The ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book for those who like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. It provides information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. The ideal guide for those with a passion for both nature and sculptures.

This book is a retrospective volume on Latin American new media arts, arising from the Cities in Dialogue exhibition that was held in in FACT in conjunction with the University of Liverpool and the Liverpool Independents Biennial in 2014. There is also plenty of detail about the other events that were held during 2014 and into 2015, including workshops, artist talks, Twitter galleries and the Artist in Residence and his activities. One chapter is dedicated to each artist and the works they presented at the exhibition: Brian Mackern from Uruguay, Barbara Palomino from Chile, Marina Zerbarini from Argentina, and Ricardo Miranda Zuniga from the US. There is also an extensive chapter about the exciting new residence artwork created by Artist in Residence Brian Mackern. Entitled This Too Shall Pass// Affective Cartographies, this work is based on footage obtained through a series of unplanned journeys along Liverpool's urbanscape. The gathering of information and recording of sound and visual material during these journeys is then remixed in this artwork by different parameters (volume levels, transparencies, zooms, fragmentations, crossfadings, speeds of timelines, etc.) controlled by Liverpool's "socio economic historic curve" of the last century. In this book you can find out about all of these works, and other pieces by these artists. The book includes full colour images throughout, including exclusive images of works in progress, as well as excerpts of interviews with the artists. At the back of the book you can find links to online resources, including the art works themselves, audio interviews with the artists, image galleries, and more.

Last published in a nineteenth-century catalogue, the distinguished Torlonia Collection of more than 600 priceless Greek and Roman works marbles and bronzes, reliefs and sarcophagi, depictions of gods, and portraits of emperors is one of the most important assemblages of classical sculptures still in private hands anywhere in the world. This eagerly awaited volume presents a selection of nearly 100 sculptures, which have been chosen for their quality and historic significance and which will be featured in an unprecedented exhibition designed by David Chipperfield and held in the Villa Caffarelli, near the Musei Capitolini in Rome, before touring globally. The legendary aura surrounding this, Rome s last princely collection, is due not only to its extraordinary scope and the high quality of the works, but also to the fact that the collection has not been available to the public for decades. This revelatory book features multiple essays by leading experts on the history of the collection and scholarly entries for the works detailing important discoveries made through archaeological research as well as the cleaning and conservation of the sculptures.

This unique reflection on the world of Robert Burns places a range of photographic artworks by celebrated Scottish artist Calum Colvin alongside poems written in response to each work by 'weel-kent' Scots poet Rab Wilson. Colvin's multi-referential artworks are concerned with the very process of looking, perceiving and interpreting. The potential meaning of any individual piece is intrinsically linked to the viewer’s personal deconstruction of the image. Utilising the unique fixed-point perspective of the camera, Colvin creates and records manipulated and constructed images in order to create elaborate narratives which meditate on numerous aspects of Scottish culture, identity and the human condition in the early 21st century. At times witty, controversial and tender, the images are presented alongside poems in response by Rab Wilson which equally reflect on the life and aspects of Burns to dwell on who we are, and where we have been, toward what we may become. As Burns reflected through his art the world he inhabited, these works and words strive to reflect on a myriad of contemporary concerns.

This book is about the digital interface and its use in interactive new media art installations. It examines the aesthetic aspects of the interface through a theoretical exploration of new media artists, who create, and tactically deploy, digital interfaces in their work in order to question the socio-cultural stakes of a technology that shapes and reshapes relationships between humans and non-humans. In this way, it shows how use of the digital interface provides us with a critical framework for understanding our relationship with technology.

Sam Durant is a multimedia artist whose work engages social, political, and cultural issues. His work has been widely exhibited in the UK, Europe, Asia and the Americas. It has been included in the Panama, Sydney, Venice, and Whitney Biennials and can be found in many public collections including MOMA, New York, Project Row Houses, Houston and Tate Modern, London. Based in Los Angeles, Durant teaches at the California Institute of the Arts. Durant's 'The Meeting House' (2016) was a public art project at The Old Manse, a National Historic Landmark built in 1770 and former home and gathering place for politicians, thinkers, and transcendentalists including Ralph Waldo Emerson and Nathaniel Hawthorne. The sister exhibition at Blum & Poe, Los Angeles in 2017, 'Build Therefore Your Own World', introduced new works that expanded upon Durant's premise of the interdependence between transcendentalists, abolitionists, and African American writers of pre- and post-revolutionary America in the creation of American culture and identity.Featured in The Meeting House / Build Therefore Your Own World is a full-colour photo documentation of the project in Concord, MA and Los Angeles, CA as well as new essays by Pedro Alonzo, independent curator, and Tim Phillips, pioneer in the field of conflict resolution and reconciliation; and a new collection of poems by Tisa Bryant, Robin Coste Lewis, Danielle Legros Georges, and Kevin Young, who recently became Director of the Schomburg Center for Research in Black Culture in New York.

These powerful works, all completed in 2016, are reproduced in this stunning new volume in beautiful colour-saturated plates to which black and white installation photos, as well as studio shots, provide a striking contrast. New texts by art historian Yve-Alain Bois and art critic Ben Eastham situate these new works within Ruscha s larger oeuvre and provide detailed insight into particular works. In the restrained paintings that comprise Extremes and In-Betweens, Ruscha sets into motion a dynamic interplay of words and their meanings in ascending and descending shifts of scale and tone that echo the relation of macrocosm to microcosm. Although his images are undeniably rooted in the signs and symbols of American reality closely observed, his elegant and laconic art speaks to more complex and widespread issues regarding the appearance, feel, and function of the world and our tenuous and transient place within it.

In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark's Conical Intersect (1975) is emblematic of Henri Lefebvre's understanding of art's function in relation to urban space. By engaging with Lefebvre's theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille, the book elicits a story that presents the artwork's significance, origins and legacies. Conical Intersect is a multi-media artwork, which involves the intersections of architecture, sculpture, film, and photography, as well as being a three-dimensional model that reflects aspects of urban, art, and architectural theory, along with a number of cultural and historiographic discourses which are still present and active. This book navigates these many complex narratives by using the central 'hole' of Conical Intersect as its focal point: this apparently vacuous circle around which the events, documents, and other historical or theoretical references surrounding Matta-Clark's project, are perpetually in circulation. Thus, Conical Intersect is imagined as an insatiable absence around which discourses continually form, dissipate and resolve. Muir argues that Conical Intersect is much more than an 'artistic hole.' Due to its location at Plateau Beaubourg in Paris, it is simultaneously an object of art and an instrument of social critique.

Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker's work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere. This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art - Neudecker's first comprehensive solo exhibition in Ireland - presents more than 200 works from a 35-year-long career. In addition to a foreword by Una McCarthy, the gallery's Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker's practice. A 'timeline' that Neudecker made specially for 'SEDIMENT' concludes the publication. Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker's archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker's practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions. James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and 'time', while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker's work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialisation in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker's photographic series 'Plastic Vanitas' (2015). Dominic Gray, Projects Director at Opera North, offers insight into Neudecker's work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker's work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley's second offering returns to Neudecker's use of sound - its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates 'temporal turbulences' and 'an entanglement of materiality, space, form and position,' foregrounding the artist's desire for viewers to see everything as eternally in flux. The publication, which is released to coincide with a new iteration of Neudecker's exhibition 'SEDIMENT' at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London. Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987-90), and an MA in sculpture at Chelsea College of Art and Design, London (1990-1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN's guest programme, the European Commission's JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

Site-Specific Art charts the development of an experimental art form in an experimental way. Nick Kaye traces the fascinating historical antecedents of today's installation and performance art, while also assembling a unique documentation of contemporary practice around the world.
The book is divided into individual analyses of the themes of space, materials, site, and frames. These are interspersed by specially commissioned documentary artwork from some of the world's foremost practitioners and artists working today. This interweaving of critique and creativity has never been achieved on this scale before.
Site-Specific Art investigates the relationship of architectural theory to an understanding of contemporary site related art and performance, and rigorously questions how such works can be documented.
The artistic processes involved are demonstrated through entirely new primary articles from:
* Meredith Monk
* Station House Opera
* Brith Gof
* Forced Entertainment.
This volume is an astonishing contribution to debates around experimental cross-arts practice.

Contents:
Acknowledgments Introduction 1. Spaces 2. Site 3. Materials 4. Frames Conclusion Notes on Contributors Notes Bibliography

In the 15th century, the ideas of the great Renaissance artists required the attentions of engineers and artisans to construct and explain the dynamics of their ambitious works. Leonardo da Vinci's helicopter was built in a studio; very probably his submarine, too. Today that endeavour and enquiry is represented by Mike Smith, whose studio in the Old Kent Road in London furnishes the architecture for the most pressing installations and sculptures of young British artists. He is the carborundum that enables the best artists working in Britain today to realise their work--Rachel Whiteread's Monument in Trafalgar Square is a testament to his abilities. The painter Patsy Craig has here unravelled the activities of the Mike Smith Studios, including the symbiosis of the studio with those of Damien Hirst, Mona Hatoum, Keith Tyson, Darren Almond, Mark Wallinger, and others. The last 12 years of the studio's archives include the detritus, correspondence, notes, ideas, failures, and successes of these and other artists who collaborate with the studio. They are a diary and vade mecum of the construction of a significant theory in current British art. It is an extraordinary assembly of the very templates of the thinking, design and creation of art in Britain today, edited with a painter's eye to the relevant and disdain for the irrelevant. It is as if one were provided with a pop-up illustration of how and why artists think, and how their ideas are engineered by those who translate their odessys into reality. Germano Celant, a Senior Curator for Guggenheim New York, has contributed the critical text. William Furlong, from Audio Arts, has conducted the artists' interviews.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Miroslaw Balka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for 'archival' media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

Recent representations of the Holocaust have increasingly required us to think beyond rigid demarcations of nation and history, medium and genre. Holocaust Intersections sets out to investigate the many points of conjunction between these categories in recent images of genocide. The book examines transnational constellations in Holocaust cinema and television in Europe disclosing instances of border-crossing and boundary-troubling at levels of production, distribution and reception. It highlights intersections between film genres, through intertextuality and pastiche, and the deployment of audio-visual Holocaust memory and testimony. Finally, the volume addresses connections between the Holocaust and other histories of genocide in the visual culture of the new millennium, engaging with the questions of transhistoricity and intercultural perspective. Drawing on a wide variety of different media - from cinema and television to installation art and the internet - and on the most recent scholarship on responses to the Holocaust, the volume aims to update our understanding of how visual culture looks at the Holocaust and genocide today.

Chateau La Coste, near Aix-en-Provence, is a unique property that combines sculptural artworks by leading contemporary artists alongside works by some of the world's best-known architects, all within the grounds of a working organic vineyard. Since 2004 the estate, which occupies an ancient site, has been transformed into an exceptional plein-air museum, and the number of installations grows every year. The spreading collection lies within the walk of a spectacular Art Centre, designed by the world-renowned Japanese architect Tadao Ando. On the reflecting pool in front of the building is one of Louise Bourgeois' giant arachnoid sculptures, Crouching Spider. To the north lies a futuristic winery by Jean Nouvel. By taking one of several routes to the south or west, the visitor encounters such monumental installations as Sean Scully's sculpture of stacked blocks of limestone, Wall of Light Cubed; Richard Serra's steel sheets, AIX; and Oak Room by Andy Goldsworthy, a cave of interwoven oak branches, integrated into an old stone wall. Installations by Liam Gillick, Kengo Kuma, Paul Matisse, Sophie Calle and many others punctuate the pathways. And by an ancient Roman route, Ai Weiwei has created another new path up the hillside, using paving stones salvaged from the renovated port at Marseilles. Overlooking the site is a 16th-century chapel restored by Ando and enclosed by a framework of steel and glass. The music and exhibition pavilions, close to the `village' of buildings at the heart of the property, have been designed by Frank Gehry and Renzo Piano respectively. In this stunning new book, Robert Ivy of the American Institute of Architects and the curator Alistair Hicks explore each work of architecture and art installation in depth. Their insightful commentaries are accompanied by specially commissioned photographs by the acclaimed architectural photographer Alan Karchmer. The book is arranged into sections covering all areas of the property, so that the reader is able to experience and discover Chateau La Coste as a visitor would. In the introduction, Ivy relates the conception, creation and further development of Chateau La Coste by its owner, Patrick McKillen; while, to conclude the book, Hicks considers the site's ever-increasing exhibition programme. Throughout the pages, the reader will feel transported to idyllic Provence, to this most remarkable and significant collection of modern and contemporary art and architecture.

Christo (1935-2020) and Jeanne-Claude (1935-2009) created some of the most breathtaking artworks of the 20th and 21st centuries. Their projects radically questioned traditional conceptions of painting, sculpture, and architecture. This lavish photo book is the first comprehensive publication on the artists' oeuvre to be released after Christo's death in May 2020. It also serves as a curtain-raiser for Christo und Jeanne-Claude's last major project - the wrapping of the Arc de Triomphe in Paris, which will be carried out posthumously in the fall of 2021. Presenting a wealth of photographs and studio snapshots from 1949 to 2020, some of which are private, this book allows an intimate peek behind the scenes of Christo und Jeanne-Claude's monumental installations which fascinated the public for decades. In addition to pictures capturing the artists at work, it includes photos documenting all of their major projects. Matthias Koddenberg (b.1984), art historian and close friend of the artists, spent many years compiling the more than 300 images featured in this volume. Among them are pictures taken by companions and friends and hitherto unpublished photographs from the artists' estate. Together they tell the extraordinary story not only of the couple's artistic collaboration, but also of their five-decade-long partnership.