Métier Magazine is devoted to engaging its readers in art, craft, material and techniques. This annual English edition combines a series of articles and amazing stories of crafts, objects and artisans from around the world and from different time periods. The magazine will for instance show amazing textiles (silk and velvet) from the Ottoman Empire (17th century) that have fairly recently been found on an ancient Dutch Shipwreck, but will also show newly designed fabrics, nomadic rugs from Central Asia, reconstructed prehistoric clothing and archaeological conservation of heritage in the Antarctic region.

Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021. Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks. Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby’s practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously." The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group. Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

Jadé Fadojutimi: Jesture is a publication produced by Pippy Houldsworth Gallery to accompany the second solo exhibition at the gallery of new paintings by London-based artist Jadé Fadojutimi, presented in autumn 2020. The word "Jesture" in the title of the exhibition and publication evokes a sense of the absurd, responding to the disruption of daily rhythms arising from forced isolation during lockdown. Central to Fadojutimi's practice is a repeated questioning of identity, its fluid nature and how the understanding of notions of pleasure, desire and choice are integral to a sense of self. Addressing the exchange between an individual and their environment, the vivid choices of colour and form derive from the associative qualities of the special items that capture her attention and the memories they invoke. Fadojutimi's studio is filled with objects, drawings and writings that evoke nostalgic pleasure. Powerful memories, experienced whilst listening to film, animation and video game soundtracks, transport Fadojutimi to the first time she encountered them, eliciting a response that is experienced through intense colour. The synthesis of these various influences, through which Fadojutimi understands her sense of self, is transformed into large-scale gestural paintings charged with energy and emotion. Described by Fadojutimi as "environments", these complex compositions, neither wholly abstract nor figurative, are built up with layers of oil paint, interrupted by the more linear mark-making made possible by her recent adoption of oil pastels. The introduction of new materials into her painting has enabled Fadojutimi to think more broadly about palette, composition and depth, while translating the spontaneity of her drawing on to the canvas. In her essay for the publication, From Life - Thoughts on the paintings of Jadé Fadojutimi, writer, critic and editor-at-large of frieze magazine Jennifer Higgie writes: "In these paintings, the world, in all of its chaotic glory, exists as an intimation. Art is not an explanation: it's a shot of energy, a flash of colour; a shimmer, a reaction, a line thrown out to see who might pick it up. Pictures are made by people and, like people, their tone can switch direction in the blink of an eye. A painting is a very human thing: they're allowed to be messy. Jadé tells me that her aim is for "deep emotion, not deep description"." This, the artist's first published book, designed by A Practice for Everyday Life and printed by PUSH, London, has been co-published by Pippy Houldsworth Gallery, London, and Anomie Publishing, London. Jadé Fadojutimi (b.1993) lives and works in London. She earned a BA from The Slade School of Fine Art, London, in 2015 and an MA from the Royal College of Art, London, in 2017. After Pippy Houldsworth Gallery took on representation of the artist and presented her first solo exhibition in 2017-18, she had her first one-person institutional show at PEER UK, London in 2019. Acquisitions by Baltimore Museum of Art, ICA Miami, Tate, and a promised gift to Dallas Museum of Art followed soon after. She had her first solo exhibition in Germany with Galerie Gisela Capitain, Cologne, in 2019 and will have her first solo exhibition in Japan with Taka Ishii Gallery, Tokyo, opening March 2021. Fadojutimi has been selected to participate in Liverpool Biennial 2021. Her first solo US museum exhibition will be presented at ICA Miami, opening in November 2021. She will also have a solo exhibition of new work at The Hepworth Wakefield in 2021.

Wide-ranging and operatic in scale and in scope, Our Time on Earth - Tom Young’s fourth book - is an intuitive gaze at the mystery, promise, and condition of human life on Earth in 2020. In an expansive col-lection of eighty-three new photographs, artfully sequenced into thematic parts, Young brings to us a vis-ual narrative that simultaneously hints at the apocalyptic unfolding of contemporary life while offering reverential hope for a better world. Through a collision of images as minute as a molded snow globe, as expansive as a roiling ocean, and as haunting as steam belching from the tower of a nuclear power plant, Young brings the reader on an epic journey. Here one finds the prayerful silence of a goat at peace in a freshly dug grave, the human tableaux of young people amidst the drenching power of water, and the simple magnificence of moving water frozen into icy stillness. Here as well one finds disturbing aspects of the human mosaic to be found in the common places of everyday life, from a school bus abandoned in a vast mined landscape to a col-lapsing building in the shape of a large cat. In Tom Young’s universe, juxtaposition tells a story while the precise rendering of a moment in time speaks to the mystery of creation and the devotion of a photographer trying to understand a compli-cated world. As curator Aprile Gallant observes in her insightful essay: “The images build upon the other, veering from macro to micro, from vegetable, animal, and mineral to welded, constructed, and manufac-tured… The aggregate of viewing is an awareness of the deep interconnectedness of humans and their environment, a drama that plays out in equally beneficial and devastating ways.” Our Time on Earth plays knowingly off the idea that human endeavors on the planet can be as brief as the beat of a hummingbird’s wing and as long-lasting as mercury and lead embedded in a local river or stream. The question thus arises as to how the traces we leave behind from our time on Earth will reverberate as we move forward to the next generation and the next and the next.

Nathaniel Silver, William and Lia Poorvu Curator of the Collection, tells the acquisition story behind The Rape of Europa (1562), one of the most infl uential and iconic Renaissance paintings in America. The purchase of Titian’s masterpiece from an English aristocrat marked the beginning of a new phase in Gardner’s business relationship with scholar and art dealer Bernard Berenson and made her the envy of every art collector in the United States. While Henry James nicknamed Isabella "daughter of Titian" and all of Boston fell at her feet, European contemporaries took note of their rapidly disappearing national patrimony. The same celebrity that would make Europa the crown jewel of Boston's newest museum fueled the widely publicized debate over England’s artistic heritage. "American despoilers" became the rallying cry of British museum directors, curators, and scholars who cast their country as the victim of New World rapacity, and Isabella its most brilliant villain. This volume further explores Europa in Titian’s own time. Here the legendary painter laid claim to the power of poetic invention, creating the last of the six mythological canvases to reach Philip II in three years between 1559 and 1562. Described by the artist as poesie (literally "painted poetries"), these celebrated pictures reimagined stories from antiquity and explored the epic consequences of encountersbetween gods and mortals. Titian’s staggeringly original interpretations solicited comparisons with Ovid’s poetry and ancient art. Completed over more than a decade, they fulfi lled part of a larger agreement to furnish the king with paintings both secular – and highly sensual in character – as well as altarpieces of religious subjects. Published here for the first time, dramatically enlarged details of the composition demonstrate Titian’s deft touch and dazzlingly technical accomplishment. These bravura passages recently revealed by the painting’s comprehensive cleaning – the first since its arrival in America – are accompanied by commentary from the conservator,Gianfranco Pocobene, who returned Europa to its original glory.

15th century Italian painting mastered the art of painting light in the world. As Leon Battista Alberti wrote in On Painting (1435), "light has the power to vary colour", hence a rich palette of pigments and how to mix colours was necessary to capture every nuance. Countless recipes are provided by the anonymous author of "Secrets for Colours" (c. 1450), called the Bolognese Manuscript, intended for use in fresco and in oil on panel, accompanied by instructions on how to make varnishes for paintings.

History of Cinema Without Names is an editorial project which gathers research papers presented at Gorizia Conference, Italy. It promotes a new research perspective on the notions of film authorship, style, and genre, with the aim of re-articulating their theoretical definition.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010-2020); ABC's reality franchises, The Bachelor (2002-present) and The Bachelorette (2003-present); and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

Hugh Finney was a painter, draughtsman and teacher who trained initially at Bromley School of Art, where he attended evening classes from 1915, and then at Beckenham School of Art to where he won a trade scholarship in 1918. He studied painting with Amy Katherine Browning and etching with Eric Gill. Around 1927 he won a scholarship to the Royal College of Art, where he studied under William Rothenstein. Horton, Houthuesen, Ososki and Freedman were amongst his friends at the college. In 1929 after graduation he took up a travelling scholarship to Rome returning to teach part-time at Chelsea School of Art under Percy Jowett and later Harold Sandys Williamson. From 1927-1934 he exhibited at the NEAC. In 1935 his painting Mother and Child was acquired by Carlisle Art Gallery. During WW2 Finney worked for the light rescue service of the Civil Defense. After the war he taught part time under Anthony Betts at Reading University and was in charge of life drawing there when he retired in 1970. Although he was reclusive and reluctant to show his work he did exhibit at the RA Summer exhibition (in 1950 and 1954) and the Portrait Society and at The Paris Salon. A large solo exhibition took place at the University of Oxford’s Institute of Education in 1964.

Ben Nicholson: Distant Planes provides a succinct and insightful introduction to a little-known period of the artist's career: his years in Switzerland. Nicholson is one of the great British modernists of the twentieth century and this publication includes contributions from the leading specialists in the field, with original essays by Dr Lee Beard, director of the Ben Nicholson catalogue raisonné project, Peter Khoroche, author of Ben Nicholson: Drawings and Painted Reliefs (2002), and Chris Stephens, Director of the Holburne Museum, Bath. In 1958, at the height of his creative powers and buoyed by recent accolades at the Venice Biennale and elsewhere, Nicholson left behind the coastal wilds of Cornwall for the serene beauty of Lake Maggiore. With a seemingly inexhaustible index of formal ideas, in Switzerland he returned with renewed vigour to the carved relief. Piano Nobile's publication is richly illustrated and includes several major reliefs which are presented alongside landscape drawings, both of which explore a poetic sense of place that was crucial to Nicholson's work during the period. It also includes previously unpublished material relating to Nicholson and his Swiss period.

The 2019 volume of Ceramics in America features exciting new discoveries in the field of American ceramics studies, from an early example of Chinese porcelain found in the New World to previously undocumented green-glazed earthenware made in early-nineteenth-century Philadelphia. New analytic information about the manufacture of hard-paste porcelain, also in the Philadelphia context, will be of special interest to students of American porcelain production. Of special note, reconstructive drawings of two of America’s most important potteries and their kilns are illustrated and discussed: the William Rogers Pottery of Yorktown, Virginia (ca. 1720-1745), and the massive stoneware kilns of Abner Landrum’s Pottersville factory in Edgefield, South Carolina (ca. 1818-1840). Other articles examine topics of American stoneware, including the distinctive eighteenth-century stoneware of Boston and Charlestown, Massachusetts. The journal concludes with a beautifully illustrated two-part presentation on clay tobacco pipes made in the Chesapeake region of America between 1640 and 1660, highlighting the pipe maker’s art and the multicultural circumstance of their manufacture and use.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Felekşan Onar. While drawing on sources from her personal history as well as collective memory, Felekşan Onar’s works in glass deal with notions of identity, constructed narratives, historical relations and impacts of politics on society. In her recent project Perched, her story-telling in glass reflects on the Syrian refugee situation. Triggered by witnessing the helpless refugees strolling around the streets of Istanbul, after being forced to leave their homelands, Perched has been exhibited in the Pergamon Museum, Berlin, the New Jersey Visual Arts Center and the Victoria& Albert Museum, London. The work was interpreted as “a visceral expression of the fact that in spite of differences of religion, culture, and individual histories, what we all want most is to be in the place we call home,” by the art critic Lisa Morrow.A reading of Louis de Berniéres’ novel Birds Without Wings was an inspiration for Onar to create the series. Glass works, inspired by a book, create its own history over time and turn into a book again. This book marks the most comprehensive publication on Perched to date. The result here is a complementary structure addressing the aesthetic and political concepts inherent in Felekşan Onar’s art. Contiguity and fragility are the core of this project and provides the form for this book. Newly commissioned essays initiate sections that engage particular aspects of Onar’s work. Renowned author Louis de Berniéres contributes a short story; Prof. Dr. Stefan Weber, Mariam Rosser-Owen and Stefanie Bach propose a reading of Perched through the exhibitions in the Pergamon Museum, the Victoria& Albert Museum and the Staatliche Kunstsammlungen Dresden; and Nadania Idriss questions how is art supposed to foster a culture of peace and muses on being perched. Producing glass art, to use Onar’s own words, “not only expresses my past and present, but also my anxieties and expectations for future. Through glass, I speak, breathe and live.” This is the story of birds standing together in different places with their various colors and holding a vital crisis in their silence, breath and life.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Felekşan Onar. While drawing on sources from her personal history as well as collective memory, Felekşan Onar’s works in glass deal with notions of identity, constructed narratives, historical relations and impacts of politics on society. In her recent project Perched, her story-telling in glass reflects on the Syrian refugee situation. Triggered by witnessing the helpless refugees strolling around the streets of Istanbul, after being forced to leave their homelands, Perched has been exhibited in the Pergamon Museum, Berlin, the New Jersey Visual Arts Center and the Victoria& Albert Museum, London. The work was interpreted as “a visceral expression of the fact that in spite of differences of religion, culture, and individual histories, what we all want most is to be in the place we call home,” by the art critic Lisa Morrow.A reading of Louis de Berniéres’ novel Birds Without Wings was an inspiration for Onar to create the series. Glass works, inspired by a book, create its own history over time and turn into a book again. This book marks the most comprehensive publication on Perched to date. The result here is a complementary structure addressing the aesthetic and political concepts inherent in Felekşan Onar’s art. Contiguity and fragility are the core of this project and provides the form for this book. Newly commissioned essays initiate sections that engage particular aspects of Onar’s work. Renowned author Louis de Berniéres contributes a short story; Prof. Dr. Stefan Weber, Mariam Rosser-Owen and Stefanie Bach propose a reading of Perched through the exhibitions in the Pergamon Museum, the Victoria& Albert Museum and the Staatliche Kunstsammlungen Dresden; and Nadania Idriss questions how is art supposed to foster a culture of peace and muses on being perched. Producing glass art, to use Onar’s own words, “not only expresses my past and present, but also my anxieties and expectations for future. Through glass, I speak, breathe and live.” This is the story of birds standing together in different places with their various colors and holding a vital crisis in their silence, breath and life.

On August 3, 2019, a mass shooting occurred at Walmart Supercenter #512 in El Paso, Texas. A twenty-one-year-old white supremacist from El Paso targeted “Mexicans” and shot and killed twenty-two people - thirteen Americans, eight Mexicans from nearby Ciudad Juarez, and one German - and injured twenty-seven others. It was the seventh deadliest mass shooting in the United States since 1949 and the deadliest attack on Hispanic and Latina/o Americans in U. S. history. This book and the traveling exhibition that accompanies it are meant to honor the memory of those twenty-two beautiful, innocent beings who lost their lives in El Paso on that summer day and to help heal not only the twenty-seven others who were injured, but the countless others in America, New Zealand, Norway, and the world who suffer and have suffered from hate in whatever form it takes. All royalties earned from the sale of the chapbook and all special collections received at the exhibit are being donated to the families of those who died and were injured on that fateful day in El Paso.

In 2020, the Dresden Kupferstich-Kabinett celebrates its 300th anniversary.Founded in 1720 by Augustus the Strong as a museum specializing in works onpaper, the collection – now with over half a million works, from the Middle Agesto the present day – has always acquired contemporary art alongside recognisedmasterpieces.The collection – which includes exceptional works by Jan van Eyck, Dürer, Verrocchio,Grünewald, Cranach, Holbein, Rembrandt, Caspar David Friedrich, Ludwig Richter,Toulouse Lautrec, Mondrian, Hermann Glöckner, Gerhard Altenbourg, A. R. Penck,Georg Baselitz and Evelyn Richter – began in the 18th century with drawings, miniaturesand prints, before photography was added in 1898 as the promising future means ofreproduction.The people in charge of the collection always had a keen eye for the art of theircontemporaries and often demonstrated particular foresight in their acquisitions.Many of the works that were contemporary and still unknown at the time of theiracquisition are now considered special treasures and rank equally with those that hadbeen added to the collection as masterpieces. Exemplary are freshly printed etchingsby Giovanni Battista Piranesi, which were little known at the time, and were bought inthe 18th century. And towards the end of the 19th century, the then director Max Lehrspromoted artists directly, such as Max Klinger and Käthe Kollwitz.Today, the Kupferstich-Kabinett occupies an outstanding international positionthanks to the high quality and abundance of works. However, the collection is oftenhidden from the public. Works on paper in particular require special protection and,due to their fragility and extreme sensitivity to light, they can only rarely leave thesafety of the depot. The anniversary gives reason to air many masterpieces of thecollection, and offers the opportunity to look into both the past and into the future,and to anchor the Kupferstich-Kabinett with its seemingly inexhaustible holdings as alively, innovative and democratic place in the public consciousness – as a place wherecreativity and knowledge, critical thinking and aesthetic pleasure can be experienced.The exhibition of 84 masterpieces, which opens in Dresden in June 2020, will thentravel to New York in October 2020, where they will be presented in the prominent,international context of The Morgan Library & Museum.

Poet John Wakeman told The Irish Times that he thought "it would be exciting to start a poetry magazine out of the wilds of West Cork in Ireland." Within a few years THE SHOp became one of Ireland’s most highly-regarded poetry magazines, not only for its contents but for its looks. "Unquestionably the most beautiful poetry magazine now in existence," Bernard O’Donoghue said. Seamus Heaney described himself as a "confirmed SHOp-lifter." The title was inspired by W.B. Yeats' "foul rag and bone shop of the heart." The idiosyncratic lower-case 'p' was a whim of the early magazine designer, Joakim Säflund. Over the period between 1999 and 2014, THE SHOp published the work of internationally recognised poets such as Seamus Heaney, Paul Muldoon, Medbh McGuckian, Brendan Kennelly, Paula Meehan, Theo Dorgan, John F. Deane, Derek Mahon and John Montague. Significantly, it also provided a welcome and much needed space for emerging talents. Gradually, international poets began to contribute work. Each issue contained at least one poem in Irish, by poets such as Gabriel Rosenstock and Michael Davitt, with a translation. When John died in 2018 the poetry editor of The Irish Times, Gerard Smyth, wrote, "John Wakeman and his wife Hilary created a communal home for Irish poetry." The President of the Irish Republic, Michael D. Higgins, himself a poet, sent his condolences to Hilary and her family. One of the first women rectors of the Church of Ireland, Hilary had retired in 2001 and became co-editor and designer of THE SHOp. When Hilary Wakeman suggested producing an anthology to celebrate THE SHOp's legacy, it was met with such enthusiasm she knew she had to make it happen. So with the help of her co-editor, the poet Hilary Elfick, together they identified 285 poems from the 840 poets published in THE SHOp during those 15 years. The result is this collection of some of the finest Irish and international poetry ever assembled in one volume. The former Director of Poetry Ireland, Theo Dorgan, stated that "THE SHOp is a part of Irish literary history. That John and Hilary managed to produce such a rich and eclectic journal … from the side of a hill in West Cork was a source of wonder to us all."