5b gb (12 résultats)

Hardback. Etat : New. Self-Portrait is an unassuming yet complex project by Miriam Yammad, ongoing since 2008 and published by 5b in book form for the first time. In this work, the artist photographs people based on their physiognomic likeness to herself. Throughout the images, we recognise shared qualities and contrasts alike. By employing various ubiquitous technologies - Polaroid cameras, iPhones, filters - Yammad imbues in the work a subtle sense of the uncanny, each portrait set oddly out of time. Formally modest and playful in its own way, the series is nevertheless bound by a rigorous conceptual framework: Yammad herself is never photographed. As simple as it is provocative, the work is charged with Yammad's connective instinct and a desire to relate - however fleetingly - rather than identify. The publication features an accompanying text by Miriam Stoney, and will be launched with a two-person exhibition featuring both artists at 20 Albert Road, Glasgow (open 31 May-29 June, 2025).…

Paperback. Etat : New. Not Quite Good Enough to be on TV Harmonies is Robertson's ode to the form of the guitar: a suite of new drawings rendered in oil pastel, and directly connected to her new large scale paintings. In the artist's words: "Living around guitars means they are often just sat in your peripheral vision, curving, almost bent over in the corner of a room." The work's range is a testament to the instrument's potential - its relation to the body, performance and experimentation, and its position as an object of intimacy and expression. The cover of the book features the original lyrics to Blue Car, from the 2023 album of the same name. Joanne Robertson is a musician, painter and poet. She collaborates regularly with her friends, including Sidsel Meineche Hansen, Dean Blunt, Byron Coley and Jasper Baydala (Kool Music). Her painting and music both form from improvisatory moments of expression. Robertson is based in Glasgow and is represented by Édouard Montassut, Paris and Company, New York.…

Paperback. Etat : New. 5b presents Personicx, an artist's book by Theo Christy. The publication focuses on a collection of A4 collages, prints, and drawings by the artist shown at 1:1 scale-facsimiles which maintain an uneasy tension between reality and the squashed surface of the screen.Across each page, characters are introduced, reworked, and recast-imposed over the exhibition documentation, text and checklist, and beneath the twisting silhouette of a ballerina.These exploratory exercises were central to the development of a group of "unboxing paintings" included in When studying the world, the artist's debut solo exhibition at Charity, Glasgow in 2023.A text by Ben Maxwell, titled The Terrifying Space of the Picture, accompanies the publication.'Dispossessed of our illusions, the planes of brown cease to describe the crisp surface of receding cardboard. Instead, they open out psychotically like arbitrary segments cropping the play of light over the churning surface of a vast pool of faecal sludge, incongruous highlights catching cracks in the ceilings of different caves, cropped by disgusted lines, or by the canvas edge, like the bottom left corner where a radial current threatens to spill out onto the wall below.'Theo Christy is an artist based in Glasgow. Christy is one half of Gallery Malmo, an ongoing collaboration with artist Gregor Horne. Recent exhibitions include: Charity at David Dale (with Gregor Horne), David Dale Gallery (2024), Would you be worried if one of these Scottish people ceased to exist?, Govan Project Space (2024) and Sick of it, Charity (2023).Ben Maxwell is an artist living in London.…

Hardback. Etat : New. I don't know how to offer criteria for a "bookish" painting, but I know one when I see it.- Nick Irvin (from Tape Notes)5b and Theta are delighted to announce A landscape shredded, the first book devoted to the work of New York-born and based artist, Molly Rose Lieberman. Working across painting, sculpture, poetry - and moonlighting as a museum archivist - Lieberman moves freely between objective systems and expressive invention. Pre-formats lay foundations for the artist to explore textures, colours, shapes, and energies that are built through unique rules she crafts to move compositions forward. Sometimes works are built around previously used frames, utilised conventionally or as sites for transmutation. Observations drawn from life - a passerby's posture, a handwritten sign - become catalysts for emerging forms. What surfaces are works that hold both structure and drift, each becoming a strangely romantic container for time, place, and process.This book arose from a refusal to summarise Lieberman's work through broad terms such as 'abstraction' or 'collage', and from a shared delight in the layered, often circuitous stories of how her works come into being: recounting how a painting was carried daily on a dolly to a park so it could be spray-painted in dialogue with a shoe that inspired its palette, or how a cold-wax and oil painting of two figures evolved from the handwritten phrase, 'Coffee is the devil'. A landscape shredded takes these anecdotes seriously. At its core is an index: a catalogue of process, reference, and association that resists linear explanation.The publication brings together 37 works made over the last eight years, including new paintings from Lieberman's 2026 exhibitions in Glasgow and New York, which coincide with the UK and US book launches. Works are accompanied by layered commentary: from the artist herself; from Joel Dean, who has previously written about Lieberman's work; and from Theta director Jordan Barse, sometimes in the professional register of her dealer, sometimes in the more intimate, anecdotal voice of someone who cannot help referring to the artist as 'Molly' when describing the wallpaper above her bed.A landscape shredded offers an entry into the fragments, references, and lived moments that shape Lieberman's practice, with two original texts by Nick Irvin and Molly Rose Lieberman framing the book as both records and extensions of her way of working. …

Paperback. Etat : New. 5b presents Personicx, an artist's book by Theo Christy. The publication focuses on a collection of A4 collages, prints, and drawings by the artist shown at 1:1 scale-facsimiles which maintain an uneasy tension between reality and the squashed surface of the screen.Across each page, characters are introduced, reworked, and recast-imposed over the exhibition documentation, text and checklist, and beneath the twisting silhouette of a ballerina.These exploratory exercises were central to the development of a group of "unboxing paintings" included in When studying the world, the artist's debut solo exhibition at Charity, Glasgow in 2023.A text by Ben Maxwell, titled The Terrifying Space of the Picture, accompanies the publication.'Dispossessed of our illusions, the planes of brown cease to describe the crisp surface of receding cardboard. Instead, they open out psychotically like arbitrary segments cropping the play of light over the churning surface of a vast pool of faecal sludge, incongruous highlights catching cracks in the ceilings of different caves, cropped by disgusted lines, or by the canvas edge, like the bottom left corner where a radial current threatens to spill out onto the wall below.'Theo Christy is an artist based in Glasgow. Christy is one half of Gallery Malmo, an ongoing collaboration with artist Gregor Horne. Recent exhibitions include: Charity at David Dale (with Gregor Horne), David Dale Gallery (2024), Would you be worried if one of these Scottish people ceased to exist?, Govan Project Space (2024) and Sick of it, Charity (2023).Ben Maxwell is an artist living in London.…

Hardback. Etat : New. I don't know how to offer criteria for a "bookish" painting, but I know one when I see it.- Nick Irvin (from Tape Notes)5b and Theta are delighted to announce A landscape shredded, the first book devoted to the work of New York-born and based artist, Molly Rose Lieberman. Working across painting, sculpture, poetry - and moonlighting as a museum archivist - Lieberman moves freely between objective systems and expressive invention. Pre-formats lay foundations for the artist to explore textures, colours, shapes, and energies that are built through unique rules she crafts to move compositions forward. Sometimes works are built around previously used frames, utilised conventionally or as sites for transmutation. Observations drawn from life - a passerby's posture, a handwritten sign - become catalysts for emerging forms. What surfaces are works that hold both structure and drift, each becoming a strangely romantic container for time, place, and process.This book arose from a refusal to summarise Lieberman's work through broad terms such as 'abstraction' or 'collage', and from a shared delight in the layered, often circuitous stories of how her works come into being: recounting how a painting was carried daily on a dolly to a park so it could be spray-painted in dialogue with a shoe that inspired its palette, or how a cold-wax and oil painting of two figures evolved from the handwritten phrase, 'Coffee is the devil'. A landscape shredded takes these anecdotes seriously. At its core is an index: a catalogue of process, reference, and association that resists linear explanation.The publication brings together 37 works made over the last eight years, including new paintings from Lieberman's 2026 exhibitions in Glasgow and New York, which coincide with the UK and US book launches. Works are accompanied by layered commentary: from the artist herself; from Joel Dean, who has previously written about Lieberman's work; and from Theta director Jordan Barse, sometimes in the professional register of her dealer, sometimes in the more intimate, anecdotal voice of someone who cannot help referring to the artist as 'Molly' when describing the wallpaper above her bed.A landscape shredded offers an entry into the fragments, references, and lived moments that shape Lieberman's practice, with two original texts by Nick Irvin and Molly Rose Lieberman framing the book as both records and extensions of her way of working. …

Paperback. Etat : New. 5b presents Personicx, an artist's book by Theo Christy. The publication focuses on a collection of A4 collages, prints, and drawings by the artist shown at 1:1 scale-facsimiles which maintain an uneasy tension between reality and the squashed surface of the screen.Across each page, characters are introduced, reworked, and recast-imposed over the exhibition documentation, text and checklist, and beneath the twisting silhouette of a ballerina.These exploratory exercises were central to the development of a group of "unboxing paintings" included in When studying the world, the artist's debut solo exhibition at Charity, Glasgow in 2023.A text by Ben Maxwell, titled The Terrifying Space of the Picture, accompanies the publication.'Dispossessed of our illusions, the planes of brown cease to describe the crisp surface of receding cardboard. Instead, they open out psychotically like arbitrary segments cropping the play of light over the churning surface of a vast pool of faecal sludge, incongruous highlights catching cracks in the ceilings of different caves, cropped by disgusted lines, or by the canvas edge, like the bottom left corner where a radial current threatens to spill out onto the wall below.'Theo Christy is an artist based in Glasgow. Christy is one half of Gallery Malmo, an ongoing collaboration with artist Gregor Horne. Recent exhibitions include: Charity at David Dale (with Gregor Horne), David Dale Gallery (2024), Would you be worried if one of these Scottish people ceased to exist?, Govan Project Space (2024) and Sick of it, Charity (2023).Ben Maxwell is an artist living in London.…

Hardback. Etat : New. I don't know how to offer criteria for a "bookish" painting, but I know one when I see it.- Nick Irvin (from Tape Notes)5b and Theta are delighted to announce A landscape shredded, the first book devoted to the work of New York-born and based artist, Molly Rose Lieberman. Working across painting, sculpture, poetry - and moonlighting as a museum archivist - Lieberman moves freely between objective systems and expressive invention. Pre-formats lay foundations for the artist to explore textures, colours, shapes, and energies that are built through unique rules she crafts to move compositions forward. Sometimes works are built around previously used frames, utilised conventionally or as sites for transmutation. Observations drawn from life - a passerby's posture, a handwritten sign - become catalysts for emerging forms. What surfaces are works that hold both structure and drift, each becoming a strangely romantic container for time, place, and process.This book arose from a refusal to summarise Lieberman's work through broad terms such as 'abstraction' or 'collage', and from a shared delight in the layered, often circuitous stories of how her works come into being: recounting how a painting was carried daily on a dolly to a park so it could be spray-painted in dialogue with a shoe that inspired its palette, or how a cold-wax and oil painting of two figures evolved from the handwritten phrase, 'Coffee is the devil'. A landscape shredded takes these anecdotes seriously. At its core is an index: a catalogue of process, reference, and association that resists linear explanation.The publication brings together 37 works made over the last eight years, including new paintings from Lieberman's 2026 exhibitions in Glasgow and New York, which coincide with the UK and US book launches. Works are accompanied by layered commentary: from the artist herself; from Joel Dean, who has previously written about Lieberman's work; and from Theta director Jordan Barse, sometimes in the professional register of her dealer, sometimes in the more intimate, anecdotal voice of someone who cannot help referring to the artist as 'Molly' when describing the wallpaper above her bed.A landscape shredded offers an entry into the fragments, references, and lived moments that shape Lieberman's practice, with two original texts by Nick Irvin and Molly Rose Lieberman framing the book as both records and extensions of her way of working. …

Hardback. Etat : New. Self-Portrait is an unassuming yet complex project by Miriam Yammad, ongoing since 2008 and published by 5b in book form for the first time. In this work, the artist photographs people based on their physiognomic likeness to herself. Throughout the images, we recognise shared qualities and contrasts alike. By employing various ubiquitous technologies - Polaroid cameras, iPhones, filters - Yammad imbues in the work a subtle sense of the uncanny, each portrait set oddly out of time. Formally modest and playful in its own way, the series is nevertheless bound by a rigorous conceptual framework: Yammad herself is never photographed. As simple as it is provocative, the work is charged with Yammad's connective instinct and a desire to relate - however fleetingly - rather than identify. The publication features an accompanying text by Miriam Stoney, and will be launched with a two-person exhibition featuring both artists at 20 Albert Road, Glasgow (open 31 May-29 June, 2025).…

Paperback. Etat : New. Not Quite Good Enough to be on TV Harmonies is Robertson's ode to the form of the guitar: a suite of new drawings rendered in oil pastel, and directly connected to her new large scale paintings. In the artist's words: "Living around guitars means they are often just sat in your peripheral vision, curving, almost bent over in the corner of a room." The work's range is a testament to the instrument's potential - its relation to the body, performance and experimentation, and its position as an object of intimacy and expression. The cover of the book features the original lyrics to Blue Car, from the 2023 album of the same name. Joanne Robertson is a musician, painter and poet. She collaborates regularly with her friends, including Sidsel Meineche Hansen, Dean Blunt, Byron Coley and Jasper Baydala (Kool Music). Her painting and music both form from improvisatory moments of expression. Robertson is based in Glasgow and is represented by Édouard Montassut, Paris and Company, New York.…

Paperback. Etat : New. 5b presents Personicx, an artist's book by Theo Christy. The publication focuses on a collection of A4 collages, prints, and drawings by the artist shown at 1:1 scale-facsimiles which maintain an uneasy tension between reality and the squashed surface of the screen.Across each page, characters are introduced, reworked, and recast-imposed over the exhibition documentation, text and checklist, and beneath the twisting silhouette of a ballerina.These exploratory exercises were central to the development of a group of "unboxing paintings" included in When studying the world, the artist's debut solo exhibition at Charity, Glasgow in 2023.A text by Ben Maxwell, titled The Terrifying Space of the Picture, accompanies the publication.'Dispossessed of our illusions, the planes of brown cease to describe the crisp surface of receding cardboard. Instead, they open out psychotically like arbitrary segments cropping the play of light over the churning surface of a vast pool of faecal sludge, incongruous highlights catching cracks in the ceilings of different caves, cropped by disgusted lines, or by the canvas edge, like the bottom left corner where a radial current threatens to spill out onto the wall below.'Theo Christy is an artist based in Glasgow. Christy is one half of Gallery Malmo, an ongoing collaboration with artist Gregor Horne. Recent exhibitions include: Charity at David Dale (with Gregor Horne), David Dale Gallery (2024), Would you be worried if one of these Scottish people ceased to exist?, Govan Project Space (2024) and Sick of it, Charity (2023).Ben Maxwell is an artist living in London.…

Hardback. Etat : New. I don't know how to offer criteria for a "bookish" painting, but I know one when I see it.- Nick Irvin (from Tape Notes)5b and Theta are delighted to announce A landscape shredded, the first book devoted to the work of New York-born and based artist, Molly Rose Lieberman. Working across painting, sculpture, poetry - and moonlighting as a museum archivist - Lieberman moves freely between objective systems and expressive invention. Pre-formats lay foundations for the artist to explore textures, colours, shapes, and energies that are built through unique rules she crafts to move compositions forward. Sometimes works are built around previously used frames, utilised conventionally or as sites for transmutation. Observations drawn from life - a passerby's posture, a handwritten sign - become catalysts for emerging forms. What surfaces are works that hold both structure and drift, each becoming a strangely romantic container for time, place, and process.This book arose from a refusal to summarise Lieberman's work through broad terms such as 'abstraction' or 'collage', and from a shared delight in the layered, often circuitous stories of how her works come into being: recounting how a painting was carried daily on a dolly to a park so it could be spray-painted in dialogue with a shoe that inspired its palette, or how a cold-wax and oil painting of two figures evolved from the handwritten phrase, 'Coffee is the devil'. A landscape shredded takes these anecdotes seriously. At its core is an index: a catalogue of process, reference, and association that resists linear explanation.The publication brings together 37 works made over the last eight years, including new paintings from Lieberman's 2026 exhibitions in Glasgow and New York, which coincide with the UK and US book launches. Works are accompanied by layered commentary: from the artist herself; from Joel Dean, who has previously written about Lieberman's work; and from Theta director Jordan Barse, sometimes in the professional register of her dealer, sometimes in the more intimate, anecdotal voice of someone who cannot help referring to the artist as 'Molly' when describing the wallpaper above her bed.A landscape shredded offers an entry into the fragments, references, and lived moments that shape Lieberman's practice, with two original texts by Nick Irvin and Molly Rose Lieberman framing the book as both records and extensions of her way of working. …