Michael Petry

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the author of such a work? And just what is the difference between a work of art and a work of craft? In the first book of its kind, Michael Petry tackles these questions head on, exploring the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in creating some of todays most innovative and highly sought-after works of contemporary art. The Art of Not Making includes artworks by Grayson Perry, Ai Weiwei, Matthew Barney, Chris Burden and Louise Bourgeois alongside original interviews with craftsmen who explore how the collaboration with a skilled maker results in objects that are exquisitely made and finished.

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the author of such a work? And just what is the difference between a work of art and a work of craft? New in paperback, this is the first book to highlight and explore the way artists collaborate with artisans and craftspeople to realise their work. "The Art of Not Making" tackles, explores the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in creating some of today's most innovative and highly sought-after works of art. The book analyses hundreds of artworks by the most important international artists, including Chris Burden, Louise Bourgeois, Matthew Barney, Grayson Perry, Mona Hatoum, Ai Weiwei, Daniel Buren, Carsten Holler, Mark Wallinger, Kiki Smith, Fred Wilson, Pae White, Tony Cragg, Roni Horn, Liam Gillick, Sherrie Levine, Ugo Rondionone, Subodh Gupta, Kara Walker and Maurizio Cattelan. "Enjoyable Petry clearly knows his stuff". ("Art Quarterly Timely"). "...Petry has identified a significant art world trend". ("The Art Newspaper"). "Glorious". ("Harper's Bazaar"). "A handsome volume ...provides pause for thought, and should be commended for drawing attention to the ideas of collaboration". ("Ceramic Review"). "Refreshingly fun to read and look at". ("State of Art"). "The arguments presented in this glossy erudite art book are bold, intriguing ...beautiful". ((GT) "Gay Times").

Thought-provoking and richly visual, Nature Morte brings together, for the first time, the poignant, provocative re-imaginings of the traditional still life by over 180 international contemporary artists. This visually stunning and timely book reveals how leading artists of the 21st century are reinvigorating the still life, a genre previously synonymous with the sixteenth- and seventeenth-century Old Masters. Michael Petrys careful selection celebrates works by emerging and established artists alike, from all over the globe, including John Currin, Elmgreen & Dragset, Robert Gober, Renata Hegyi, Damien Hirst, David Hockney, Gary Hume, Sarah Lucas, Beatriz Milhazes, Gabriel Orozco, Elizabeth Peyton, Marc Quinn, Gerhard Richter, Sam Taylor-Wood and Ai Wei Wei. Short and compelling introductions begin each chapter and are followed by dramatic, visually led spreads that pair each work with a perceptive reading of its significance to the still-life tradition. Petrys engaging, provocative text reveals how contemporary practitioners are revisiting the major motifs of the still life and translating them for the modern world. Petry explores the timeless themes of life, death and the irrevocable passing of time in these new works for our modern world; artworks that invite us to pause and reconsider what it means to be human.

There has been much scaremongering about the `death of the book', and how, as words find new ways and means of transmission, young people might gradually begin to shun writing. In the digital age, text becomes information, and information strives to become free. But what value can text hold in the sphere of visual art? How is such text different from poetry? Can the poetic itself be visual art, or is text in this context consigned to the realms of gimmick and catchphrase? Looking at the work of a broad range of artists including Bruce Nauman, Julien Breton, Jeremy Deller, Takashi Murakami, Tracey Emin, Christian Boltanski and many more, The Word is Art examines each of these questions, contending above all that in the digital and online age, words have become more important than ever. With the advent of texting and social media, many predicted the debasement of language, and some have pointed to evidence of this in our so-called `post-truth' culture. Artist Michael Petry demonstrates that, on the contrary, words remain critical, powerful and central to art practice. Digital communication has seen the word as text permeate life in ways that the poets and artists of yesterday could never have imagined. Presenting a brief history of word- and book-based art, and examining major areas where the word has dominated artistic practice, this book takes us on a fascinating and richly illustrated global tour of diverse contemporary art forms.

This visually stunning and timely book reveals how leading artists of the twenty- first century are reinvigorating the still life, a genre previously synonymous with the sixteenth- and seventeenth-century Old Masters. Michael Petry's careful curation of this exciting revamp celebrates works by emerging and established artists alike, from all over the globe, including John Currin, Elmgreen & Dragset, Renata Hegyi, Damien Hirst, David Hockney, Jeff Koons, Beatriz Milhazes, Gabriel Orozco, Elizabeth Peyton, Marc Quinn, Sam Taylor-Wood and Ai Weiwei. Short but compelling introductions begin each chapter and are followed by dramatic, visually led spreads that pair each work with a perceptive reading of its significance to the still-life tradition.