Canadian-made W.J. Hughes "Corn Flower" is a distinctive floral design cut on glass stem and tableware. Produced from 1914 to 1988, Corn Flower was a popular gift item, widely collected and used by at least three generations of Canadian families. Corn Flower: Creatively Canadian contains a history of the Hughes family in Ontario, the life and work of Jack Hughes and the detailed business history of the Company from its inception in the basement of the family home to becoming a popular Canadian corporation.

Collectors from across North America will be fascinated by the profusion of splendid photographs, both black & white and colour, of the Corn Flower lines of glassware, many from the original company catalogues. Within the text are clues to the identification of authentic Corn Flower and the differentiation of blanks.

Figural and non-figural supports are a ubiquitous feature of Roman marble sculpture; they appear in sculptures ranging in size from miniature to colossal and of all levels of quality. At odds with modern ideas about beauty, completeness, and visual congruence, these elements, especially non-figural struts, have been dismissed by scholars as mere safeguards for production and transport. However, close examination of these features reveals the tastes and expectations of those who commissioned, bought, and displayed marble sculptures throughout the Mediterranean in the Hellenistic and Roman periods. Drawing on a large body of examples, Greek and Latin literary sources, and modern theories of visual culture, this study constitutes the first comprehensive investigation of non-figural supports in Roman sculpture. The book overturns previous conceptions of Roman visual values and traditions and challenges our understanding of the Roman reception of Greek art.

This book showcases and puts into historical context a host of sculpted works created in the 1920s and 1930s in the decorative vernacular defined loosely today as `Art Deco'. Whether designed as free-standing statuary for the domestic market or commissioned for some form of architectural placement, as a frieze on a building's facade or as a public monument or pool fountain, the works shown demonstrate a sometimes bewilderingly broad range of styles and stylistic influences: from the chevrons, sunbursts, maidens, fountains, floral abstractions and ubiquitous biche (doe) of the Parisian geometric style to the crisp, angular patterns of the zig-zag, jazz-age, streamlined aesthetic of the 1930s. Alastair Duncan organizes his subject into three main categories: the first features work by avant-garde sculptors (Csaky, Janniot, Pompon, etc), often as pieces uniques or small editions; the second shows commercial sculpture, comprising mainly large-edition statuary, commissioned as decorative works for the burgeoning 1920s domestic market; while a final, third category covers architectural and monumental sculpture from West and Eastern Europe, Scandinavia, North America, Brazil and beyond. With artists' biographies and details of manufacturers, a full glossary and a thematic index, this volume is the essential and authoritative guide for all those interested in the Art Deco style, from the amateur collector of animalier sculpture to professional historians of the period.

In archaic and classical Greece, statues played a constant role in people's religious, political, economic, aesthetic, and mental lives. Evidence of many kinds demonstrates that ancient Greeks thought about--and interacted with--statues in ways very different from our own. This book recovers ancient thinking about statues by approaching them through contemporary literary sources. It not only shows that ancient viewers conceived of images as more operative than aesthetic, but additionally reveals how poets and philosophers found in sculpture a practice ''good to think with.''

Deborah Tarn Steiner considers how Greek authors used images to ponder the relation of a copy to an original and of external appearance to inner reality. For these writers, a sculpture could straddle life and death, encode desire, or occasion reflection on their own act of producing a text. Many of the same sources also reveal how thinking about statues was reflected in the objects' everyday treatment. Viewing representations of gods and heroes as vessels hosting a living force, worshippers ritually washed, clothed, and fed them in order to elicit the numinous presence within.

By reading the plastic and verbal sources together, this book offers new insights into classical texts while illuminating the practices surrounding the design, manufacture, and deployment of ancient images. Its argument that images are properly objects of cultural and social--rather than purely aesthetic--study will attract art historians, cultural historians, and anthropologists, as well as classicists.

Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even be considered in relation to furniture and industrial design. This book encourages you to consider the multiple forms and everyday guises sculpture can take.

Exploring Western sculpture with examples from antiquity through to the present day, Mary Acton shows you how to analyse and fully experience sculpture, asking you to consider questions such as What do we mean by the sculptural vision? What qualities do we look for when viewing sculpture? How important is the influence of the Classical Tradition and what changed in the modern period? What difference does the scale and context make to our visual understanding?

With chapters on different types of sculpture, such as free-standing figures, group sculpture and reliefs, and addressing how the experience of sculpture is fundamentally different due to the nature of its relationship to the space of its setting, the book also explores related themes, such as sculpture s connection with architecture, drawing and design, and what difference changing techniques can make to the tactile and physical experience of sculpture.

Richly illustrated with over 200 images, including multiple points of view of three dimensional works, examples include the Riace bronzes, Michelangelo s "David," Canova s "The Three Graces," medieval relief sculptures, war memorials and works from modern and contemporary artists, such as Henry Moore, Cornelia Parker and Richard Serra, and three-dimensional designers like Thomas Heatherwick.

A glossary of critical and technical terms, further reading and questions for students, make this the ideal companion for all those studying, or simply interested in, sculpture."

Elke handwerker wat ervaar hoe maklik dit is om ingewikkelde ontwerpe met piouter te skep, raak versot op piouterwerk. Sandy Griffiths se boeke Maklike piouter-projekte en Piouter dit is albei so gewild dat sy nou geswig het onder die druk van haar aanhangers om nog 'n boek te skryf. Piouter-indrukke bevat meer as 30 oorspronklike projekte met maklik verstaanbare aanwysings en duidelike stap-vir-stap foto's. Dit begin by die begin sodat groentjies nie ander boeke nodig het om dadelik hierdie gewilde handwerk op die proef te stel nie. Beginnersoefeninge verduidelik al die basiese tegnieke, leer jou hoe om die bosseleerwerk te doen en dan glans en dimensie aan jou ontwerpe te verleen. Hierna volg 'n reeks wonderlike projekte wat die verbeelding van enige handwerker sal aangryp. Piouter word saam met mosaiek, skilderdoek, hout, glasverf, kristalle en veel meer gebruik, wat 'n verskeidenheid voorkomste en afwerkings bied. Die projekte sluit besondere rame, kunstige kissies, pragtige geskenke en lieflike dekoritems in. Daar is duidelike aanwysings vir beginners, terwyl meer gesoute handwerkers tonne inspirasie sal vind om hul eie stempel op hul projekte af te druk. Benewens die projekte, dek Piouter-indrukke: Noodsaaklike toerusting en hoe om dit te gebruik; Natrek en oordra van patrone; Laerelief- en hoerelief-bosseleerwerk; Vormwerk; Teksturering; Kleur en patina; Uitsny en vasplak van ontwerpe op verskeie oppervlakke. Pragfoto's van alle voltooide projekte asook patrone vir al die ontwerpe maak hierdie boek 'n uitstekende toevoeging tot elke handwerker se biblioteek.

A daring reassessment of Louise Nevelson, an icon of twentieth-century art whose innovative procedures relate to gendered, classed, and racialized forms of making In this radical rethinking of the art of Louise Nevelson (1899–1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction—in which she assembled found pieces of wood into elaborate structures, usually painted black—have been little studied. Organized around a series of key operations in Nevelson’s own process (dragging, coloring, joining, and facing), the book comprises four slipcased, individually bound volumes that can be read in any order. Both form and content thus echo Nevelson’s own modular sculptures, the gridded boxes of which the artist herself rearranged. Exploring how Nevelson’s making relates to domesticity, racialized matter, gendered labor, and the environment, Bryan-Wilson offers a sustained examination of the social and political implications of Nevelson’s art. The author also approaches Nevelson’s sculptures from her own embodied subjectivity as a queer feminist scholar. She forges an expansive art history that places Nevelson’s assemblages in dialogue with a wide array of marginalized worldmaking and underlines the artist’s proclamation of allegiance to blackness.

This clear, thorough, and reliable survey of American painting and sculpture from colonial times to the present day covers the major artists and their works, outlines the social and cultural backgrounds of each period, and includes 409 illustrations integrated with the text. The book begins with a discussion of seventeenth-century art along the eastern seaboard and ends with sections on current realistic process and technological art. The eight chapters are arranged chronologically and each generally follows the same organizational sequence. From time to time the author suggests continuities of themes, ideas, and images; and contrasts or comparisons are made between artists of the same or different centuries to show continuities or discontinuities. Some determining factors in American art are considered, but Baigell views the rich and diverse achievements of American art as the result of the efforts and talents of pluralistic society rather than as fitting into a particular mold. This edition includes corrections and revisions to the text, an updated bibliography, and thirteen new illustrations.

John Pickering has been described as a modern-day alchemist who hews his sculptures from pure mathematical principles. His technique is to conjugate a numerical sequence and to cast its form in space. As the form unfolds, it invites us to explore surfaces as sculpture, and to interpret volumes and spaces as architecture. Because of the mathematical rigour that underpins the form, it is already potent, engineered, rational and ultimately, buildable. "The Inversion Principle" conveys, through photographs, the full impact of Pickering's sculptures. But equally it describes the meticulous process of making them. It defines the inspirations behind the works (which include Naum Gabo, space probes, satellites and Stockhausen). It dicusses their engineering implications. Finally, it places them within the architectural tradition of the visionary form.

This definitive edition collects all of Kilian Eng's otherworldly landscapes and retro-futuristic illustrations in one massive volume, including previously unpublished works. Each dreamlike image immerses the viewer in a unique environment, full of engrossing detail and surreal beauty.

The centerpiece of this catalog is Pfeiffer's sound and video installation "The Saints," a restaging of the legendary 1966 World Cup final between West Germany and England in London's Wembley Stadium. Pfeiffer hired one thousand Filipinos who gathered in a movie theater in Manila, where they cheered in accompaniment to a restaging of the 1966 match, based on original film and sound material.

Sculpture Off the Pedestal is a behind-the-scenes look at the creative process of 25 leading sculptors from the Renaissance to the present through their own words or those who knew them. Aiming to avoid dry-as-dust art histories, Sculpture Off the Pedestal puts old and modern master sculptors by the reader's side, emptying their heads about their work and their ways of thinking. The book is intended not only for the art student or art lover, but also for the untutored and those who think of art as a remote subject. Most art histories focus on painting. Chronicling the lives of sculptors in and out of their studios fills a gap.

The publication The Architecture of Deception / Confinement / Transformation accompanies the eponymously titled exhibition trilogy at BNKR - current reflections on art and architecture in Munich and showcases 18 diverse artistic standpoints at the intersection of art and architecture. Each chapter directly corresponds to the evolving history of the exhibition space, which was originally constructed as a camouflaged air-raid bunker during the Second World War, then used as a postwar internment camp, and finally transformed into its current state as a mixed-use residential and office building. The Architecture of Deception explores notions of illusion and deception, the creation of new realities, truth versus fiction; Confinement explores notions of shelters and safety, captivity and freedom, 'outside' versus 'inside'; Transformation explores notions of gentrification, decay and definition of living spaces. With contributions by the editors, David Adjaye and Nikolaus Hirsch, Isabelle Doucet, and Madeleine Freund. Artists: The Architecture of Deception: Hans Op de Beeck, Emmanuelle Laine, Bettina Pousttchi, Gregor Sailer, Cortis & Sonderegger, The Swan Collective; The Architecture of Confinement: Ramzi Ben Sliman, Mona Hatoum, Nadia Kaabi-Linke, Annika Kahrs, OEzgur Kar, Joanna Piotrovska; The Architecture of Transformation: Dana Awartani, Olivier Goethals, Eva Nielsen, Jeremy Shaw, Hannah Weinberger, Andrea Zittel.

Featuring more than 500 public art installations, this is the essential guide for anyone interested in Vancouver, its people and its artists.The character of a city is revealed by its public art-what it collectively places on its streets and walls and in its public spaces. As a city known internationally for its breathtaking cityscapes and mountain backdrop, Vancouver has much to offer visually including the diverse and thriving public art found in the city's neighbourhoods. "Public Art in Vancouver: Angels Among Lions" is the first comprehensive guidebook that explores Vancouver through the eyes of public art.Engaging colour photos and detailed descriptions that focus on the historical and cultural context of each art piece, its place in modern art and the artist who created it allow for a greater understanding of these urban treasures. Easy-to follow maps take readers to communities and destinations such as False Creek, Chinatown, the West End, Downtown North and South, East Vancouver, Van- Dusen Botanical Garden, Stanley Park and the University of British Columbia. Tour the better known and the hidden art installations that are made from every possible medium and include monuments, paintings, murals, tapestries, figures, First Nations art, relics, busts, fountains, gateways, mosaics, sculptures and reliefs.

An Unreasoned Act of Being is an account of the life and career of Himmat Shah. Shah was a major sculptor and draughtsman of twentieth-century India. He was born in 1933 and rejected traditional schooling, opting instead to train at art school. He spent time in Paris discovering the canon of western art but also founded Group 1890, established to promote a form of Indian art distinct from the western schools. The most recognizable of his work is the series of heads sculpted in bronze and terracotta. As emblems of masculinity they appear totemic and phallic. He uses printmaking techniques to score the surfaces of these pieces. This book looks in depth at his life and work, along with stylistic aspects and technique. It offers an account of a seminal Indian artist.

"Sources in the Air" accompanies David Maljkovic's three-part exhibition of the same name at the Van Abbemusem, Eindhoven, BALTIC Centre for Contemporary Art, Gateshead and GAMeC, Bergamo. Including films, sculpture, collage and installations from the past ten years, "Sources in the Air" is the artist's most comprehensive survey to date.

Beholding considers the spatially situated encounter between artwork and spectator. It argues that artworks created for specific places or conditions structure a reciprocal encounter, which is completed by the presence of a beholder. These are works which demand the 'beholder's share', but not, as Ernst Gombrich famously claimed, to sustain an illusion. Rather, Beholding reconfigures Gombrich's notion of the beholder's share as a set of 'licensed' imaginative and cognitive projections. Each chapter frames a particular work of art from the remit of a complementary theoretical text. The book establishes a transhistorical notion of the spatially situated encounter, and considers the role of the architectural host in bringing the beholder's orientation into play. The book engages a diverse range of practices: from Renaissance painting and group portraiture to intermedia practices of installation and performance art. Written within the broad remit of reception aesthetics, the book proposes a phenomenological theory of beholding, argued through an in-depth examination of artworks and their spatial contexts, selected for their explanatory potential. These various encounters allocate different constitutive roles to the beholder, bringing not only spatial and temporal orientation into play, but also a repertoire of anticipated ideas and beliefs.

'Spy in the Sky' matters have long been a source of interest and fascination for aircraft enthusiasts, historians and modellers and none more so than the elusive and secretive Soviet types of the Cold War era. Yefim Gordon presents us here with a range of such types, presenting a collection of photographs, profiles and line drawings together with supplementary text detailing the history of each craft, encompassing the various developmental milestones, successes and pitfalls experienced along the way. The Soviet Union's two dedicated spyplane types, the Yakovlev Yak-25RV 'Mandrake' (the Soviet equivalent of the Lockheed U-2) and the MiG-25R 'Foxbat' are profiled, supplemented by details garnered from a host of original sources. Well-illustrated histories and structural analyses are set alongside detailed descriptions of the various plastic scale model kits that have been released, along with commentary concerning their accuracy and available modifications and decals. With an unparalleled level of visual information - paint schemes, models, line drawings and photographs - it is simply the best reference for any model-maker setting out to build a variant of this iconic craft.

Over the course of 60-plus years, Erwin Hauer has created modular sculptures that feature penetrations and prominent interior voids yet, remarkably, are bonded by continuous surfaces. The modules of these sculptures contain the seeds of infinity: what Hauer calls 'continua'. Still Facing Infinity covers the full scope of Hauer's artistic oeuvre, from early two-dimensional works that double as room dividers to three-dimensional, space-filling sculptures that are conceptually similar to innovative architecture and engineering (works by Antoni Gaudi, Felix Candela, and Frei Otto) as well as advanced mathematical concepts (triply periodic infinite surfaces without self-intersections). Hauer offers detailed presentations in writings as well as in abundant photographs of a number of significant works, including Jerusalem Tower and Infinite Surface I-WP, the basis for numerous tabletop and large-scale sculptures as well as for two independent series that explore multiple iterations of the infinite surface concept.