Saint Rachel

Clare woods

The most comprehensive monograph on Harland Miller, the contemporary British artist beloved for his humorous "book cover" paintings. Harland Miller's creativity as both artist and novelist come together in his iconic paintings of battered book covers with witty, invented titles. Initially appropriating the classic Penguin papaerback before devising his own colouful designs, his highly coveted artworks combine aspects of Pop Art, abstraction and figurative painting and have earned him a cult following. This monograph surveys almost twenty years of Miller's art and includes previously unpublished paintings from his latest series. Alongside chapter introductions taken from conversations with Miller, it features new essays by British critic Michael Bracewell ; Berlin-based writer Martin Herbert ; and Senior Curator for V&A East, Catherine Ince, as well as an illustrated chronology, with photographs and ephemera from the artist's personnal archive.

In Shadows I Boogie - Harland Miller

Epoque formidable

John Stezaker

Fils des classes moyennes né dans la banlieue pavillonnaire de Londres. Martin Knight se révèle un enfant délicat. puis un adolescent sensible. romantique. narcissique. résolument esthète. -A l'étroit dans son milieu. Martin rêve de s'élever. afin de mieux accéder à la beauté. Où trouver la clé des songes ? Les lumières de la City lui indiquent la voie : l'élève médiocre saura saisir la chance qu'offre aux ambitieux la capitale sous l'ère Thatcher. Chance rime alors avec finance. Et l'amour dans tout ça ? Quand Martin rencontre Marilyn. élégante jeune femme issue de la bourgeoisie intellectuelle. il croit voir incarnées toutes ses aspirations

Un éternel jeune homme

The first clear anatomy of a confused decade, the 1990s - 'Bracewell, with great verve and style, animates the cultural conversation', Greil Marcus

 'Michael Bracewell is the most adroitly gifted writer of his generation.' Morrissey

 Michael Bracewell is now clearly established as one of the most subtle, penetrating, amusing and far-sighted of all observers of the contemporary scene in Britain. His writing on culture high and low is coveted by every broadsheet, every stylish glossy monthly magazine and on radio and TV punditry platforms. His book, England Is Mine, about the distinctive Englishness of these islands' twentieth-century popular culture, earned him incredible reviews and an unchallenged position as the first person any right-minded arts producer/editor turns to when they need a definitive opinion about how English or otherwise some new-fangled cultural phenomenon is.

 With this book Bracewell gives us the first consideration of that still-warm, still-bizarre, still-confused and confusing decade. He talks to and talks about a host of representative Nineties figures, some already forgotten, some absolutely emblematic of their times - from Hanson to Alexander McQueen, from Tracey Emin to Ulrika Jonsson, from the Spice Girls to Duran Duran (yes, Duran Duran). Painstakingly, sometimes painfully, he puts all the pieces together and starts to make sense of it all.

Saint Rachel

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