Richard Cork

Item consists mainly of reviews of exhibitions but also includes discursive texts.

Item consists of collected criticism and essays on art in Britain written in the 1990's for 'The Times'.

Consists of articles and reviews of contemporary art in the 1970's written mostly for the Evening Standard.

"Jacob Epstein was a pioneer of modern sculpture in Britain. Yet he always felt an outsider in his adopted country, subjected as he was to relentless attack and vilification. With his determination to break the taboos surrounding the depiction of sexuality, and his use of expressive distortion of the figure in a manner modelled more on non-Western art than the classical ideal, he aroused hostility throughout his career, and the true nature of his overall achievement has often been overlooked. This publication intends to redress the balance. It provides a fascinating account of a sculptor who had a profound influence on successive generations of artists - not only for his carving but also for his courage."--BOOK JACKET.

80 p. : 28 cm

Item discusses the commission by Middlesbrough Borough Council, creation and installation of the sculpture "Bottle of notes" in Central Gardens, Middlesbrough.

The trauma of the First World War had an immensely powerful effect on the painters, sculptors, and printmakers who participated in it. They produced an extraordinary range of striking images that conveyed the immediacy and horror of their experiences and feelings. This arresting book is the first to bring together and examine the full international array of images spawned by the Great War. Richard Cork shows how avant-garde artists from Europe, Russia, and the United States challenged the recruiting posters and other propagandist views of the struggle by producing art that reflected the degradation of the trenches. Many of their images are now counted among the landmarks of early twentieth-century art, but his pioneering and lavishly illustrated book also examines a wealth of far less familiar work. The conflict was anticipated before hostilities began by the visionary and apocalyptic work of painters such as Meidner and Kandinsky, Chagall, Nevinson, Grosz, Beckmann, Kirchner, and other artists were quick to define war's essential tragedy with objective, expressionist, or allegorical art that alluded to their own wartime experiences. The harshest images of war were made in the later stages or after the Armistice, when artists such as Dix had time to consider their participation in the war. Ironically, the post-war years also witnessed the redemptive work of Spencer and Brancusi who, after the Armistice, produced monumental affirmations of brotherhood, fortitude, and love.

"This publication brings together the major themes and preoccupations of Callum Innes's practice over the last fifteen years. It includes essays and a substantial new interview with the artist. Lavishly illustrated, the book offers the first opportunity properly to trace the evolution and inter-dependence of the various series of paintings into which Callum Innes's practice is divided, from the earliest to the most recent paintings."--BOOK JACKET.

New York Times bestselling authors Maggie Shayne and Marjorie Liu join two hot talents in an anthology of all-new sexy paranormal romance.New York Times bestselling authors Maggie Shayne and Marjorie M. Liu, and sizzling newcomers Alyssa Day and Meljean Brook discover the wild instinct in everyone with four all-new stories of feral heat. Fans will get swept away by the passions in the unfathomable depths of Atlantis; they'll follow the shadows that stalk both the living and the undead in a world of vampires and guardian angels; they'll enter the forbidden world of the demon horde and their willing victims; and they'll be privy to the secrets of a beautiful animal-whisperer who's drawn closer to the most suspect of all male animals-man.