The Swiss artist Miriam Cahn (*1949, Basel) deals with political and social themes in oil paintings; charcoal, chalk, and colored and lead pencil drawings; and in photographs, films, and installations. Strong color is characteristic of her work, forming a stark contrast to the recurring motifs of violence, tenderness, war, destruction, and physical infirmity. Her habit of commenting upon her work in writing is a golden thread running throughout Cahn's career. She illuminates her own art, commenting in the process on art and world events, and she sets up the texts opposite her artworks in exhibitions and publications. WRITING IN RAGE is the first compilation of her writing by itself, and includes essays, journal entries, and correspondence with friends, foes, family members, and gallerists. The book provides very personal insights into Cahn's life, her family, and the art market, introducing the reader to a disputatious, independent spirit. The Swiss artist MIRIAM CAHN (*1949, Basel) deals with political and social themes in oil paintings; charcoal, chalk, and colored and lead pencil drawings; and in photographs, films, and installations. Strong color is characteristic of her work, forming a stark contrast to the recurring motifs of violence, tenderness, war, destruction, and physical infirmity. Her habit of commenting upon her work in writing is a golden thread running throughout Cahn's career. She illuminates her own art, commenting in the process on art and world events, and she sets up the texts opposite her artworks in exhibitions and publications.

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

A co-produced publication released on the occasion of the eponymous exhibition, Miriam Cahn: ME AS HAPPENING, by The Power Plant Contemporary Art Gallery, Toronto, and Kunsthal Charlottenborg, Copenhagen. Miriam Cahn: ME AS HAPPENING, organized by The Power Plant, and presented initially at Kunsthal Charlottenborg, was the Swiss artist's first solo exhibition both in North America and Denmark. The publication documents an expansive constellation of Miriam Cahn's multidisciplinary work, presented for the first time in Canada and Denmark as part of the eponymous exhibition, Miriam Cahn: ME AS HAPPENING. This exhibition was organized by The Power Plant Contemporary Art Gallery, Toronto, presented initially at the Kunsthal Charlottenborg, Copenhagen, from 7 October 2020-4 April 2021, then at The Power Plant, from 2 October 2021-2 January 2022.

Drawing Room Confessions is a new printed journal named after a parlour game played by Marcel Proust, the Surrealists and others. It is made of words and exchanges, with no images. Six different sections (The Egoist, The Blind Man, Two to Tango, Ekphrasis, Time Lineand La Madeleine) comprise the Rules of the Game, which are the same in each issue. What changes are the players, or interviewers, who open each round of conversation with the featured artist and who come from a wide range of fields.

Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

Julius Baer, established in Zurich in 1890, is a leading Swiss wealth management group. For nearly as long, the founding family has been engaged in supporting visual and performing arts. In 1981, on the initiative of its then chief executive Hans J. Bär (1927-2011), the company began to build its own collection of contemporary art, guided by the belief that art in a busines environment enhances the culture of discussion and is inspirational to employees and clients alike. Today, the Julius Baer Art Collection comprises more than 5,000 works in a range of media--painting, drawing, sculpture, photography, and video--by Swiss artists, both internationally renowned ones and emerging talents. This book offers a survey of the collection that is on rotating display at the bank's offices around the world and highlights its origins and evolution over the past four decades. artistic positions of thirty-five contemporary Swiss artists, such as John M Armleder, Silvia Bächli, Miriam Cahn, Lutz & Guggisberg, Markus Raetz, Shirana Shahbazi, and Roman Signer, are introduced through brief texts and illustrations of some 350 works from the collection.

A sumptuous cookery book and the definitive guide to the life, times and tastes of the world's favourite Victorian cook Mrs Crocombe. As seen on English Heritage's The Victorian Way YouTube series. Mrs Crocombe is the star of English Heritage's wildly popular YouTube series, The Victorian Way. In delightful contrast to the high-octane hijinks of many YouTube celebrities, The Victorian Way offers viewers a gentle glimpse into a simpler time - an age when tea was sipped from porcelain, not from plastic cups; when mince pies were meaty and nothing was wasted; when puddings were in their pomp and no kitchen was complete without a cupboard full of copper pots and pans. Avis Crocombe really did exist. She was head cook at Audley End House in Essex from about 1878 to 1884. Although only a little is known about her life, her handwritten cookery book was passed down through her family for generations and rediscovered by a distant relative in 2009. It's a remarkable read, and from the familiar (ginger beer, custard and Christmas cake) to the fantastical (roast swan, preserved lettuce and fried tongue sandwiches), her recipes give us a wonderful window into a world of flavour from 140 years ago. How to Cook the Victorian Way is the definitive guide to the life, times and tastes of the world's favourite Victorian cook. The beautifully photographed book features fully tested and modernised recipes along with a transcription of Avis's original manuscript, plus insights into daily life at Audley End by Dr Annie Gray and Dr Andrew Hann, and a foreword by the face of Mrs Crocombe, Kathy Hipperson. It showcases the best recipes from Mrs Crocombe's own book, alongside others of the time, brought together so that every reader can put on their own Victorian meal. It's a moreish smorgasbord of social history an absolute must for fans, foodies and anyone with an appetite for the past. Please note this is a fixed-format ebook with colour images and may not be well-suited for older e-readers.

"With this book, Anne Hoffmann looks back on her thirty years as a designer. Her life's work comprises 13,252 book pages--126 books which she presents in her 'book diary'. The complementing personal essays by protagonists from the cultural scene investigate the topic of books from different perspectives."--Book cover.

An account of the life and work of the architect Minoru Yamasaki that leads the author to consider how (and for whom) architectural history is written. Sandfuture is a book about the life of the architect Minoru Yamasaki (1912–1986), who remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects—the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York—were both destroyed on national television, thirty years apart, makes his relative obscurity all the more remarkable. Sandfuture is also a book about an artist interrogating art and architecture’s role in culture as New York changes drastically after a decade bracketed by terrorism and natural disaster. From the central thread of Yamasaki’s life, Sandfuture spirals outward to include reflections on a wide range of subjects, from the figure of the architect in literature and film and transformations in the contemporary art market to the perils of sick buildings and the broader social and political implications of how, and for whom, cities are built. The result is at once sophisticated in its understanding of material culture and novelistic in its telling of a good story.