When using digital technologies, many types of dysfunction can occur, ranging from hardware malfunctions to software errors to human ineptitude. Many new media artworks employ various strategies of dysfunctionality in order to explore issues of power within societies and culture. When using digital technologies, many types of dysfunction can occur, from hardware malfunctions to software errors and human ineptitude. Robert W. Sweeney examines how digital artists have embraced the concept of the error or glitch as a form for freedom--imperfection or dysfunction can be an integral element of the project. In this book, he offers practical models and ideas for how artists and educators can incorporate digital technologies and integrate discussions of decentralized models of artistic production and education.

Claes Oldenburg's commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg's profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York's changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg's innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.

This impressive work of scholarship brings together anthropology, religion, popular culture, and history in its focus on Bakhtiari lion tombstones that have remained largely unknown and hence little studied. Although lions have long figured in Iranian history, art and myth as symbols of rulership, power, religious leadership or as steadfast guardians, art historians have tended to concentrate their attentions on court traditions and the role of lions in popular culture, especially in religion, has remained little considered until this book. Funerary stone lions are to be found throughout western Iran, but are concentrated in the summer and winter pasture areas of the Bakhtiari, today's provinces of Chahar Mahal and Bakhtiari, west of Isfahan, and Khuzistan. This highly illustrated colour volume draws on meticulous fieldwork and includes over three hundred photographs, drawings, charts and maps. The recording of this rare sculptural heritage, dating from the 16th century to the early 20th century, has become ever more pressing as some tombstones have been taken from their original settings and re-erected in parks, others damaged by the elements and some recently broken up to be used in road repairs. 'Pedram Khosronejad's Lion Tombstones among Bakhtiari Pastoral Nomads in South West Iran is to be greatly welcomed... [It is ]based on extensive fieldwork and represents something of a rescue project....This volume, however, goes further in raising three inter-related issues: why have these important artifacts been neglected even by specialists; how do they relate to a richer understanding of Iranian art and culture; and how does vernacular art relate to the accepted traditions of Iranian art?.... This volume will prove to be important in bringing the lion tombstones to a larger public attention.' G. R. Garthwaite, Dartmouth College, Hanover, NH Jane and Raphael Bernstein Professor in Asian Studies, Emeritus & Professor of History, Emeritus

Although a quintessentially English sculptor, Henry Moore experienced outstanding success in the United States. A man much admired and revered, he was the natural choice for corporate and civil commissions, with many seeing ownership of his work as an expression of rank and aspiring wealth. The fact that the United States contains the greatest number of his sculptures, as opposed to his home country, cannot simply be attributed to superior spending power. Based on original sources, and containing many previously unpublished images, Pauline Rose's book explores the reasons for Moore's fame in America, and the construction of his American persona. An autonomous, creative genius was a seductive and popular idea for the Americans, a perception encouraged by the photographs, films and writings of him in the press. The impact of Moore's presence was likely even stronger precisely because he did not fulfil the expected traits of either the modern artist or the modern celebrity. Rose's work focuses on contextual factors surrounding Moore's reception: political and economic imperatives within the United Kingdom and the transatlantic Special Relationship between the United Kingdom and America. Exploring the ways in which Moore was presented to an American audience via text and imagery and the influential network of his supporters which spanned the two countries, this insightful book examines a range of sculptural commissions in key American cities. His popularity is likely to be related to the ambitions of politicians and businessmen alike who perceived Moore's monumental sculptures as expressions of citizenship and humanity, particularly against the backdrop of the Cold War. This text is a valuable and innovative addition to studies on Moore. It will be indispensable to all those interested in twentieth century art history and cultural studies, Anglo-American relations, and the vibrant relationship between text and image.

The Serpent Column, a bronze sculpture that has stood in Delphi and Constantinople, today Istanbul, is a Greek representation of the Near Eastern primordial combat myth: it is Typhon, a dragon defeated by Zeus, and also Python slain by Apollo. The column was created after the Battle of Plataia (479BC), where the sky was dominated by serpentine constellations and by the spiralling tails of the Milky Way. It was erected as a votive for Apollo and as a monument to the victory of the united Greek poleis over the Persians. It is as a victory monument that the column was transplanted to Constantinople and erected in the hippodrome. The column remained a monument to cosmic victory through centuries, but also took on other meanings. Through the Byzantine centuries these interpretation were fundamentally Christian, drawing upon serpentine imagery in Scripture, patristic and homiletic writings. When Byzantines saw the monument they reflected upon this multivalent serpentine symbolism, but also the fact that it was a bronze column. For these observers, it evoked the Temple's brazen pillars, Moses' brazen serpent, the serpentine tempter of Genesis (Satan), and the beast of Revelation. The column was inserted into Christian sacred history, symbolizing creation and the end times. The most enduring interpretation of the column, which is unrelated to religion, and therefore survived the Ottoman capture of the city, is as a talisman against snakes and snake-bites. It is this tale that was told by travellers to Constantinople throughout the Middle Ages, and it is this story that is told to tourists today who visit Istanbul. In this book, Paul Stephenson twists together multiple strands to relate the cultural biography of a unique monument.

Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call 'shared sculptures', highlighting the important equality of authorship and responsibility at stake for both these artists. Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: 'Only the Lonely' (1993), 'monuments' (1999), 'Lead Astray' (2004), 'On the Rocks' (2008) and 'Don't Start' (2016). Their recent body of work, 'We Thought About It A Lot' (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists' latest two-person exhibition, 'We Thought About It A Lot, and other shared drawings' at Ikon, Birmingham, in autumn 2021. Bill Woodrow (b.1948) has exhibited internationally, representing Britain at biennales in Sydney (1982), Paris (1982, 1985) and Sao Paulo (1983). He was shortlisted for the Turner Prize in 1986 and participated in Documenta 8 in 1987. He was elected a Royal Academician in 2002 and had a major retrospective at the Royal Academy of Arts in 2013. Richard Deacon (b.1949) has exhibited internationally throughout his career. He was awarded the Turner Prize in 1987, elected to the Royal Academy in 1998 and to the Akademie der Kunste in Berlin in 2010. A large exhibition of his work was shown at Tate Britain in 2014, the same year as a selected edition of his writings was published. Dr Jon Wood (b.1970) is a writer and curator, specialising in modern and contemporary sculpture. Recent publications and exhibitions include: 'Sean Scully' (2020), 'Contemporary Sculpture: Artists' Writings and Interviews' (2020), 'Tony Cragg at the Boboli Gardens' (2019) and 'Sculpture and Film' (2018). He is a trustee of the Gabo Trust.

Create beautiful, lifelike wildfowl cane handles with power tools. Over 145 clear color photographs illustrate each step, from carving the blank and setting the eyes to texturing feathers and painting the completed handle. Every tool necessary is described and displayed in detail. Patterns are provided for fifteen cane handle projects: including the American Flamingo, Bald Eagle, Brown Pelican, Cardinal, Cooper's Hawk, Great Blue Heron, Horned Puffin, Leghorn, two Mallards, Red Breasted Merganser, Ring-Necked Pheasant, Sandhill Crane, Tundra Swan and the Wood Duck. Instructions appear for procuring, sizing, and fastening shafts to the finished handles. This book will be a challenge to the novice and a joy to the expert carver

Joseph Cornell is well known for the oneiric quality of his art and films. Many have tried, often in vain, to put into words the strange power of his boxes--toy-like constructions whose playfulness and humor are anchored in a profound melancholy and loneliness. "Slot machines of visions," said Octavio Paz. Cornell himself is said to have enjoyed children's responses to his work; perhaps because nothing prepares one better for viewing a Cornell box than having an unbiased mind. Catherine Corman has combed through the voluminous diaries that Cornell kept throughout his life, now in the care of the Smithsonian's Archives of American Art, in search of the artist's own dreams. What she found are brief flashes of images, and short, enigmatic narratives of illumination--the verbal equivalent of Cornell boxes. In 1993, Mary Ann Caws edited a large portion of Cornell's diaries for publication by Thames & Hudson, an invaluable sourcebook for Cornell studies. This new, shorter volume is a poetic addition to that literature, equally indispensible to those interested in Cornell as it contains previously unpublished writings, but also because it is as intriguing and mysterious to the uninitiated as the magical boxes themselves.

Legend has it that the forest of the world are inhabited by elusive creatures known as "Wood Spirits." Tom Wolfe finds them everywhere and brings them to life in this delightful new instructional book. Using found wood such as driftwood, roots, and old beams from dilapidated barns, he leads the reader through the carving of wondrous, fanciful faces, that are both enchanting and beautiful. On a smaller scale, Tom also finds the Wood Spirits in walking sticks, creating treasures that are handsome and functional at the same time. Tom has been carving these Spirits for years, and they are constantly in demand. Now he leads the carver, step-by-step, through their creation, each step illustrated in beautiful color photographs. An extensive gallery is included, jam-packed with examples and ideas for the reader's own work.

The Gayer-Anderson Cat has been one of the most admired objects at the British Museum since its arrival in 1947. This book presents a detailed description of the cat and a discussion of its possible meaning and role in ancient times. Surprising new finds from scientific analyses are presented for the first time, shedding light on the cats somewhat traumatic modern history, from its acquisition by the British Army major and avid antiquities collector John Gayer-Anderson to its donation to the British Museum. The fascinating narrative is complemented by outstanding new photography.

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

The groundbreaking sculptor's most comprehensive monograph to date

Jean-Michel Othoniel is an artist who creates sculptures that explore themes of fragility, transformation, and ephemerality. Using the repetition of such modular elements as bricks or beads, his work deploys various strategies that hint at loss and despair – cracks in his objects' perfect surfaces, negative spaces and, early in his career, transient materials such as sulfur. The most authoritative study of the artist's work to date, it includes intimate gallery pieces as well as monumental public commissions around the world.

The Javanese movement artist Suprapto Suryodarmo (universally known as Prapto) died in 2019. He had devoted his life to developing, embodying, teaching and sharing his practice of Amerta Movement / Joged Amerta, which, in his own words, is not only a language for communication but also an expression of being. In the course of his life, Prapto worked with students and colleagues (people from all walks of life, including internationally-known artists, performers, practitioners and teachers, all of whom he treated equally as ‘friends’) in sacred, ancient and mundane sites around the world. He never attempted to write down his practice, although he encouraged many ‘friends’ to spread the word and the practice, sharing their own understandings of his work widely. ​ This book, covering the early years of Prapto’s teaching, is the closest there is to a record of that period of his work in English. It is a radically revised, updated and edited version of Lise Lavelle’s doctoral thesis and draws on her unrivalled knowledge of the culture, language, art, religion and traditions of Java – the pot in which Prapto’s life, work and practice were cooked. ​ While Amerta Movement continued to evolve during this century, 'The Roots of Amerta Movement' offers a clear and many-layered introduction. For anyone wanting to know more about Prapto and his work, it is a very good place to start.

The Gorillaz Art Book is here! Featuring brand new artwork by Jamie Hewlett, who has invited more than 40 creators to offer new interpretations of 2D, Murdoc Niccals, Noodle, and Russel Hobbs in one expansive volume of original artwork. Contributing artists include Ruff Mercy, Kim Jung Gi, Robert Smith, Kerbscrawler Ghost, Robert Valley, Craig McCracken and Tim McCourt & Max Taylor. Celebrating 20 years of Gorillaz, this latest Z2 partnership sees Hewlett expand the band’s collaborative vision to fellow visual artists in The Gorillaz Art Book, a stunning visual feast of 306 pages.

Explore the human form in depth, from concept sketches and armatures to detailed instructions for constructing legs, torso, arms, hands, and head from clay. In Mastering Sculpture: The Figure in Clay, renowned sculptor and instructorCristina Cordova teaches everything you need to know to replicate the full human figure using clay. Start by developing meaningful sketches and reference points. Then learn how to make and use an armature to create hollow forms that are safe to fire in a kiln. Using patterns and slabs, you can move on to develop a full human form, head to toe. Work along with the author to create a form about two-feet tall, or choose your own size: the patterns and instructions can work in a variety of scales. Photographic demonstrations and diagrams cover the construction and articulation of feet and legs, the hip area and upper torso, arms, hands, neck, and head. Cristina includes supplementary tips and insights throughout to support the sculpting process and enhance naturalism. You'll also find a brief section on general anatomical concepts and modeling strategies to facilitate accuracy and expression as all the components come together. Whether you are a clay artist with limited experience in figurative sculpture or a figurative sculptor outside the world of ceramics looking for a straightforward fabrication strategy to create permanent compositions from clay, Mastering Sculpture: The Figure in Clay will expertly guide your way.

Czech action art - a medium similar to performance art that does not require an audience - emerged out of the political and social turmoil of the 1960s. This movement has received little critical attention, however, as the Iron Curtain prevented its dissemination to an international audience. Here theorist and art historian Pavlina Morganova gives this art scene its due, chronicling its inception and tracing its evolution through to the present. Morganova explains the various forms of action art, from the "actions" and "happenings" of the 1960s; to the actions of land art that encompass stones, trees, water, or fire; to recent displays of body art; to the actions of the latest generation of artists, who are using the principles of action art in contemporary postconceptual and participative art. Along the way, she introduces the most prominent Czech artists of each specific niche, including Milan Knizak, Zorka Saglova, Ivan Kafka, Petr Stembera, Karel Miler, Jiri Kovanda, and Katerina Seda, and demonstrates not only the changes in the art forms themselves but also the shifting roles of artists and spectators after World War II. With over one hundred illustrations, Czech Action Art introduces this heretofore overlooked but fascinating art form to a global readership.

The V&A's collection of ivory carvings from the period 1200 to 1550 is one of the most important in the world, and this is the first catalogue of it to be published since 1929. Together with the earlier volume, Medieval Ivory Carvings: Early Christian to Romanesque (V&A, 2010), the books make available over 400 pieces of the ivory carver's art, discussing in detail many of the most celebrated ivories of the Middle Ages. Included here are masterpieces from the most important centres of ivory carving in the Gothic era. Among them are the Salting Leaf and Soissons Diptych from thirteenthcentury France; the early-fourteenth-century Salting Diptych from England; Giovanni Pisano's Crucified Christ and the Aldobrandini Crozier from Italy; and the unique Wingfield-Digby Crozier from fourteenth-century Norway. Additionally, important groups of Virgin and Child statuettes, tabernacle polyptychs, diptychs, triptychs, writing tablets, croziers, mirror backs, caskets and the products of the Florentine and Venetian Embriachi workshops are catalogued. Appendices include a small group of post- Byzantine and Russian ivories and the results of radiocarbon-dating of selected works. Each entry provides a comprehensive physical and scholarly discussion that incorporates much new research; also included are carvings of dubious authenticity, which are discussed as fully as the genuine pieces. Beautifully illustrated with new colour photography, Medieval Ivory Carvings 1200 - 1550 is the authoritative guide to the V&A's collection and an accessible survey of the subject.

Inspired by Robert McCloskey's beloved children's book of the same name, the iconic bronze Make Way for Ducklings sculpture in Boston's Public Garden has come to serve as something of a record of the recent decades of life in the city itself. In a series of delightful photographs taken by members of the public, Ducks on Parade! chronicles many of the original, moving, humorous, and startling outfits that artistic Bostonians have dressed the ducks in. From summer hats to winter scarves, from the Women's March to Black Lives Matter, the ducks reflect the life of the city and our country. Featuring a text by sculptor Nancy Schoen, this book is a tribute to all Bostonians whose creativity and generosity have made this constant collaborative art possible. More than this, it is a revealing look at the lasting power of public art and how viewers can also be participants. Ducks on Parade! is perfect for whimsical readers of any age.