Auguste Rodin, the most famous and influential sculptor of the late nineteenth and early twentieth centuries, is also widely considered to be the successor to Michelangelo, whose genius was a lifelong inspiration to him. Though the astonishingly lifelike quality of his sculpture was in defiance of current academic conventions, Rodin was spared the prolonged and bitter hostility meted out to the Impressionists who were his contemporaries, and in later life he became a famous and widely respected figure.

Bernard Champigneulle discusses Rodin's great significance as an innovator in sculpture. For Rodin created an entirely new form -- the detail considered as finished work -- and in doing so exercised a lasting influence on future sculptors, who were profoundly affected by his emotional expressiveness, his power of characterization, and his subtle modeling. This authoritative monograph combines a searching reappraisal of Rodin's achievement with revealing account of his personality and his troubled private life.

Ann Morris has become a priestess of sorts, investing her mind and spirit into an ambitious oeuvre of figurative bronzes that speak with a singular and meditative voice. In a comprehensive and insightful essay, Ted Lindberg traces the arc of Morris's artistic development from her beginnings as a mother, philosophy student, and Pasadena printmaker, to her reclusion on the wind-swept bluffs of Lummi Island in north Puget Sound. There Morris has created an extraordinary bronze park that she calls Sculpture Woods, a 15-acre sanctuary of stately forest and highbank waterfront that is home to her studio and to a winding path populated by 16 sculptural tableaus seen through a Jungian lens. Monumental figures emerge from the forest, as if stepping through a rift in time from the mists of classical and Celtic antiquities, to tell their archetypal tales. In a second essay, Jake Seniuk muses on how Morris moved from such overtly mythological themes to a kind of talismanic naturalism when she turned to an ongoing series of more intimately scaled bronzes that trace an ongoing Bone Journey. Unfolding her own creation myth through her work, Morris remains true to the marriage of the Platonic and the aboriginal, where a clear-eyed awareness of mortality is liberating and transcendent.

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.

These ancient creatures from folklore have captured the modern imagination, including Tom Wolfe's. In this book he brings his creativity and skill to the task of creating a whole community of gnomes, bringing them to life from a block of wood. With each step illustrated in full color, Tom takes the carver cut-by-cut to a finished figure. The book includes a gallery and patterns for 5 other gnomes plus "gnome" accessories such as mushrooms and a cart. The gnomes are exciting projects, allowing the carver to add a little of his or her own creativity to the work. The step-by-step illustrations mean that even the beginning carver can end up with a gnome he or she will be proud of. In this book, Tom makes extensive use of the power carving tools that have found such widespread acceptance in the carving community. Tom uses them principally for finishing and detail work; carvers will find his techniques helpful.

The Italian Renaissance was a golden age for bronze sculpture, both on a grand scale-such as Ghiberti's Gates of Paradise, or Cellini's Perseus-and more intimate statuettes and small-scale functional objects. Bronze, being both costly and luxurious, embodied power, authority, and eternity and emulated the classical past. Yet it was one of the easiest materials to recycle, especially at a time when the need for artillery was ever-present. Drawing on the latest research, and including some 200 superb images, The Culture of Bronze explores the material and making of bronzes and the interrelationships and collaboration between sculptor, foundry, and owner. Encompassing works made for domestic, religious, and civic environments, the book studies the symbolism of bronze, and the bronzes themselves, within their broader societal context. Features works from sculptors including Pier Jacopo Alari Bonacoisi (Antico), Benvenuto Cellini, Donatello, Adriano Fiorentino, Lorenzo Ghiberti, Giambologna, Bertoldo di Giovanni, Leone Leoni, Barthelemy Prieur, Benedetto da Rovezzano, Adriaen de Vries and Agostino Zoppo

The Hanau City Map project by Claus Bury relates to the new city of Hanau, which was formed from 1597 on and is characterised by its strictly geometric pattern of streets and star-shaped ramparts. The walk-on granite sculpture on the square directly next to the Walloon-Dutch church references the city map engraved in copper in 1632 by Matthaus Merian and revitalises Hanau's historical 17th century topography through its relief-like recesses and encompassing seating areas. An installation spanning centuries that brings the history, present, and future into a flourishing dialogue for the visitors of Hanau. Text in English and German.

The artistic genius of Athens in the fifth century BC reached its peak in the sculpted marble reliefs of the Parthenon frieze. Designed by Phidias and carved by a team of anonymous masons, the frieze adorned the temple of Athena on the Acropolis and represents a festival procession in honour of the Olympian gods. Its original composition and precise meaning, however, have long been the subject of lively debate. Most of what survives of the frieze is now in the British Museum or the Acropolis Museum in Athens; the rest is scattered among a number of European collections. This book reconstructs the frieze in its entirety according to the most up-to-date research, with a detailed scene-by-scene commentary, and the superb quality of the carving is vividly shown in a series of close-up photographs. In his introduction Ian Jenkins places the frieze in its architectural, historical and artistic setting. He discusses the various interpretations suggested by previous scholars, and finally puts forward a view of his own.

Making Small Scale Models is for those who have never made a model before or want to develop or increase their skills. From cutting a straight line to making a scaled human figure that 'lives', through to creating beautifully detailed buildings and finely detailed furniture, the book takes you through each stage of the process. Topics covered include: Methods for a wide range of disciplines, from theatre design to railway modelling to interior design; Practical guide to tools and materials; Basic techniques for constructing scale models using simple, readily available materials; Step-by-step guides to projects designed to practise and develop skills; Advanced ideas focus on colour, texture and form to bring models to life.

Stano Filko is considered as an influential utopian and polyartist, who understood art and life universally and cosmologically as a unity beyond geographical attributions of East and West. Filko was one of the most important representatives of the Central European neo-avant-gardes, whose work has remained current. Early on, he designed hybrid objects and environments, extending them into unfamiliar terrains with his basic conceptual approach. Again and again, the focus of the work changes: assemblages are followed by text-based works and performances that attempt to circumvent state repression, and later by large-scale gestural painting, characterized by artistic self-assertion, and finally by a final phase, which he dedicates to his increasingly complex "System SF". The publication approaches the multi-layered œuvre from various perspectives and takes a fresh look at this exuberant oeuvre. After achievements in the 1960s, Stano Filko (1937-2015) became persona non grata as a result of the Prague Spring, which led to a daring escape from the "Eastern Bloc", his participation in Documenta, and him eventually moving to New York. After the fall of the Berlin Wall, he returned to Bratislava and transformed the studio house Snezienková into a multi-dimensional, colorful "gesamtkunstwerk".

The beginning of the 20th century saw literary scholars from Russia positing a new definition for the nature of literature. Within the framework of Russian Formalism, the term 'literariness' was coined. The driving force behind this theoretical inquiry was the desire to identify literature-and art in general-as a way of revitalizing human perception, which had been numbed by the automatization of everyday life. The transformative power of 'literariness' is made manifest in many media artworks by renowned artists such as Chantal Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge, Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner. The authors use literariness as a tool to analyze the aesthetics of spoken or written language within experimental film, video performance, moving image installations, and other media-based art forms. This volume uses as its foundation the Russian Formalist school of literary theory, with the goal of extending these theories to include contemporary concepts in film and media studies, such as Neoformalism, intermediality, remediation, and postdrama.

In this innovative book, John Guy examines Indian religious sculpture in its temple setting, exploring its origins and cosmological meaning, its function within the architectural schema and its dynamic role in facilitating worship by devotees. Illustrated with the Victoria and Albert Museum's unrivalled collection of South Asian sculpture, it examines Indian temple sculpture as an instrument of worship, conveying powerful religious experiences, both emotive and aesthetic. It traces the early origins of sculptural imagery in India, the emergence of the pantheon of deities associated with the growth of temple building, and with the codification of image-making. The central role of the temple setting is presented through archival and contemporary photographs underscoring the role of ritual practice and the vitality of the temple festivals still enacted today. This book also provides a fascinating introduction to the principal iconographic forms in the three traditional religions of the Indian subcontinent, Hinduism, Jainism and Buddhism, with the principal deities presented through their myths and manifestations.

Camiel Van Breedam ( DegreesBoom 29/06/1936) made his first artworks in 1956: reliefs and small zinc sculptures. Later followed by assemblages, collages, objects, sculptures, environments - exhibited in many places in Belgium and abroad. Influences and inspiration come among others from: his father's plumber workshop, the region of the river Rupel and the brickyards, Paul Klee, ethnic art, Indians, Joseph Cornell, the Russian avant-garde, Chaim Soutine, Oskar Schlemmer, Bauhaus, De Stijl, dreams, nightmares and RED. His social involvement provides the red thread and the binding element.

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.

In 2019 a group of book-lovers began to turn from their usual diet of contemporary novels to read classics of the ‘English eerie’ like Arthur Machen’s 'The Great God Pan'. The documents recovered, (edited by Phil Smith of 'Mythogeography'), and published here as 'Living In The Magical Mode', describe the subsequently inspired attempts of these readers – in a time of virus and social and climate catastrophe –– to live anew, with ‘magic-as-ordinary’, to do magic as if it were the washing up. At first, the readers fall on new ways of remaking their everyday lives in the magical mode, but the mode soon find ways to remake the readers. Challenging assumptions, magic turns lives upside down and shakes out mysteries. The documents of 'Living In The Magical Mode' describe a pulling back of veils, until all veils but one are exhausted; then the book-lovers put their hands upon the veil inside themselves.... 'Living In The Magical World' crosses dream wastelands, racecourses, motorway cafes, edgeland quarries and suburban valleys, in an adventure of encounters with ‘others’. It brings its readers to an occulted realm of unbounded desires that once unfolded refuses to recede. The surviving documents of the book club, reprinted here, describe the final frantic efforts of what remains of its members to understand a collision of many worlds and make novel webs of reconciliation.

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A stunning, full-color volume that examines 82 pieces in the University of Rochester Memorial Art Gallery's American collection and their connections to American history, culture, literature, and politics. Seeing America is the first-ever catalog of the University of Rochester Memorial Art Gallery's American collection. Founded in 1913, the Memorial Art Gallery was created in conjunction with the University of Rochester so that it would function within a scholarly milieu, yet at the same time perform service as a community museum. From its conception it has been an ardent advocate for American art, which so many counterpart institutions snubbed untilat least the 1930s, and more often until well after World War II, in favor of European and Asian art. The 336-page, full-color volume examines 82 objects and their connections to American history, culture, literature and politics. The 73 articles present a running commentary on each piece by knowledgeable and thoughtful contemporary scholars and artists writing with expertise and insight, ultimately presenting a new and deeper understanding that enhances the reader/viewer's appreciation of the work. The tour ranges from Colonial times to the twenty-first century, from Maine to Florida to the far West, from mighty historical subjects to intimate byways, from august figures and events to the humblest and most anonymous. The diversity of American experience on display here reminds us that the best American art is inextricably bound up with the essential truths of American experience.

This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: Collected Writings, Lectures, and Interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist.

This extensively illustrated book includes 435 images, featuring never-before-seen archival materials and newly commissioned photography of Burden s studio and property. Burden s work, whether realized or unrealized, was fundamentally driven by a speculative approach to artistic production, one that compelled him to interrogate the physical limits of his own body, social mores, institutional capabilities, and scientific forces. Above all, his work repeatedly sought to test the thresholds of presumed impossibility, making his unrealized works the ultimate example of such measures. The sixty-seven artworks included in this publication offer a unique and unprecedented perspective on the life and working process of this formidable artist.