Study of experiments in reconstructing the production of Roman terracotta mouldings. Spanish text.

For twenty-five years, In the Heart of the Beast Mask and Puppet Theatre has staged spectacular performances featuring puppets that sometimes are more than twenty feet tall. This Minneapolis arts organization is one of the premier companies of its kind, recognized nationally and internationally for its lively use of ceremony and ritual in exploring the joys of human existence and posing questions about social injustice. Theatre of Wonder is the companion volume to a retrospective exhibit scheduled for the summer of 1999 at the Frederick R. Weisman Art Museum, featuring masks, puppets, and other artifacts from throughout the theatre's history.

Founded in 1973 by a group of visual and theatrical artists committed to social change, In the Heart of the Beast is best known for its annual May Day parade and festival, an event focusing on environmental, cultural, spiritual, and political themes. Each year more than 35,000 people attend the May Day parade, which the theatre develops through mask- and puppet-making workshops held in conjunction with young people and organizations in its immediate neighborhood, one often troubled by poverty and crime. In the Heart of the Beast has also expanded its activities to include an annual season of productions as well as residencies with elementary and high schools, colleges, and churches.

Theatre of Wonder offers an overview of the creative work In the Heart of the Beast has done in its twenty-five years. It includes more than 80 photographs of everything from hand-held puppets and small masks to the massive puppets for which the group is best known. In addition to a thorough history of the theatre, this volume also provides critical and artisticperspectives on the company's work, celebrating its inspirational, healing, and hopeful visions of what society could become.

This collection of essays is the first of its kind to focus on issues concerning sculpture and reproduction, and to explore their theoretical and practical consequences. What does it mean for a sculpture to be reproduced? Does it diminish or add to the authenticity and authority of the original?
Ranging from the Ancient to the Modern world, and investigating the function of artistic reproduction in cultures as diverse as the Catholic Spain of the Golden Age and the avant-garde of early twentieth century Germany, these essays significantly add to our understanding of a number of major sculptors, including Michelangelo, Rodin and Brancusi.
With essays by Ed Allington, Malcolm Baker, Anthony Hughes, Neil McWilliam, Miranda Marvin, Alexandra Parigoris, Martin Postle, Erich Ranfft and Marjorie Trusted.

Subtitled Figurines et miniatures du Neolithique recent et du Bronze Ancien en Grece' this volume provides a review of the finds, site by site, followed by an essay in their interpretation: morphology and manufacture, context and associations, iconograpy and function. Based on the author's 1989 Sorbonne thesis.

Revealing commentary by the artist himself, plus newly commissioned photographs of George Segal at work, help create an insightful portrait of a fascinating artist. George Segal has enlivened contemporary sculpture with his evocative plaster figures, cast directly from the model and often left a ghostly white. He is best known for his down-to-earth scenes of humble characters in urban environments--a butcher shop, a diner, a local cinema. The familiarity of such mundane surroundings makes Segal's work, at first glance, look deceptively simple. However, as Phyllis Tuchman persuasively explains in her lively and enlightening text, the apparent simplicity of Segal's sculpture masks a rich complexity of meaning. More recent and more colorful work--including the bronze monuments, fragments, and pastels--are also thoroughly represented in the book. About Abbeville's Modern Masters series: With informative, enjoyable texts and over 100 illustrations--approximately 48 in full color--this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artists life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museum goer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.

Entertainment and profit constitute the driving forces behind most popular representations of incarcerated women. Some cinematic representations, however, and the women-in-prison genre especially, can generate complex legal meanings and leave viewers feeling unsettled about women’s incarceration. Focusing on five exemplary films and one television series, from 1933 to the present, Women, Film, and Law asks how fictional representations explore, shape, and refine beliefs about women’s incarceration. Suzanne Bouclin convincingly argues that popular depictions of women’s prisons can illuminate multiple forms of marginalization and oppression experienced by women in conflict with the law.

In 2018 India's prime minister, Narendra Modi, inaugurated the world's tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India's economic reforms of the 1990s. In Gods in the Time of Democracy Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the "infrastructures of the sensible."

Alongside reproductions of films, sculptures and light works, this volume on Sicilian filmmaker Rosa Barba (born 1972) features the new 35mm film From Source to Poem (2016), in which hundreds of archival images evolve into a collage of America's cultural legacy.

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a postcinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.

This book offers an essential reference for anyone interested in contemporary European jewellery design. Through guided conversations with the major designers of today, Roberta Bernabei reveals the creative, conceptual and technical working practices that underpin the aesthetic of each practitioner's work. In addition, the dialogues shed new light on these jewellers' inspiration and their ideas about functionality and the human body. Each interview is supported by photographs and a detailed bibliography and appendix which locates the jewellers' work in galleries, museums as well as online. Major jewellery artists present include: Giampaolo Babetto, Gijs Bakker, Otto Kunzli, Ruudt Peters, Mario Pinton and Tone Vigeland, alongside members of the emergent generation: Ted Noten, Annamaria Zanella and Christoph Zellweger. This book, which opens the door to contemporary jewellery practice, will be welcomed by all students, lecturers and practitioners.

An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others. Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a "frame," video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as "transformation imagery," acknowledging the centrality in video of the transitions between images-and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis-documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.

Performance art was finally recognized as an art form in its own right in the 1970s. In Radical Gestures Jayne Wark situates feminist performance art in Canada and the United States in the social context of the feminist movement and avant-garde art from the 1970s to 2000. She shows that artists drew from feminist politics to create works that, after a long period of modernist aesthetic detachment, made a unique contribution to the re-politicization of art. Wark brings together a wide range of artists, including Lisa Steele, Martha Rosler, Lynda Benglis, Gillian Collyer, Margaret Dragu, and Sylvie Tourangeau, and provides detailed readings and viewings of individual pieces, many of which have not been studied in detail before. She reassesses assumptions about the generational and thematic characteristics of feminist art, placing feminist performance within the wider context of minimalism, conceptualism, land art, and happenings

What is sculpture's primordial nature, its essence, and how should it be redefined? Should sculpture serve society? Why not objects, rather than the human figure, as sculpture's subject? How and what do we see? Why the pedestal? What determines proportion? How can sculpture be meaningfully united with the real world of objects? These were only a few of the questions being asked after 1905questions that led to the revolutionary premises of modern sculpture. In this work, Elsen explores the radical changes that transformed sculpture between roughly 1890 and 1918, signaling the emergence of modern sculpture. He demonstrates how Rodin and his younger venturesome contemporaries changed the look and focus of sculpture, thereby initiating its continual process of redefinition. The result is a fascinating and thought-provoking book. 168 black-and-white illustrations.

This general catalogue, which represents years of work on the systematic cataloguing of Pomodoro's entire sculptural output, covers the full range of works produced by the artist between 1953 and 2003, supplemented with the first complete documentary research into the entire existing bibliography.

"Kunstlersymposien" sind ein weit verbreitetes Phanomen des internationalen Kulturlebens. Erstmals traf sich 1959 eine kleine Gruppe von Bildhauern zum Symposion Europaischer Bildhauer in einem oesterreichischen Steinbruch. Diese Untersuchung arbeitet Faktoren heraus, die zur Entstehung, Konkretisierung und zu Veranderungen der Idee "Bildhauersymposion" fuhrten. Abschliessend wird eine Charakterisierung dieses vielgestaltigen Phanomens in funf Schritten vorgenommen. Auszuge aus den Gesprachen, die die Autorin mit Beteiligten gefuhrt hat, erganzen die Rekonstruktion und zeigen kontroverse Haltungen und Erlebnisse auf. Zur Erfassung der Informationsfulle wurde eine Datenbankstruktur erstellt; Ausdrucke der darin gespeicherten Daten sowie die vollstandigen Gesprachstexte befinden sich auf der beiliegenden CD-ROM. This book contains an English and Japanese summary.