Rebecca Warren's first monograph is chronological review of her career to date. Showing both key works and installation shots, (including the Turner Prize, Serpentine Gallery, the 54th Venice Biennale and numerous interntional solo exhibitions) her work is further contextualised with an essay by Bice Curiger, editor of Parkett. Warren's sculptures in clay, bronze and steel, ebb from figuration to abstraction, ranging from the amorphous to more clearly recognizable forms. Always evident in Warren's work is the negotiation between thought and process. Ideas and influences are filtered, distorted and often discarded as they find three-dimensional form. Her sculptures can be tender and droll, yet also aggressive in their depiction of the female form. Yet while she often manages to both invoke and skewer the work of familiar male artists such as Willem de Kooning, Alberto Giacometti and cartoonist R. Crumb, individually and collectively Warren's works form an entirely modern, complex and distinctive visual language. "She is no pasticher of the past," wrote Jonathan Jones in The Guardian, "but an original and formidable talent."