, José Ortega y Gasset, and Roland Barthes, The Imperfect Art offers vivid portraits of the giants of jazz and startling insights into this vital musical form and the interaction of society and art.

The development of complex cultural behaviour in our own species is perhaps the most significant research issue in modern archaeology. Until recently, it was believed that our capacity for language and art only developed after some of our ancestors reached Europe around 40,000 years ago. Archaeological discoveries in Africa now show that modern humans were practicing symbolic behaviours prior to their dispersal from that continent, and more recent discoveries in Indonesia and Australia are once again challenging ideas about human cultural development. Despite these significant discoveries and exciting potentials, there is a curious absence of published information about Asia-Pacific region, and consequently, global narratives of our most celebrated cognitive accomplishment — art — has consistently underrepresented the contribution of Southeast Asia, Australia, and the Pacific Islands. This volume provides the first outline of what this region has to offer to the world of art in archaeology. Readers undertaking tertiary archaeology courses interested in the art of the Asia-Pacific region or human behavioural evolution, along with anyone who is fascinated by the development of our modern ability to decorate ourselves and our world, should find this book a good addition to their library.