The Co(s)mic Picture of Reality in the Art of Julia Curylo is both a collection of essays about the work of Julia Curylo and an album of works by the artist representing a generation of Central and Eastern European artists born in the 1980s. The central part of the book is an essay by Joanna Paneth, an art historian and graduate of Nicolaus Copernicus University in Torun. Paneth provides an in-depth analysis of Curylo's selected paintings from a series focusing on space and existential themes. The author discusses the artist's work in a broader cultural context, referring to the history of art, religion and philosophy and introduces the relatively new current reflected in the artist's work: space art. The author Joanna Paneth write: 'The entire book is a journey. Curylo takes us on an unforgettable adventure. We begin on Earth amid the surrounding reality, moving slowly towards the solar system, where planets and space probes and galaxies await us. We go deeper into space to end our adventure even further: among biblical figures and to learn the genesis of the Universe's creation. At each stage of our journey all the elements, people and space are interconnected and together form an uninterrupted narrative continued in the subsequent works of the artist.'

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

This illuminating and original book opens up a neglected corner of eighteenth-century art - the funeral monument. In the last forty years, studies of the satires of early and mid-eighteenth-century England have multiplied, whereas its funerary monuments have been neglected by all but a small group of enthusiasts. This book redresses the balance and demonstrates that tombs and inscriptions are of manifest worth to the student of eighteenth-century English value systems, providing as they do an archaeology of ideal types. Across the genres of art, there is, perhaps, no better register of shifting notions of correct behaviour, in life and in death. Matthew Craske looks closely for the first time at tomb sculptures in their social context. He discusses a large number of monuments by many different sculptors, all with a knowledge of the person commemorated and the circumstances behind the commission, resulting in a work of great scholarly density and originality that probes the motives behind the imagery and the epitaph. He begins by analysing the relationship of tomb designs to the changing and diverse culture of death in the eighteenth century, and then explains conditions of production and the shifting dynamics of the market, concluding with a masterly analysis of the motivations of those who commissioned monuments, including women and ranging from aristocrats to merchants and professional people. This handsomely illustrated book presents a unique history of death, fame, example and attitudes to loss, as well as a remarkable art history.

William Turnbull (1922-2012) stands as one of Britain's foremost artists in the second half of the twentieth century. Both a sculptor and a painter, he explored the changing contemporary world and its ancient past, actively engaging with the shifting concerns of British, European and American artists. Presenting interpretations of Turnbull's work from an impressive roll-call of over sixty art historians, curators, critics and artists, a picture emerges of an innovative artist who determinedly followed his own path, drawing on influences as diverse as ancient cultures and contemporary music. Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist. With contributions by Oliva Bax, Paul Becker, Andrew Bick, Antonia Bostroem, Mel Brimfield, Bianca Chu, Matthew Collings, Ann Compton, Sam Cornish, Keith Coventry, Elena Crippa, Amanda A. Davidson, Michael Dean, John Dee, Richard Demarco, Edith Devaney, Norman Dilworth, Patrick Elliott, Ann Elliott, Garth Evans, Pat Fisher, Neil Gall, Margaret Garlake, Antony Gormley, Kirstie Gregory, Kelly Grovier, Nigel Hall, Bill Hare, Daniel F. Herrmann, Peter Hide, Ben Highmore, Nick Hornby, Tess Jaray, Julia Kelly, Phillip King, Liliane Lijn, Clare Lilley, Jeff Lowe, Tim Martin, Ian McKeever, Henry Meyric Hughes, Catherine Moriarty, Richard Morphet, Jed Morse, Peter Murray, Matt Price, Peter Randall-Page, Guggi Rowen, Natalie Rudd, Michael Sandle, Dawna Schuld, Sean Scully, Jyrki Siukonen, Chris Stephens, Peter Suchin, Marin R. Sullivan, Mike Tooby, William Tucker, Johnny Turnbull, Alex Turnbull, Michael Uva, Brian Wall, Nigel Walsh, Calvin Winner, Jon Wood, Bill Woodrow, Greville Worthington, Emily Young

The 'ShipCraft' series provides in-depth information about building and modifying model kits of famous warship types. Lavishly illustrated, each book takes the modeller through a brief history of the subject class, highlighting differences between sisterships and changes in their appearance over their careers. This includes paint schemes and camouflage, featuring colour profiles and highly-detailed line drawings and scale plans. The modelling section reviews the strengths and weaknesses of available kits, lists commercial accessory sets for super-detailing of the ships, and provides hints on modifying and improving the basic kit. This is followed by an extensive photographic survey of selected high-quality models in a variety of scales, and the book concludes with a section on research references - books, monographs, large-scale plans and relevant websites. This volume is devoted to the famous ships of Admiral Hipper's First Scouting Group. Slower but more robust than their British equivalents, German battlecruisers enjoyed a reputation for absorbing punishment, and although Lutzow was sunk at Jutland, Seydlitz and the rest of the Scouting Group survived heavy damage.This book concentrates on the seven completed ships but coverage extends to the 'proto-battlecruiser' Blucher and the ships building or designed by the end of the war.

The female face and the female figure have been drawn, sculpted, carved and painted by artists and craftsmen from around the world for centuries. In this book and DVD, author and teacher Ian Norbury offers his expertise and experience to help carvers take on the challenge of presenting the female face and figure in wood. Inside, readers will find tips for creating patterns, in depth anatomical drawings for better understanding of the body's muscles, step-by-step projects with detailed photos and instructions and a photo gallery of finished projects to illuminate and inspire.

Although originally trained as a painter, Shingu became interested in sculpture when he saw one of his shaped canvases turning softly in the wind. The work that followed relied on natural forces to make it move or make sound, and he began using more sophisticated materials for outdoor works. By the time of Expo '70 in Osaka, Shingu had been commissioned to create a piece for the plaza. It contained many of the elements he would use later: parts of it were moved by both wind and water, in some ways harnessing their power but also buffeted by it. His work walks the fine line between complementing nature and being an integral part of it. The pieces, though large, colorful, and usually made of modern materials, adopt nature's rhythms in their movement. Shingu's sculpture is found around the world, from Japan to France, Italy, and the United States. In addition to creating sculptures, he has written and illustrated several children's books and designed several theater pieces that integrate his sculptures and installations with dramatic stories. All of these endeavors are collected here - along with the artist's comments on many of the sculptures, essays by Pierre Restany and Renzo Piano, and an interview with Joseph Giovannini - in a monograph that provides a complete portrait of Shingu's diverse career.

This is a beginner's guide from the world's most renowned chip carver! Wayne Barton - author of "Chip Carving and Art of Chip Carving" - presents what is unquestionably the finest guidance ever for the novice. He has been the driving force behind the craft's resurgence and his technical knowledge, design skills and ability to instruct remain unequalled. One by one, with the aid of colour photographs, he covers tools and materials, the best woods, holding and sharpening chip carving knives and laying out and transferring patterns. Borders, grids, rosettes, free-form design, positive image design and lettering all receive separate, in-depth chapters, as does Barton's special, time-tested hints.

Diamond jewelry has long been symbolic of political power and authority in Europe. This book focuses on the individuals who commissioned and wore extraordinarily precious diamond ornaments from the mid-14th century until the ‘democratization’ of diamonds that followed the opening of mines in South Africa in 1867. This enthralling story covers seven centuries of history, showing the way in which rulers such as Charles V of France, Queen Elizabeth I of Great Britain, Louis XIV of France and Catherine II of Russia used diamond jewelry to reinforce their power and authority. As works of art, these precious creations mirror the successive styles of each period – late Gothic naturalism, the culture of the Renaissance, Baroque splendour, Rococo elegance and the Imperial grandeur of the First and Second Napoleonic Empires. The recurring themes – religion, sentiment, heraldry, military glory, miniatures and cameo portraiture – are reinterpreted by each generation of jewelers. Like royal dress, diamond jewelry was worn to dazzle and impress – at weddings, coronations, christenings and state visits – and was presented as gifts reflecting princely generosity. Over the centuries, these displays proved remarkably successful as instruments of government, symbolizing the pride and glory of a nation. Arranged chronologically, Diamond Jewelry includes some legendary masterpieces of diamond jewelry. Written by an acknowledged expert, it offers an intriguing overview of one of the world’s most precious gems.

The first true monograph on the work of celebrated French conceptual artist and sculptor Bernar Venet Bernar Venet is one of France's most celebrated living artists. Having emerged from the late 1960s avant-garde scene in New York, Venet developed a personal aesthetic based on an innovative use of mathematics and science, where control, chance, and chaos converge to form a fine equilibrium while investigating their relationship with the environment. Conversant in many media, Venet is mostly known for his monumental outdoor sculptures in major cities worldwide and, in fall 19, his Arc Majeur is due for completion at a site in Belgium - at almost 200 feet in height (60 metres), Venet's sculpture will be taller than New York's Statue of Liberty.

'Mr Roscoe's Garden is a key outcome of The Fragrant Liverpool project. Conceived by Jyll Bradley, this is a unique international art project exploring the stories, rites and exchanges that occur when a flower is cut and placed in the human hand. The project centres on the fascinating story of the Liverpool's Botanic Collection and the people involved in its intriguing history. Established by William Roscoe in 1802, and moved to more extensive sites in both 1846 when it became a public facility and in 1964, the complete Botanic Collection has not been on display since 1984 when it closed to the public in a political storm that mirrored the cataclysmic 1980s decline of Liverpool itself. The collection thus has both a glorious and tragic past. Jyll Bradley draws together the compelling tales of the Botanic Collection's history in this creatively ambitious and beautifully illustrated book, evoking the people that made the collection and the distant lands that supplied the plants. By the early nineteenth century the Liverpool Botanic Collection was one of the greatest botanic gardens of its day, filled with strange and rare plants arriving on ships through the City's port from an ever-widening imperial world. By the mid-twentieth the Collection included the greatest orchid collection ever amassed in municipal Britain, as it still does today. While the indignity of the closure lives on, so do, by miracle, the living plants and the dried plants (in Liverpool's magnificent Herbarium); the books; the paintings and all the other riches that have, at one time, or another, co-existed in the Liverpool Botanic Gardens. The glory days are still in the past, but the plant collections have continued to be nurtured and grown and Liverpool's current revival has signalled a new future for the Collection. Painstakingly designed by Jyll Bradley, Mr Roscoe's Garden is a work of art in itself. Its publication also coincides with the re-emergence of the collection as goes to the Chelsea Flower Show for the first time in 30 years and the Gardens open once again to the public.

<div>One of the most important sculptors of this century, Richard Serra has been a spokesman on the nature and status of art in our day. Best known for site-specific works in steel, Serra has much to say about the relation of sculpture to place, whether urban, natural, or architectural, and about the nature of art itself, whether political, decorative, or personal. In interviews with writers including Douglas and Davis Sylvester, he discusses specific installations and offers insights into his approach to the problem each presents. Interviews by Peter Eisenman and Alan Colquhoun elicit Serra's thoughts on the relation of architecture to contemporary sculpture, a primary component in his own work. From essays like "Extended Notes from Sight Point Road" to Serra's extended commentary on the <i>Tilted Arc</i> fiasco, the pieces in this volume comprise a document of one artist's engagement with the practical, philosophical, and political problems of art.</div>

00s is the first exhibition that explores the 2000s, taking as its starting point one of the most important European collections of contemporary art - the Cranford Collection. This accompanying catalogue selects 100 works from the collection, and includes pieces by artists such as Louise Bourgeois, Cindy Sherman, Damien Hirst, Gerhard Richter, Raymond Pettibon, and Josh Smith. With an introduction by Nicolas Bourriaud, the CEO of MO.CO, and interviews with Muriel and Freddy Salem, the Patrons of the Cranford Collection. Text in English and French.

In this lavishly illustrated volume, Laura Lee introduces the art of Tokyo-based digital art collective teamLab, which has soared to global fame with its electrifying immersive and interactive installations. The first of its kind, Worlds Unbound: The Art of teamLab provides a comprehensive overview of teamLab's artistic vision and achievements from its beginnings to its twentieth anniversary in 2021, and illuminates the remarkable scope of teamLab's groundbreaking art and its fundamental contribution to the pivotal field of new media art. This original new book, the first scholarly monograph on this popular group, unpacks the popularity and success of the digital immersive environments created worldwide by the Tokyo-based collective, teamLab, from multiple perspectives and addresses the lack of critical appreciation of their work. The book includes an extensive interview with teamLab. teamLab launched in January 2001 with five members and now comprises more than 600 individuals in a multidisciplinary collaboration of engineers, computer graphics animators, mathematicians, graphic designers, architects, artists and computer programmers. The digital art collective has attained international celebrity for its electrifying installations that transcend boundaries between gallery, public space and popular entertainment and, judging from press coverage, ticket sales and prolific production, it seems clear teamLab's success is only on the rise. In 2018, the collective opened the MORI Building DIGITAL ART MUSEUM: teamLab Borderless, a massive technological environment in Tokyo that recorded 2.3 million visitors in its first year of operation - the world's largest annual number of visitors of any single-artist museum. The same year saw numerous other high-profile immersive exhibitions, including teamLab: Massless in Helsinki, Au-dela des limites in Paris, and teamLab Planets TOKYO, a second exhibition in Tokyo. These were quickly followed by two new museums, teamLab Borderless Shanghai in 2019 and, in 2020, teamLab SuperNature in Macao. The vast sea of selfies that have emerged from these venues index the collective's soaring global popularity. At the same time, teamLab's works have found art market success and have been exhibited in major museums worldwide, including the National Gallery of Art in Washington DC and Los Angeles County Museum of Art (LACMA), and they are part of the permanent collection of The Art Gallery of New South Wales, the Asian Art Museum of San Francisco, and Amos Rex in Helsinki, among numerous others. This canonization of teamLab's art belies the fact that the group did not have a traditional gallery start, and in fact teamLab has always engaged in software development and corporate work, in addition to creating artworks. The collective thus boasts an enigmatic status, spanning conventional categories and defying traditional art world pedigree. In so doing it has produced a tremendously rich body of work that speaks to several overlapping issues pertinent to contemporary art while advancing a unique artistic vision. Primary readership will include artists, art historians and visual studies scholars who are particularly interested in the most recent media art and Japanese contemporary art. It will be an essential resource for students and scholars working in Japanese art, global contemporary art, digital art, augmented reality, expanded cinema and installation art and related fields. It will also be of more general interest to those who have visited, or hope to visit, teamLab environments worldwide.

Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholder's experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years.

Aimed at both the beginner and more experienced modeller, this is a guide to the design, planning and creation of realistic models in 1:285 and 1:32 scales. Covering British, French and German trenches of the Western Front, this book includes the different construction, materials and repair methods used during the conflict. Each chapter includes the historical background, together with step-by-step instructions. With over 300 photographs, this book includes: why trenches were a necessity to save lives and how they adapted through the war; how to build models of British 'ideal' and typical trenches, a wet soil trench, improved shell hole, front line dugout, tunnels and mines, and a hospital tent. Construction advice is given for typical French and German trenches, together with a reversed German trench (modelled under British control) and a German concrete bunker. The creation of artillery models, realistic groundwork and plants is covered along with perfecting fine details such as tools, clothes, mess tins, shaving equipment, cigarette packets and letters from home. Finally, there is a guide to visiting the trenches today, a trench glossary and useful measurements at 1:32 scale.

The book contains a review of Patrick Hamilton's artistic career, from his beginnings with the series Project, - covering works of architecture, which began in 1996, two years before graduating from art school - to his most recent works. Driven by a desire to move painting onto another plane, Hamilton has created a body of work along object- and concept-based lines with a foundation in his interest towards cultural, historical and literary research. Using the starting point of Santiago, the city where he has lived and worked until recently, Hamilton has woven together countless works over a time period equivalent to a career that has now lasted nearly twenty years. The visual metaphors, popular myths and historical events in them are given form in an impeccable conceptual and visual presentation, which he uses to look for answers to all of the questions which arise on a daily basis in the society of which he forms a part as a citizen and artist. His work takes place mainly in the field of photography, collage, objects and installations and includes a reflection on the concepts of work, inequality, architecture and history - particularly of Chile post-dictatorship. In this sense it is an aesthetic reflection on the consequences of the 'neoliberal revolution' implanted in Chile during the '80s and its projection in the social and cultural field from then until now. Patrick Hamilton (Leuven, Belgium, 1974) has a degree in Art from the University of Chile. He received a Guggenheim fellowship in 2007. He has had exhibitions at numerous international institutions and has taken part in the Venice Biennale with Chile. He lives and works in Madrid.

This book provides a wealth of practical guidance on building and painting realistic model naval ships aimed at those who are new to this hobby through to the experienced modeller. An in-depth look at the creation of four models is included: the Type 45 destroyer HMS Daring (Dragon), the pre-war aircraft carrier USS Wasp (Aoshima), the River-class frigate HMS Nadder (Starling Models) and the 'pocket battleship' Admiral Graf Spee (Academy). With a focus on the popular kit scales of 1/700 and 1/350 in the waterline style, this book demonstrates the techniques used in building model ships, from the basic to the more complex, larger-scale models requiring many differing skills. There are chapters on the fundamentals such as building resin kits, painting and weathering, rigging and creating a water effect. It provides guidance on more advanced techniques such as the use of photo-etched parts and creating rough-water effects. Finally, it is packed with helpful tips and finishing touches, such as making flags and how to take professional-standard photographs of your completed model.