Penelope Curtis

Christopher Townsend

Stephen Feeke

Nicholas Pope

Adriaan van Ravesteijn

Andrew Sabin

Throughout his varied career, Nicholas Pope's multivalent sculpture has explored the inherent physical qualities of the materials that he shapes and carves. From his earlier art to his more recent exploration with abstraction, this lavishly produced title presents a substantial overview of the artist's work.British artist Nicholas Pope was best known in the 1970s and early 1980s for his large-scale sculptures made of wood, metal, stone, sheet lead or chalk.Following his 1980 exhibition representing Britain at the Venice Biennale, Pope was awarded a Cultural Visitor grant to Zimbabwe and Tanzania; an experience that affected the rest of his life and twisted his artistic practice completely.In a move towards softer, more malleable materials such as glass, porcelain, texture, moulded aluminium and ceramics, Pope began to make abstract works that reference complicated themes of religion, suicide and society.The first comprehensive monograph on the artist, this publication features over 75 colour illustrations alongside an introduction to the artist by Penelope Curtis, an analysis of the work's religious themes by Christopher Townsend and Andrew Sabin's exploration of Pope's recent work.

Rhys Davies

Alexandra Trott

There’s nothing pure about modernism. For all the later critical emphasis upon “medium specificity”, modernist artists in their own times revel in the exchange of motifs and tropes from one kind of art to another; they revel in staging events where different media play crucial roles alongside each other, where different media interfere with each other, to spark new and surprising experiences for their audiences. This intermediality and multi-media activity is the subject of this important collection of essays. The authoritative contributions cover the full historical span of modernism, from its emergence in the early twentieth century to its after-shocks in the 1960s. Studies include Futurism’s struggle to create an art of noise for the modern age; the radical experiments with poetry; painting and ballet staged in Paris in the early 1920s; the relationship of poetry to painting in the work of a neglected Catalan artist in the 1930s; the importance of architecture to new conceptions of performance in 1960s “Happenings”; and the complex exchange between film, music and sadomasochism that characterises Andy Warhol's “Exploding Plastic Inevitable”.

Modernism’s Intermedialities, from Futurism to Fluxus

Across the Great Divide

Christopher Townsend

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