In terms of quality, historical significance and sheer numbers, the Kriegstein family's ship model collection in the United States is the finest in private hands anywhere in the world. Principally made up of official 17th- and 18th-century models in the Admiralty or Navy Board style, the collection is unrivalled by any museum outside the British national collection at Greenwich. As the models are not on public display, this book fills the need for a detailed catalogue and visual reference with superb colour photos of all the models, both overall portraits and multiple close-ups. Apart from lengthy descriptions of these magnificent artefacts, space is devoted to how they were identified, and the valuable research done by Arnold and Henry Kriegstein, the identical twins whose shared passion brought this all together. Beyond the technicalities of the ships, the story has a human dimension in the brothers' adventures in pursuit of every model and their dogged determination to secure them against official obstruction and dubious antiques-trade practices. This is an entirely new and revised edition of _Seventeenth and Eighteenth Century Ship Models_ first published in 2007, now expanded to include the additions to the collection since that date.

The Making of George Wyllie has been co-written by his elder daughter, Louise Wyllie, and arts journalist Jan Patience. Containing never-beforeseen images and fresh insight into his influences and early life, this book seeks to answer questions about the forces which shaped Wyllie's unique worldview.The voyage begins with Wyllie's Glasgow childhood - a period 'disadvantaged by happiness' - and moves on to time spent serving in the Pacific with the Royal Navy during WWII, where he witnessed first-hand the devastation caused by the world's first atomic bomb being dropped on Hiroshima. After the war, like Robert Burns and Adam Smith before him, Wyllie became an Excisemen. He made 'time for art' in his forties, going on to create memorable public art works such as the life-sized Straw Locomotive, which hung from the Finnieston Crane in Glasgow, and the giant seaworthy Paper Boat, with the letters QM (Question Mark) on her side.By the time of his death at the age of ninety in 2012, this idiosyncratic self-taught artist had laid out his vision of himself as the artist-shaman, arrow in hand, making a last Cosmic Voyage.

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

Woodturning is as popular as ever -- a constantly growing segement in the woodworking world and one of the most wide-reaching woodcrafts among artists and hands-on crafters. It s appeal is based on the short learning curve, the minimal equipment, and the sheer joy of learning to make something out of wood with one s own hands. But, unlike a lot of crafts that rely on individuality and creative thinking, the initial techniques of woodturning must be mastered. While at first liberating, these same techniques can eventually be confining because in mastering them, one must follow the lead of others. At a certain point, woodturners can feel that mastering the techniques has become the end in itself as they lose sight of their true pursuit: to create one s own original style. In fact, some woodturners, who believe they aren t creative enough, will simply continue to master techniques while imitiating the style of others. Terry Martin, the author of The Creative Woodturner and a woodturning artist, instructor, and photographer for over thirty-years, believes this goes against the fundamental nature of creating and being an artist. There is no right or wrong and the pursuit of originality should be the goal of every woodturner. Best of all, creativity can be learned and the ability to think and see in one s own artistic style can be achieved. The Creative Woodturner is not your usual how-to woodturning book. It won t tell you what a chuck is, how to sharpen a scraper, or how to turn a goblet. Instead, this book is a how-to for unlocking curiosity, how to break the rules, and for following one s own artistic path with confidence. Designed to give readers a wide-persepective on creativity, The Creative Woodturner begins first with insightful commentary, quotes, and examples from the woodturning and art community that will both inspire and inform. In addition, the author shares his Idea Tools: questions to ask during the planning and creative process that are as important to the creation of the woodturning project as any equipment in the shop. Finally, 16 one-of-a-kind projects from boxes and vessles to bowls and one-of-a-kind scultpures are featured that will spark the creative mindset of any woodturner. Each project is documented with instructions and crisp photography highlighting the key steps, techniques, and tasks necessary for completion. In taking the reader through each project, the author pulls back the curtain on his woodturning magic and shares his vision and how the Idea Tools and creative thinking emerges in each project. An inspiring and enjoyable read not only for woodturners, but for any artist, The Creative Woodturner will anyone to think and see differently so time is spent at the lathe or whatever creative pursuit it is -- creating the original ideas instead of imitating someone else."

This concise, beautifully illustrated guide explores the enigmatic Franks Casket, carved from whalebone in 8th century northern England, and decorated with scenes from tales both pagan and Christian, as well as runic inscriptions. Leslie Webster helps the general reader to make sense of its iconography and meaning, the processes of its manufacture, and its somewhat confused history - it was rediscovered in modern times in France, whilst one panel remains in Florence.

Lesley Dill is an American artist working at the intersection of language and fine art in printmaking, sculpture, installation and performance, exploring the power of words to cloak and reveal the psyche. Dill transforms the emotions of the writings of Emily Dickinson, Salvador Espriu, Tom Sleigh, Franz Kafka, and Rainer Maria Rilke, among others, into works of paper, wire, horsehair, foil, bronze and music — works that awaken the viewer to the physical intimacy and power of language itself. Lesley Dill – Wilderness: Light Sizzles Around Me features a uniquely inspired group of sculptures and two-dimensional works more than a decade in the making. It is testimony of Dill’s ongoing investigation into the significant voices and personas of America’s past. For the artist, the American voice grew from early America’s obsessions with divinity and deviltry, on fears of the wilderness out there and wilderness inside us. The plates, in colour throughout, are supplemented with essays by Lesley Dill, Brooklyn-based writer Nancy Princenthal, Figge Art Museum’s curator Andrew Wallace, and researcher and tribal historian Juaquin Hamilton-Youngbird. The book also features a literary text by writer by Tom Sleigh and a poem by author and poet Ray Young Bear.

Aesthetic seduction, superb workmanship, and historical interest are the three central themes in the collection of Fondation Gandur pour l'Art (Geneva), created in 2010 and still expanding. The aim of this first volume is to catalogue the works in the collection, whose decorative aspects are every bit as important as their narrative content. The works are for the most part sculptures - statuettes and ornamental reliefs - although two-dimensional decorations depicting figurative scenes associated with classical antiquity or Christianity are no less important. The periods represented by the sculptural works discussed in this book reflect the scope of the whole collection, which ranges from the 12th to the 18th century. And since the goal of the collection is to document centuries of cultural exchange between France and neighbouring countries, all the works included in the book come from these latter regions. The hybrid styles are closely linked, and this is an aspect of considerable importance, as is the originality certain pieces display and, last but not least, their aesthetic quality. The book is arranged by topic, which brings out the great originality and extraordinary richness of the collection, as well as the extremely varied nature of the subjects, narrative episodes, and figures portrayed. More specifically, the topics are divided into five sections: ancient gods and heroes; biblical and allegorical figures; scenes from the life of the Virgin; episodes from the life of Christ; and saints and intercessors. Each work has its own entry that describes the historical and geographical context in which it was made, analyses its iconographic content, and includes a bibliography and a list of the exhibitions where the work was exhibited.

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures-including Shiva, referred to in a saintly vision as "the thief who stole my heart"-were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Ilya Kabakov (*1933) is one of the former Soviet Union's most important and influential international artists today. After the two-volume catalogue raisonne of paintings (2008) and 2017's catalogue raisonne of installations, we are now publishing a complete overview of Kabakov's recent paintings. Different ideas, phases, and styles unfold across the 350 works of art, but the artist's inimitable signature can always be recognised. Visual themes include, for example, the colour white, the relationship between complete and incomplete, and the combination of either various styles or of painting and photography. Still, all of the pieces have one thing in common: they all pursue a conceptual approach and make references to art history.

In recent decades sculpture has arguably become the dominant art form in the world. In this ground-breaking account of the development of post-War sculpture Andrew Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He explores the use of everyday objects and the importance of sculptural context, discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth Art, landscape sculpture, installation, and Performance Art. The holistic picture of post-War sculpture which emerges establishes for the first time the key events and themes round which future debate will centre.

`Andrew Causey weaves his way adroitly through the labyrinth of post-War sculpture ... No one else has charted the territory so comprehensively.' Professor Stephen Bann, University of Kent at Canterbury

`a clear guide to the various directions of sculpture and the work of sculptors in the years when modern sculpture has begun to stand in its own right as a major art form' Sir Anthony Caro, Sculptor

Surveying some 20 years of Swiss video art, this book includes works by Alexander Hahn, Klara Kuchta, Eric Lanz, Jean Otth, Pipilotti Rist, Alex Silber and Hannes Vogel, it reviews discussion surrounding the exhibiting of video art and the problems associated with long-term conservation.

An exploration of public performance in everyday life, by the leading cultural and social thinker 'All the world's a stage' declares the melancholy Jacques in Shakespeare's As You Like It. Today that's an unhappy thought. A cluster of demagogues has recently dominated the public realm through their powers as actors; they are brilliant performers. More unsettling, the demagogue, the dancer, the musician all share the same non-verbal realm of bodily gestures, lighting and blocking, costuming, stage architecture. So too, the roles and rituals of everyday life and everyday acting can be malign or sublime, repressive or liberating. Performing constitutes one art - an ambiguous art. In this book, the acclaimed sociologist Richard Sennett explores uncomfortable connections between performances in life, art, and politics. He draws on his own early career as a professional cellist as well on histories both Western and non-Western. He is not a pessimist; at the end of his study, he shows how this ambiguous art might become more ethical.

From casting to sculpture Cast materials become solid, yet they originate as fluid materials that can take on any imaginable form. This simple yet radical paradigm allows for the exploration of volumetric formations through process-oriented casting and experimentation with alternative ways of manufacturing, presenting, and shaping casting molds. Working with hardening bodies fundamentally challenges the notion of formal rigidity; conventional formwork models are reconsidered, and a new aesthetic emerges. Fluid Bodies presents a variety of objects created using alternative casting methods. The book documents experimental artistic research and showcases innovative and surprising sculptures in concrete and plaster. Alternative ways of manufacturing, presenting, and shaping casting molds Concrete and plaster sculptures, parametric designs, and the further development of conventional formwork models and casting processes With numerous large-format photographs

Transforming unlikely pieces of scrap metal into significant works of art - giving new life to things we throw away - is an accessible, creative and fulfilling activity. This book describes and illustrates the concerns and techniques involved in making this kind of sculpture, looking behind the work at the richness and diversity of an area of sculpture that deserves to be far better known. Topics covered include the role and purpose of sculpture, the particular qualities of sculpture made from scrap metal and the practical processes involved in its making. It also covers sources of scrap metal, identifying metals, reviewing metalworking techniques, creative approaches, different types of sculpture, and the making, finishing and installation of pieces of sculpture.

En todas las areas, las personas con voluntad de cambio y desarrollo social utilizan las formas artisticas y la creatividad para conmover la esfera publica, atraer la atencion, tomar poder sobre los espacios urbanos y generar nuevos lenguajes y voces sociales. El activismo artistico involucra a personalidades creadoras de todas las culturas, se enraiza en ideas politicas esenciales, moviliza ideas de cambio e igualdad social e interesa a las generaciones mas jovenes, en un espiritu que rompe las barreras academicas y las distinciones profesionales. La creatividad activista con frecuencia ha sido percibida como proxima a la categoria del outsider art que engloba el arte producido por no artistas donde el contexto especifico seria la protesta politica y/o la experimentacion social. El artivismo tiene sus raices en las vanguardias artisticas (dada, futurismo, surrealismo, etc.) y el posterior desarrollo y auge en la decada de los anos sesenta y setenta del pasado siglo (performance, happening, body art, land art, video art o arte conceptual), que, muchas veces, nace de una especie de desmaterializacion del objeto artistico. Este libro se centra en practicas de creatividad activista de Espana, Chile, Peru, Reino Unido, Colombia, etc. que tienen que ver con los actuales fenomenos de crisis discursiva, ideologica, politica, economica, financiera. Entender el artivismo, un concepto que, nada mas pronunciarlo, despierta un amplio abanico de sensaciones.

One of the visionary multimedia artists of our time, Doug Aitken has worked in every medium: from architecture and photography, to sculpture and film, to installations and interventions. While Aitken's art varies in both theme and context, his installations encourage audience interaction and communal gathering, whether this is accomplished by staging a series of happenings, such as those that took place at the Museum of Modern Art, New York, during his Sleepwalkers exhibition in 2007, or by the creation of large-scale, outdoor installations such as 2009's Sonic Pavilion in Brazil, where he amplified the sounds of the Earth. His film and photography often explore themes of displacement and travel, united by his keen awareness of motion, sound, and color that come together to create his signature, dreamlike landscapes and the futurist aesthetic for which he has become known. His projects defy convention, creating new perspectives by challenging traditional linear narratives. Aitken has collaborated with talents from a broad range of disciplines, from Werner Herzog and Rem Koolhaas to Lou Reed. This beautifully designed book, made in close collaboration with the artist, is the first to examine Aitken's artistic development and surveys his work in all mediums.

Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.

MacArthur Genius Grant recipient Tara Donovan's otherworldly sculptures have transfixed audiences for over a decade - taking mundane materials and through clever craftsmanship, ingenuity, and repeated manipulation, the artist builds large-scale works made of rubber bands, plastic tubing, and paper plates into objects that evoke the natural world or other organic material. This volume - which accompanies a major retrospective - features an expansive selection of her most impressive and important works to date, spanning 10 years. Curator Nora Burnett Abrams, along with a several other leading scholars of contemporary art, consider critical issues around this important artist work: issues related to labour and process, and the interplay between ethereality and monumentality, among other key themes. The book looks at several major bodies of work realized in different formats and different settings, affording the reader a glimpse into the important themes and visual languages the artist continuously explores. The book will also consider, importantly for the first time, the artist's sculptural wall works which shed light on her distinct and varied practice.