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In THE OTHER SIDE, we explore the lives and work of a group of extraordinary women, from the twelfth-century mystic, composer and artist Hildegard of Bingen to the nineteenth-century English spiritualist Georgiana Houghton, whose paintings swirl like a cosmic Jackson Pollock; the early twentieth-century Swedish artist, Hilma af Klint, who painted with the help of her spirit guides and whose recent exhibition at New York's Guggenheim broke all attendance records; the 'Desert Transcendentalist', Agnes Pelton, who painted her visions beneath the vast skies of California; the Swiss healer, Emma Kunz, who used geometric drawings to treat her patients; and the British surrealist and occultist, Ithell Colquhoun, whose estate of more than 5,000 works recently entered the Tate gallery collection. While the individual work of these artists is unique, the women loosely shared the same goal: to communicate with, and learn from, other dimensions.  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This monograph, Out of Chaos, ispublished to coincide with his solo exhibition at Timothy Taylor, New York, which brings togethernew paintings and works on paper.Crews-Chubb's paintings exist somewhere between figuration and abstraction. They drawon a wide variety of references, including ancient cosmologies, historic artefacts and sculpture,pre-Columbian deities, Cubism, Abstract Expressionism and Hellenic myth. He intertwinescanonical sources and classical allusions in his paintings, creating a highly personal, idiosyncratic lexicon of human, celestial and bestial figures.Out of Chaos takes its title from the ancient Greek notion that chaos is a state of undifferentiated matter from which the universe emerged. The paintings that form this series feature urgent, gestural marks and passages of vivid colour, centred around the figure as a motif. The bodies that he depicts are ageless, nongendered and non-racial - conduits for feeling, rather than signifiers of individuals.This publication reproduces Crews-Chubb's paintings from 2015 to 2024, starting with hisearly works and subsequently organised into seven series. Notable among these are the recentImmortals (2022-) and Out of Chaos, which is the focal point of his solo exhibition. The book also features an introduction by the writer Jennifer Higgie, an essay by art historian Matthew Holman and an interview with writer Amah-Rose Abrams. Daniel Crews-Chubb was born in Northampton in 1984. He completed his BA at Chelsea College of Arts, London, in 2009 and undertook the Turps Studio Programme, London, in 2013. He lives and works in London. His first solo museum exhibition will take place at the Long Museum, Shanghai, in November 2024.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51052819874065,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51052821872913,"sku":"NIN9781910221617","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ GARDNERS","offer_id":52111156052241,"sku":"NGR9781910221617","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1910221619.jpg?v=1750900012"},{"product_id":"thin-skin-book-jennifer-higgie-9781922979087","title":"Thin Skin","description":"Thin Skin is an exhibition of contemporary and historical paintings by Australian and international artists who explore the liminal space between figuration and abstraction. Guest curated by Australian, London-based writer, curator and former editor of frieze magazine, Jennifer Higgie, it features works by thirty-six artists. As a term, 'thin skin' is joyfully ambiguous. Thin Skin refers not only to the delicate membrane that separates body, mind and environment, but to other borders: thresholds between reason and unreason, wisdom and foolishness, life and death, the conscious and unconscious, laughter and weeping. To have 'thin skin' is to be hypersensitive to the world around you. Paint is a thin skin on a surface. Some of the artists in Thin Skin employ absurdity, slapstick, parody, caricature and\/or dreamlike logic to explore themselves and their place in the world. Others depict bodies in rich, often intertwined, conversations with the psyche, the land, domestic or work environments and with animals. Thin Skin also embraces the idea of 'thin places', an ancient term of mysterious provenance that refers to locations with a unique or peculiar energy. 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And yet spiritualism, in various incarnations, has influenced numerous men--including lauded modernist artists such as Wassily Kandinsky, Piet Mondrian, Kazimir Malevich and Paul Klee--without repercussion. The fact that so many radical female artists of their generation--and earlier--also drank deeply from the same spiritual well has been sorely neglected for too long.\u003cbr\u003e \u003cbr\u003e In \u003ci\u003eThe Other Side,\u003c\/i\u003e we explore the lives and work of a group of extraordinary women, from the twelfth-century mystic, composer, and artist Hildegard of Bingen to the nineteenth-century English spiritualist Georgiana Houghton, whose paintings swirl like a cosmic Jackson Pollock; the early twentieth-century Swedish artist, Hilma af Klint, who painted with the help of her spirit guides and whose recent exhibition at New York's Guggenheim broke all attendance records to the 'Desert Transcendentalist', Agnes Pelton, who painted her visions beneath the vast skies of California. We also learn about the Swiss healer, Emma Kunz, who used geometric drawings to treat her patients and the British surrealist and occultist, Ithell Colquhoun, whose estate of more than 5,000 works recently entered the Tate gallery collection. While the individual work of these artists is unique, the women loosely shared the same goal: to communicate with, and learn from, other dimensions.\u003cbr\u003e \u003cbr\u003e Weaving in and out of these myriad lives while sharing her own memories of otherworldly experiences, Jennifer Higgie discusses the solace of ritual, the gender exclusions of art history, the contemporary relevance of myth, the boom in alternative ways of understanding the world and the impact of spiritualism on feminism and contemporary art. A radical reappraisal of a marginalized group of artists, \u003ci\u003eThe Other Side\u003c\/i\u003e is an intoxicating blend of memoir, biography, and art history.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51386518503697,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51386519781649,"sku":"NIN9781639368754","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":53564486648081,"sku":"CIN1639368752VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1639368752.jpg?v=1750927483"},{"product_id":"catherine-goodman-book-jennifer-higgie-9783907493090","title":"Catherine Goodman","description":"The Wind in the Willows is a children's novel by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animals in a pastoral version of Edwardian England. The novel is notable for its mixture of mysticism, adventure, morality and camaraderie, and celebrated for its evocation of the nature of the Thames Valley. In 1908, Grahame retired from his position as secretary of the Bank of England. He moved back to Berkshire, where he had lived as a child, and spent his time by the River Thames doing much as the animal characters in his book do - as the book says, simply messing about in boats - and expanding the bedtime stories he had earlier told his son Alastair into a manuscript for the book. The novel was in its 31st printing when playwright A. A. Milne adapted part of it for the stage as Toad of Toad Hall in 1929. Almost a century later, it was adapted again for the stage as a musical by Julian Fellowes. 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His paintings evolve from historical anecdotes surrounding twentieth-century artists and designers such as Sonia Delaunay and painter-turned-modernist-landscape-architect Roberto Burle Marx.   Braden plays with scale and expectation, creating `found' abstract compositions from cropped fragments of his figurative paintings that are realised as oversized watercolour paintings on canvas, or small oil sketches on card. Painterly themes like the interior and the landscape are key motifs in his work, as well as depictions of the experience of looking at art in situ.  Assembling a body of work produced over the last decade, and drawing together the many themes and styles of his work, this book is the first monograph on Braden in ten years. The book brings together, for the first time, many paintings that have never been shown in public previously. 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The two men travel through German forests, Alexan­drian brothels and across the desert to the Nile. By the time they find themselves beneath the unforgiving sun of Syria and Palestine, Dadd's fraught mind has been taxed to the limit with extraordinary images. He becomes stranger and more violent, changes his companion attributes to sunstroke. But in Dadd's imagination he has become a devotee of the god Osiris. Shortly after his return to England in 1843, the god directs him to take a life, and Dadd is set on the road to Bedlam.  At once jarringly acute and alarmingly askew, Dadd's voice is rendered with both empathy and acuity by Higgie. 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