Published to accompany MASS MoCA's landmark installation of LeWitt's innovative wall drawings, this book celebrates the artist and his illustrious 50-year career. Published in association with Mass MoCA Exhibition Schedule: Mass MoCA, North Adams, Massachusetts (opens November 16, 2008)

Lynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world. This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries.

The nineteen papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators, and a practicing marble sculptor to discuss varying approaches to restoration of ancient stone sculptures.
Contributors and their subjects include Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage's case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin.
The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun, and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues, and questions raised by the symposium.

When this book first appeared in 1982, it introduced readers to Robert Irwin, the Los Angeles artist 'who one day got hooked on his own curiosity and decided to live it'. Now expanded to include six additional chapters and twenty-four pages of color plates, "Seeing Is Forgetting the Name of the Thing One Sees" chronicles three decades of conversation between Lawrence Weschler and light and space master Irwin. It surveys many of Irwin's site-conditioned projects - in particular the Central Gardens at the Getty Museum (the subject of an epic battle with the site's principal architect, Richard Meier) and the design that transformed an abandoned Hudson Valley factory into Dia's new Beacon campus - enhancing what many had already considered the best book ever on an artist.

Sculptors Against the State considers the relation of anarchist ideology to avant-garde sculpture through an examination of three iconic artists whose work transformed European modernism: Umberto Boccioni, Jacob Epstein, and Henri Gaudier-Brzeska. Addressing such complex subjects as sexual liberation, homosexuality, the history of emotions, the ethics of violence, and tactics of nonviolent resistance, Mark Antliff demonstrates how sculptural processes were shaped by forms of anarchism calculated to foster a radical community. The anarchist view that the State is a state of mind and a set of social relationships is a central theme Antliff uses to explore not only the art of Boccioni, Epstein, and Gaudier-Brzeska but the associated aesthetics of radical luminaries such as Oscar Wilde, F. T. Marinetti, and Ezra Pound. Taking Boccioni’s Unique Forms of Continuity in Space, Epstein’s Tomb of Oscar Wilde, and Gaudier-Brzeska’s Hieratic Head of Ezra Pound as a starting point, Antliff argues that these sculptors saw the arts as a radical catalyst for an entirely new constellation of interpersonal relations and psychological dispositions—ones antithetical to those propagated by the State. Powerfully argued and informed by extensive archival research, Sculptors Against the State provides a new understanding of these artists, even as it sheds light on why contemporary anarchist theory is necessary for understanding the profound cultural impact modernism had during the twentieth century. Antliff’s work will be of interest to students and scholars of modernist art and literature, and particularly those who study the intersections between artistic practice and politics.

Providing the first thorough study of sculptural portraiture in 18th-century Britain, this important book challenges both the idea that portrait necessarily implies painting and the assumption that Enlightenment thought is manifest chiefly in French art. By considering the bust and the statue as genres, Malcolm Baker, a leading sculpture scholar, addresses the question of how these seemingly traditional images developed into ambitious forms of representation within a culture in which many core concepts of modernity were being formed. The leading sculptor at this time in Britain was Louis Francois Roubiliac (1702-1762), and his portraits of major figures of the day, including Alexander Pope, Isaac Newton, and George Frederic Handel, are examined here in detail. Remarkable for their technical virtuosity and visual power, these images show how sculpture was increasingly being made for close and attentive viewing. The Marble Index eloquently establishes that the heightened aesthetic ambition of the sculptural portrait was intimately linked with the way in which it could engage viewers familiar with Enlightenment notions of perception and selfhood. Published for the Paul Mellon Centre for Studies in British Art

Stained glass was unknown in antiquity. Invented around AD 1000, it soon achieved a dominant position in the arts of the Middle Ages, not only in churches but also in secular contexts. Its innovation can be compared with that of television - and like television it involves passing light through a transparent layer, using the light of sun instead of light generated by electricity, so that in a real sense the stained glass image is in constant motion, as the light passing through it changes. Stained glass was linked to all the graphic arts and the most skilled artisans made the drawings for the glassmaker. Even single heads can be masterpieces of draughtsmanship. This book presents a brilliant selection of stained glass now detached from its original location, featuring work related to some of the finest masters of the late Middle Ages, such as the Housebook Master or Domenico Ghirlandaio. All works are fully documented and their provenance traced where possible in an illustrated appendix.

While anchoring his practice in the traditions of antiquity and the Renaissance, Auguste Rodin (1840-1917) paved the way for modern sculpture. From a very early stage, he was interested in movement, the expression of the body, chance effects, and the incomplete fragment. It was these elements that gave shape, and the impression of life, to such famous works as The Kiss and The Thinker. Produced in collaboration with the Musee Rodin, this TASCHEN Basic Art introduction examines the formative years of Rodin's training as well as the key stages of his subsequent career. It retraces the genesis of his sculptures and monuments from both a historical and an aesthetic point of view and illuminates the links between his different works. The reader gains access to the artist's ideas, as well as to the real material processes in his studio-the modeling in clay, the passage from plaster to bronze or to marble, enlargement, the creation of assemblages, and his deeply sensual erotic drawings. An inexhaustible source of inspiration for subsequent generations of artists, Rodin's work incorporated innovation and transgression, but above all an unrivaled passion for working in front of the living model and for capturing the truth of human experience and forms. With rich illustration and texts from Francois Blanchetiere, this book invites us to discover-and rediscover-this priceless legacy. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

Arnaldo Coen (1940) is one of the most prominent Mexican artists. As a result of his restless, transgressive and irreverent creativity, his work has never ceased to be fresh. He has made important individual exhibits in the Museum of Modern Art and in the National Hall of the Palace of Fine Arts. His work has been exhibited in Asia, Europe, Africa, and Latin America, featuring in important collections and exhibitions in different cultural venues such as the Museum of Modern Art, Tlatelolco Cultural Center, Museum of Contemporary Art, Isidro Fabela Cultural Center, Museum of Mexican Art in Chicago and the Bank of Mexico, to name a few. This award winning artist has also been the focus of several recognised art critics such as Octavio Paz, Raquel Tibol, Carlos Monsivais, Juan Garcia Ponce, Salvador Elizondo, Teresa del Conde, Sigrunn Paas, Josephine Siller. Arnaldo Coen is the first monograph covering the artist's pictorial and sculptural works from the 1960s to date, with some 300 images complementing this contemporary, provocative and irreverent compendium of Coen's legacy.

This is an indispensible volume for creators, curators, and conservators of installation art. Installation art is an evolving, often ephemeral medium that defies rigid categorization. It has also radically transformed the concepts of space, time, and the experience of art. The conservation field is faced with unique challenges over how best to manage and preserve the essence of these works. How detailed can documentation get? When does the replacement of original components become acceptable? How does the field cope with the obsolescence of certain technologies? By exploring the questions and dilemmas facing those who care for art installations, this book intends to raise awareness and promote discussion about the various conservation approaches for these works.

From about the middle of the seventeenth century the Navy's administrators began to commission models of their ships that were accurately detailed and, for the first time, systematically to scale. These developed a recognised style, which included features like the unplanked lower hull with a simplified pattern of framing that emphasised the shape of the underwater body. Exquisitely crafted, these were always rare and highly prized objects-indeed, Samuel Pepys expressed a profound desire to own one-and today they are widely regarded as the acme of the ship modeller's art. Today examples form the highlights of collections across the world, valued both as art objects and as potential historical evidence on matters of ship design. However, it was only recently that researchers began to investigate the circumstances of their construction, their function, and the identities of those who made them. This book, by two curators who have worked on the world's largest collection of these models at the National Maritime Museum in Greenwich, summarises the current state of knowledge, outlines important discoveries, and applies this new-found understanding to many of the finest models in the collection. As befits its subject, _Navy Board Ship Models_ is visually striking, with numerous colour photographs that make it as attractive as it is informative to anyone with an interest in modelmaking or historic ships.

This survey brings together three decades of work by contemporary Native American artistGerald Clarke (Cahuilla). Utilizing wit and humor to expose historical and present-day injustice, Clarke brings a decolonial perspective to urgent cultural and political issues facing our world. Gerald Clarke is an artist, university professor, Cahuillatribal leader, cowboy, and Indian (the artist's preferred identity). Combining various media in his sculptures, paintings, works on paper, videos, performances, and installations, Clarke derives artistic inspiration from his cultural heritage, expressing traditional ideas in contemporary forms that are both poetic and politically urgent. Clarke's artistic output resonates with histories of assemblage, pop, and conceptual art produced by both Native and non-native artists. This amply illustrated catalogue introduces Clarke's work at a moment when it is profoundly necessary.

A fresh and engaging look at the controversial work of Jeff Koons, with insightful analyses and illustrations of all of his iconic pieces alongside preparatory works and historical photographs Examining the breadth and depth of thirty-five years of work by Jeff Koons (b. 1955), one of the most influential and controversial artists of the 20th century, this highly anticipated volume features all of his most famous pieces. In an engaging overview essay, Scott Rothkopf carefully examines the evolution of Koons' work and his development over the past thirty-five years, offering a fresh scholarly perspective on the artist's multi-faceted career. In addition, short essays by a wide range of interdisciplinary contributors-from academics to novelists-probe provocative topics such as celebrity and media, markets and money, and technology and fabrication. Also included are preparatory sketches and plans for sculptures and paintings as well as installation photographs that shed light on Koons' artistic process and trace the development of his work throughout his landmark career. Koons has risen to international fame making art that reimagines and recontextualizes images and objects from popular culture such as vacuum cleaners, basketballs, and balloon animals. Created with painstaking attention to detail by a team of fabricators, these objects raise questions about taste and popular culture, and position Koons as one of the most lauded and criticized artists working today. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art (06/27/14-10/19/14) Centre Pompidou (11/26/14-04/27/15) Guggenheim Museum, Bilbao (06/05/15-09/27/15)

• Decorative paper motifs for use in cards, scrapbooking, decorations, gift wrapping, place cards, bookmarks, and other crafts
• Clear step-by-step instructions for folding and cutting paper with sharp scissors or a craft knife
• The 150 designs include flowers and wreaths, intricate snowflakes, nature and garden images, holiday motifs, and more

French sculptor Aristide Maillol (1861-1944) is sometimes referred to as the "Cezanne of sculpture" as he, like Paul Cezanne in painting, paved the way for abstraction. Though Maillol began as a painter, he produced an impressive collection of sculptures, many featuring women, over the course of his career. This book, published in conjunction with a comprehensive Maillol exhibition at the Kunsthaus Zurich, examines how the male gaze operates in Maillol's art and the changing perceptions of this gaze from the 19th century to today. A photo essay by Franca Candrian contrasts Maillol's Venus au collier with works by modern and contemporary women artists from the Kunsthaus Zurich's collection. An essay by feminist art historian and curator Catherine McCormack explores the presence of art depicting female nudes - in contemporary museums. Supplemented by an introduction by Philippe Buttner, curator of Kunsthaus Zurich's permanent collection, the book thus offers a fresh and unique view of Maillol and his art. Text in English and German.

The story of their salt-glazed pottery that has a special place in the history of ceramic art.

This is the vital story of the amateur theatre as it developed from the medieval guilds to the modern theatre of Ayckbourn and Pinter, with a few mishaps and missed cues along the way. Michael Coveney – a former member of Ilford's Renegades - tells this tale with a charm and wit that will have you shouting out for an encore. Between the two world wars, amateur theatre thrived across the UK, from Newcastle to Norwich, from Bolton to Birmingham and Bangor, championed by the likes of George Bernard Shaw, Sybil Thorndike, and J B Priestley. Often born out of a particular political cause or predicament, many of these theatres and companies continue to evolve, survive and even prosper today. This is the first account of its kind, packed with anecdote and previously unheard stories, and it shows how amateur theatre is more than a popular pastime: it has been endemic to the birth of the National Theatre, as well as a seedbed of talent and a fascinating barometer and product of the times in which we live. Some of the companies Coveney delves into – all taking centre stage in this entertaining and lively book - include the Questors and Tower Theatre in London; Birmingham's Crescent Theatre; The Little Theatre in Bolton, where Ian McKellen was a schoolboy participant; the Halifax Thespians; Lincolnshire's Broadbent Theatre, co-founded by Jim Broadbent's father and other conscientious objectors at the end of World War II; Crayford's Geoffrey Whitworth Theatre, where the careers of Michael Gambon and Diana Quick were launched; Anglesey's Theatr Fach, a crucible of Welsh language theatre; and Cornwall's stunning cliff-top Minack.