Baskets made by the people of the mid-Columbia River are among the finest examples of Indian textile art in North America, and they are included in the collections of most major museums. The traditional designs and techniques of construction reveal a great artistic heritage that links modern basketmakers to their ancestors. Yet baskets are also everyday objects of a utilitarian nature that reveal much about mid-Columbia culture---a flat twined bag has greatest value when it is plump with dried roots, a coiled basket when full of huckleberries. In Columbia River Basketry, Mary Schlick writes about the weavers who at the time of European contact lived along the Columbia River from just above its confluence with the Yakima River westward to the vicinity of present-day Portland, Oregon, and Indian groups living along the river. She presents the baskets in the context of the lives of the people who created and used them. She also writes about the descendants of the early basket weavers, to whom basketry skills have been passed and from whom she herself learned to make baskets. Schlick blends mythology, personal reminiscences, materials, and basketry techniques. Written with deep understanding and appreciation of the artists and their work, Columbia River Basketry will be an inspirational sourcebook for basket weavers and other craftspeople. It will also serve as an invaluable reference for scholars, curators, and collectors in identifying, dating, and interpreting examples of Columbia River basketry.

The exuberant realism and virtuoso technique of Hellenistic sculpture formed the basis of European art. Under Alexander and his cosmopolitan successors, sculptors enriched the classical Greek repertoire with a whole range of new subjects - hermaphrodites, putti, peasants, boxers - and new styles - baroque treatment, genre figures, individualized portraiture. Professor Smith offers a reappraisal of this entire artistic epoch as a period of innovation, demonstrating the variety, subtlety and complexity of its styles. Numerous illustrations reveal the skill and inventiveness of the Hellenistic masters, who created works of great beauty and expressive power. The result is a lively survey of a vital phase in the evolution of Western art.

Tracing the history of the cult of Ludovica, the Altieri Chapel, and the statue, Shelley Perlove illuminates Bernini's contribution, both artistically and iconographically, to the chapel and proposes an interpretation of the precise nature of the experience the beata is undergoing in the sculpture. This interpretation is developed from an examination of the statue in the full context of other works of art in the chapel, medieval and Renaissance tomb sculpture, contemporary accounts of Ludovica's life and cult, and devotional Catholic literature undoubtedly known to Bernini. Woven into an iconographic scheme whose layers of meaning are mutually independent, the statue and the other elements in the chapel convey a unified conception.

This book deals with the use of archaistic stylistic elements (i.e., those which revive or imitate features of Greek Archaic art) in free standing statuary dating from the second century B.C. to the third century A.C. The main objective of the study is to determine how the archaistic style was used, what prototypes were imitated, what subjects were represented, how the replicas of statue types were distributed, how these statues were displayed, and what prompted such stylistic anachronism.
The introductory chapter deals with general problems of archaism in ancient art and the specific questions pertaining to statuary in the round. The body of material, nearly three hundred pieces in all, is organized by type on the basis of pose and garment arrangement.
In a concluding chapter, evidence from the body of the study is collected and possible answers are suggested for the questions outlined above.
This study contributes to the currently widespread scholarly interest in stylistic revivals (especially classicism and archaism) which occurred not only in Roman times, but in earlier and later periods as well.

This text presents a comprehensive study of the Hawaiian sculptural tradition. The book documents most known extant indigenous carvings of the human figure and identifies their locations in public and private collections.The illustrations illuminate the wooden sculpture of artists whose names are unknown. This revised edition includes pieces discovered since the first edition.

For many people there is no more satisfying expression of Greek art than its sculpture. It was the first, the only ancient art to break free from 'conceptual' conventions for representing men and animals, and to explore consciously how art might imitate nature or even improve upon it. The first stages of this discovery, from the semi-abstract beginnings in the eighth century BC to the more representational art of the early fifth century, are explored and copiously illustrated in this handbook.

This book is a guide to the different totem poles of the North West.

Ezra Pound's book on the French sculptor Henri Gaudier-Brzeska was first published in 1916. An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musee de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier--a sculptor to the last--carved a madonna and child from the butt of a captured German rifle, just two days before he died.

The power of the image of the nude--the expressivity of the flesh--has inspired artists from the beginning. An understanding of human form is essential for artists to be able to express themselves with the figure. Anatomy makes the figure. Human Anatomy for Artists: The Elements of Form is the definitive analytical work on the anatomy of the human figure.
No longer will working artists have to search high and low to find the information they need. In this, the most up-to-date and fully illustrated guide available, Eliot Goldfinger--sculptor, illustrator, scientific model-maker, and lecturer on anatomy--presents a single, all-inclusive reference to human form, capturing everything artists need in one convenient volume. Five years in the making, and featuring hundreds of photos and illustrations, this guide offers more views of each bone and muscle than any other book ever published: every structure that creates or influences surface form is individually illustrated in clear, carefully lit photographs and meticulous drawings. Informed by the detailed study of both live models and cadavers, it includes numerous unique presentations of surface structures--such as fat pads, veins, and genitalia--and of some muscles never before photographed. In addition, numerous cross sections, made with reference to CT scans, magnetic resonance imaging, and cut cadavers, trace the forms of all body regions and individual muscles. Information on each structure is placed on facing pages for ease of reference, and the attractive two-color format uses red ink to direct readers rapidly to important points and areas. Finally, an invaluable chapter on the artistic development of basic forms shows in a series of sculptures the evolution of the figure, head, and hands from basic axes and volumes to more complex organic shapes. This feature helps place the details of anatomy within the overall context of the figure.
Certain to become the standard reference in the field, Human Anatomy for Artists will be indispensable to artists and art students, as well as art historians. It will also be a useful aid for physical and dance therapists, athletes and their trainers, bodybuilders, and anyone concerned with the external form of the human body. With the renewed interest in figurative art today, this will be an especially welcome volume.

From media art archeology to contemporary interaction design - the term interface culture is based on a vivid and ongoing discourse in the fields of interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions and the cultural discourse surrounding them. This book's aim is to give an overview of the current state of interactive art and interface technology as well as an outlook on new forms of hybridization in art, media, scientific research and every-day media applications.

Experience the interdisciplinary performance scene of the 1980s and beyond through the eyes of one of its most compelling witnesses. Jacki Apple’s Performance / Media / Art / Culture traces performance art, multimedia theatre, audio arts and dance in the United States from 1983 to the present. Showcasing 35 years of Apple’s critical essays and reviews, the collection explores the rise and diversification of intermedia performance; how new technologies (or rehashed old technologies) influence American culture and contemporary life; the interdependence of pop and performance culture; and the politics of art and the performance of politics.   Apple writes with a journalist’s attention to the immediacy of account and a historian’s attention to structural aesthetic and personal networks, resulting in a volume brimming with big ideas but grounded in concentrated reviews of individual performances. Many of the pieces featured in this collection originally appeared in small press journals and magazines that have now gone out of print. Preserved and republished here for current and future readers, they offer a rich portrait of performance at the end of the millennium.

Since the nineties, Walter Van Beirendonck has been fascinated with masks. They change your identity, invoke a certain atmosphere and have an instant impact. Many artists, among whom are Andre Breton, Pablo Picasso and even Brueghel, have been influenced by them. Power Mask - The Power of Masks elaborates on the many different aspects of masks: the link between Western art and African masks, the supernatural aspect, rituals about masks, masks in fashion or as a fetish...Walter Van Beirendonck is "a truly engaged visionary and a passionate designer, artist and teacher." - Jurgi Persoons, fashion designer. "Walter Van Beirendonck succeeded where I have failed; he turned me into a muscle-man instantly. He is a true artist and there's not many of them around." - Bono, lead singer of U2. "Come along and take a ride into the crazy helter-skelter, inside-out, upside-down world of Walter Van Beirendonck. Colours and shapes reach psychedelic dimensions to charm and astound you." - Stephen Jones, milliner. This book accompanies an expo in the Wereldmuseum (World Museum) Rotterdam, from 1 September 2017 until 7 January 2018.

Leon Keer is the master of optical illusion. The 'Dutch JR' plays with perspectives and creates a whole new world. One in which Snow White is stuck under a door. Or a world in which you unexpectedly enter a seventies living room. This is his first monograph. He allows the reader an exclusive look into his world and imagination. How does he work? And how does a wild idea develop into a gigantic 3D artwork?

Published in conjunction with the most comprehensive exhibition ever devoted to Henri Matisse's paper cut-outs, made from the early 1940s until the artist's death in 1954, this publication presents approximately 150 works in a groundbreaking reassessment of Matisse's colorful and innovative final chapter. The result of research conducted on two fronts--conservation and curatorial--the catalogue offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist's methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished via mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium's unfolding, and period photographs that show the works in process in Matisse's studio.
One of modern art's towering figures, Henri Matisse (1869-1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904-05, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."

Tracing the evolution of the Italian avant-garde’s pioneering experiments with art and technology and their subversion of freedom and control In postwar Italy, a group of visionary artists used emergent computer technologies as both tools of artistic production and a means to reconceptualize the dynamic interrelation between individual freedom and collectivity. Working contrary to assumptions that the rigid, structural nature of programming limits subjectivity, this book traces the multifaceted practices of these groundbreaking artists and their conviction that technology could provide the conditions for a liberated social life. Situating their developments within the context of the Cold War and the ensuing crisis among the Italian left, Arte Programmata describes how Italy’s distinctive political climate fueled the group’s engagement with computers, cybernetics, and information theory. Creating a broad range of immersive environments, kinetic sculptures, domestic home goods, and other multimedia art and design works, artists such as Bruno Munari, Enzo Mari, and others looked to the conceptual frameworks provided by this new technology to envision a way out of the ideological impasses of the age. Showcasing the ingenuity of Italy’s earliest computer-based art, this study highlights its distinguishing characteristics while also exploring concurrent developments across the globe. Centered on the relationships between art, technology, and politics, Arte Programmata considers an important antecedent to the digital age. 

Published annually from 1906 until 1980, Decorative Art, The Studio Yearbook was dedicated to the latest currents in architecture, interiors, furniture, lighting, glassware, textiles, metalware, and ceramics. Since the publications went out of print, the now hard-to-find yearbooks have become highly prized by collectors and dealers. This volume spotlights the futuristic, experimental aesthetic of the 1970s. After the revolutions of the '60s, the world of design and architecture became an increasingly exciting and fast-moving hotbed of ideas, rife with vehemently opposing schools and movements. In many ways it was a more extreme era for design than the previous decade. Experimentalism was everywhere, and many projects, thought not practical, were forward-thinking visions of a new kind of decorative art and design. Various groups advocated returning to natural methods, rejecting style in favor of craft or pushing the logic of industrial living to its concrete, high-rise extreme. Decorative Art 1970s includes the work of the decade's brightest stars, such as Afra and Tobia Scarpa, Luigi Colani, Achille Castiglioni, Kisho Kurokawa, Norman Foster, Richard Meier, and Theo Crosby.

Witness to Phenomenon articulates a fresh examination of the German Group Zero-Heinz Mack, Otto Piene, and Gunter Uecker-and other new tendency artists, who rejected painting and introduced new art media in postwar Europe. Group ZERO evolved into a network across Europe- Amsterdam, Milan, Paris, and Zagreb. This pan-European affiliation of artists generated a continuous stream of innovative artistic statements through the 1960s, incorporating non-traditional materials and new technologies to create kinetic art, light installations, performances, immersive multimedia installations, monumental land art, and the communication media of video and television. They transformed the visual arts from the inanimate objet d'art to a sensory experience by adopting the ascendant philosophy of Phenomenology as their conceptual foundation. Drawing from a decade of research on unpublished archives of the artists and critics of this period, this publication positions Group ZERO as a catalytic art moment in the transition from modern to contemporary art.

The fruits of sixteen years of discriminating acquisition on the international art market, Robert Smith's is one of the most important collections of European bronzes in private hands today. The collection embraces the Renaissance in Italy and northern Europe in such a way that its components complement and enhance the appreciation of each other. Central to the collection is a group of thirteen pieces that illustrate the legacy of Giambologna in Florence. Also assembled are pieces by independent contemporaries: Alessandro Vittoria and Francesco Segala in the Veneto, and the younger Genoese-born Niccolo Roccatagliata, whose surviving work is of the utmost rarity. A selection of fine early North Italian bronzes serves as an introduction to the collection; the Netherlands and France are also well represented. Many pieces have distinguished provenances, and all have been exhaustively researched. The book comprises not just a catalogue but an important and original contribution to scholarship in its own right. This new and extended version of the first edition retains the entries written by Anthony Radcliffe with a few additions or corrections, and an entry that he drafted on the miniature cannon signed by Orazio Antonio Alberghetti has also been incorporated. New entries have been supplied by Marietta Cambareri, currently Curator of Sculpture in the 'Arts of Europe' section of the Museum of Fine Arts, Boston, by Fabio Barry, Mellon intern for 2004 in the Department of Sculpture at the National Gallery of Art, Washington D.C., and by Nicholas Penny.

The Video Art of Sylvia Safdie brings into focus the complete video oeuvre of a pioneering Canadian artist. Tracing the development of Safdie's work and its implications for the future of media art, this volume provides a stunning perspective on her videos and sets a new standard for the presentation of video art in book form.. Safdie's principal video works are presented in the form of more than 200 images, selected and arranged to suggest the content, rhythm, and movement of the videos themselves. Alongside the rich illustrations, the book explores Safdie's video art through a thoughtful introduction to the artist and two insightful critical essays. Eric Lewis relates her videos to her works in other media, considers how she poses key questions in the philosophy of art, and addresses issues concerning Jewish art and identity. He discusses the complex relationship between Safdie's video images and the improvised music she often employs as soundtracks. An essay by music scholar and conductor Eleanor Stubley explores the relationship between the body and mind in Safdie's videos, shedding light on the emotive and sensorial qualities of the breathing body. A vibrant appeal to both the eye and the mind, The Video Art of Sylvia Safdie showcases an artist at the vanguard of video and intermedia art and demonstrates how her work is representative of the next stage in artistic explorations of time, change, corporeality, and our place in nature.

No less versatile in his writing than in his installations, films, architecture, and sculpture, Liam Gillick unites his critical essays in this collection, most of which were originally printed in art magazines or exhibition catalogues. Lauded for his ingenious reinterpretation of Conceptual and Minimalist art, Liam Gillick has often used language, whether in type on a wall or on a page, as a site of artistic, theoretical, and political intervention. He reveals himself here as a witness of and major actor in the largely European 1990s art scene that included Philippe Parreno, Pierre Huyghe, Carsten H ller, Angela Bulloch, Douglas Gordon, and Rirkrit Tiravanija. A key publication of discussions, references, and artistic engagements of the 1990s, the book also allows an examination of the renewed importance at this time of Felix Gonzalez-Torres, John Baldessari, and Allen Ruppersberg.

After the stunning success of ""Classic New Zealand Poets in Performance AUP"" and editors Jack Ross and Jan Kemp now present readings on two CDs from a later generation of 27 poets born from 1944 to 1958. These are the great poets of the 1960s and 1970s such as Ian Wedde, Bill Manhire, Sam Hunt, Jan Kemp, Alan Brunton, as well as some whose names were made more recently such as Bernadette Hall, Stephanie de Montalk, Anne French and Keri Hulme. The CDs of the poets reading their own work are accompanied by a book of the texts of the poems reproducing them exactly as read, as well as brief biographies and bibliographies of each poet. The poets are arranged chronologically by date of birth and each reads for approximately five minutes in recordings made chiefly in 1974 and/or 2004. They were chosen for the quality and significance of their work and their commitment to voice and performance as an integral part of their poetry.

Contents Introduction vii Abbreviations xi List of Illustrations xiii 1. The Setting 1 2. The Puy Doors: Description and Style 11 3. Description and Iconography of the Scenes 35 4. The Place of the Doors in the History of the Cathedral 59 5. Chamalières 84 6. Blesle 117 7. Lavoûte-Chilhac 132 8. Gauzfredus and His Workshop 144 Appendix I. Epigraphy 155 Appendix II. The Lost South Transept Doors of the Cathedral 160 Index 163 Illustrations 169

An edited collection of essays exploring the work and legacy of the academic and theatre-maker Clive Barker. Together, the essays trace the development of his work from his early years as an actor with Joan Littlewood's company, Theatre Workshop, via his career as an academic and teacher, through the publication of his seminal book, Theatre Games (Methuen Drama). The book looks beyond Barker's death in 2005 at the enduring influence of his work upon contemporary theatre training and theatre-making. Each writer featured in the collection responds to a specific aspect of Barker's work, focusing primarily on his early and formative career experiences with Theatre Workshop and his hugely influential development of Theatre Games. The collection as a whole thereby seeks to situate Clive Barker's work and influence in an international and multi-disciplinary context, by examining not only his origins as an actor, director, teacher and academic, but also the broad influence he has had on generations of theatre-makers.