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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
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.
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.
Volumes that are massive yet lightweight, the sculptures of British
artist Anthony Cragg firmly take hold of the space without seeming
static. They are dynamic objects that bear trace of the process
that created them: starting from in many cases figurative drawings
to encountering the artist s chosen material, guided by inner
force. Cragg s sculptures reveal the infinite possibilities of
form. They seem to obey the laws of nature that govern living
organisms, evolving from one another and growing upon themselves.
This new book features new work by Anthony Cragg shown in a recent
exhibition at Museo Nivola in Orani, Sardinia. Illustrated in color
throughout, it offers also an essay exploring Cragg s art by
British scholar and curator Mark Gisbourne. Text in English and
Italian.
Robert Hodgins is a celebrated and highly respected South African
artist. Hodgin's paintings and works on paper are highly sought
after on both the local and international market. At 88, Hodgins is
still producing witty and satirical works. He has been producing
ceramic works for almost 2 decades, however these works have
received very little exposure and the last exhibition of his
ceramic works was about 18 years ago. Retief van Wyk is a
ceramicist who has worked closely with Hodgins in the production of
these ceramic works. Their association spans nearly 2 decades. In
this title van Wyk documents the ceramic works produced by Hodgins
with his assistance and the well researched essays explore the
influences which form Hodgins' art and the nature of the ceramic
works.
- First book to chronicle the life and artwork of June Schwarcz, a
pioneer craftsperson in the enamel and decorative arts fieldJune
Schwarcz (1918-2015) was among the most innovative artists working
in the contemporary enamels field. Best known for her electroplated
metal sculpture embellished with rich enamel color, she produced an
extensive body of work that, while linked to long-standing
vessel-making traditions, defied convention. In a field known for
visual opulence, preciousness, and adherence to traditional craft
practices, Schwarcz was a renegade. She learned enameling on her
own and adopted a highly experimental approach to process,
inventing new ways of creating sculptural objects in metal and
unorthodox strategies for their embellishment. Believing in the
power of opposing principles, she created forms that were at once
raw and elemental, elegantly composed, and lushly beautiful. A
seminal figure in the American craft field, Schwarcz led enameling
workshops across the country and influenced several generations of
young and emerging artists. She also played a central role in the
craft community of the San Francisco Bay Area, where she lived and
worked for more than fifty years. June Schwarcz: Artist in Glass
and Metal is the first publication to investigate Schwarcz's work
in depth. It explores the rich trajectory of her career along with
the sources and influences that helped shape and define her
singular vision. It also investigates the themes and subjects that
intrigued her as it examines the role she played in advancing
enameling in America in the late twentieth century. This lavishly
illustrated publication celebrates the extraordinary body of work
Schwarcz created over a period of sixty years.
![Japanese Netsuke (Paperback): Julia Hutt](//media.loot.co.za/images/x80/78005081473179215.jpg) |
Japanese Netsuke
(Paperback)
Julia Hutt; Foreword by Edmund De Waal
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'You will have a moment of quiet delight and a mood of
introspection to carry you away.' Edmund de Waal Prized by
collectors from East to West, Japanese netsuke are tiny objects of
wonder that originated as utilitarian accessories for traditional
Japanese dress. Over the centuries these small carved toggles,
designed to hook over the top of the kimono sash, evolved into
high-fashion depictions of all aspects of Japanese life. In this
richly illustrated and highly accessible book, Julia Hutt draws on
the V&A's world-famous netsuke collection to explore the
origins and techniques of this captivating art form.
Shaheen Merali's oeuvre extends from large-scale installations to
remapping colonial history through collages and batiks. Acutely
aware of how popular culture acts as a carrier of social prejudice
and invective, his work is exercised specifically by the racial and
racist content of popular culture. Whether it's his series of
life-size paper constructions of black celebrities or his use of
flowerpots and toys to represent people of colour, Merali explores
and questions the relationship between racist desire and disgust,
between consumer goods and art fetishes, between the sweet icing of
kitsch and brutal racist violence. Through his work, it becomes
clear that the most trivial objects of amusement carry an
inordinate wealth of history, knowledge and prejudice. "Blackpop"
covers the last decade of his work while referring to earlier work
of the 1980s, with an introduction by the artist, Dave Beech, and
essays by art historian Jean Fisher, film historian Adrian Rifkin,
and film-maker Hito Stereyl.
Rodin & Dance: The Essence of Movement is the first serious
study of Rodin's late sculptural series known as the Dance
Movements. Exploring the artist's fascination with dance and bodies
in extreme acrobatic poses, the exhibition and accompanying
catalogue give an account of Rodin's passion for new forms of dance
- from south-asian dances to the music hall and the avant garde -
which began appearing on the French stage around 1900. Rodin made
hundreds of drawings and watercolours of dancers. From about 1911
he also gave sculptural expression to this fascination with
dancers' bodies and movements in creating the Dance Movements, a
series of small clay figure studies (each approx. 30 cm in height)
that stretch and twist in unsettling ways. These leaping, turning
figures in terracotta and plaster were found in the artist's studio
after his death and were not exhibited during Rodin's lifetime or
known beyond his close circle. Presented alongside the associated
drawings and photographs of some of the dancers, they show a new
side to Rodin's art, in which he pushed the boundaries of
sculpture, expressing themes of flight and gravity. This exhibition
catalogue aims to become the authoritative reference for Rodin's
Dance Movements, comprising essays from leading scholars in the
field of sculpture. It includes an introductory essay on the
history of the bronze casting of the Dance Movements and the
critical fortune of the series, an essay on the dancers Rodin
admired, and an extensive technical essay. The Catalogue will
comprise detailed entries on the works in the exhibition and new
technical information on the drawings. Contributors include
Alexandra Gerstein, Curator of Sculpture and Decorative Arts, The
Courtauld Institute of Art; Antoinette Le Normand-Romain, Director,
Institut National d'Histoire de l'Art, Paris; Juliet Bellow,
Associate Professor of Art History, American University in
Washington, DC and currently Resident Fellow, the Center for Ballet
and the Arts, New York University; Francois Blanchetiere, Curator
of Sculpture at the Musee Rodin; Agnes Cascio and Juliette Levy,
distinguished sculpture conservators; Sophie Biass-Fabiani, Curator
of Works on Paper at the Musee Rodin; and Kate Edmonson,
Conservator of Works on Paper at The Courtauld Gallery.
Insists on the importance of embodiment and movement to the
creation of Black sociality Linking African diasporic performance,
disability studies, and movement studies, Falling, Floating,
Flickering approaches disability transnationally by centering
Black, African, and diasporic experiences. By eschewing capital’s
weighted calculus of which bodies hold value, this book centers
alternate morphologies and movement practices that have previously
been dismissed as abnormal or unrecognizable. To move beyond
binaries of ability, Hershini Bhana Young traverses multiple
geohistories and cultural forms stretching from the United States
and the Mediterranean to Sierra Leone, Nigeria, and South Africa,
as well as independent and experimental film, novels, sculptures,
images, dance, performances, and anecdotes. In doing so, she argues
for the importance of differential embodiment and movement to the
creation and survival of Black sociality, and refutes stereotypic
notions of Africa as less progressive than the West in recognizing
the rights of disabled people. Ultimately, this book foregrounds
the engagement of diasporic Africans, who are still reeling from
the violence of colonialism, slavery, poverty, and war, as they
gesture toward a liberatory Black sociality by falling, floating,
and flickering.
Deacon's sculptures employ curvilinear forms made from a wide range
of materials that are more traditionally associated with the
manufacturing of industrial and domestic products. The works
display both the method of construction and the craftsmanship
involved in their making, through the surface details of screws and
rivets, stitching or gluing used for material such as galvanised
steel, corrugated iron, cloth, leather, linoleum and laminated
wood. Published to coincide with a major exhibition at Tate
Britain, this next volume in the Modern Artists series addresses
key aspects of Deacon's career, beginning with his early
performance-based work such as Stuff Box Object - an experimental
piece involving him climbing into a box, bolting himself inside,
experiencing the interior space, climbing out and then working with
plaster on the exterior of the box. Since then he has produced a
highly coherent and yet diverse body of work in sculpture,
combining natural forms with an industrial sensibility, ranging
from the domestic scale of his ongoing Art for Other People series
to monumental work for public commissions. As with other volumes in
the Modern Artists series, a key feature of the book is the
interviews, here undertaken by Penelope Curtis, Director at Tate
Britain. Six themes are explored, bring the sculptor's thoughts and
processes vividly to life.
The essential five-volume resource on the painting and sculpture of
one of the world's foremost contemporary artists For more than 60
years, Jasper Johns (b. 1930) has remained a singular figure in
contemporary art. His most widely influential work-depictions of
everyday objects and signs such as flags, targets, flashlights, and
lightbulbs-helped change the face of the art world in the 1950s by
introducing subject matter that stood in contrast to the prevailing
style of Abstract Expressionism. In subsequent decades, Johns's art
has increasingly engaged issues of memory and mortality, often
incorporating references to admired artistic predecessors. This
definitive 5-volume catalogue raisonne documents the entire body of
painting and sculpture made by Johns from 1954 through 2014,
encompassing 355 paintings and 86 sculptures. Each work is
illustrated with a full-page reproduction, nearly all of which were
commissioned expressly for this publication. A decade of research
underpins the project, with thorough documentation of each object
and an overarching monograph that represents the most comprehensive
study of the artist's work to date. All facets of the catalogue
reflect the input of the artist, who worked closely with the author
at all stages.
What is an immersive soundscape? It can be as simple as a recording
made in a forest: leaves crunching underfoot, birds chirping, a
squirrel chattering. Or it can be as complex as a movie soundtrack,
which involves music but also uses many other sounds--to set the
mood for the action and to literally put the viewer in the picture.
Sound art defies categorization, and artists using this medium
describe their work in many different ways: as sound installations,
audio art, radio art, and music.
"The Art of Immersive Soundscapes" provides a fascinating tour of
contemporary sound art practices that comprises scholarly essays,
artists' statements, and a DVD with sonic and visual examples.
Included are perspectives from soundscape composition and
performance, site-specific sound installation, recording, and
festival curation. The book and accompanying DVD will appeal to a
broad audience interested in music, sound, installation art, the
environment, digital culture, and media arts. Importantly, it
recognizes the pioneering place of Canadian sound artists within
this international field.
Zadok Ben-David is an award-winning artist who lives and works in
London and is widely acclaimed for his sculptures, installations
and public artworks. He explores themes linked to human nature and
evolution. His work is often referred to as poetic and magical,
always oscillating between delicate miniature-work and monumental
installations. Metalworking has become Ben-David's preferred
language in contrast to the subtle optical illusions that he
creates, thanks to a sometimes-rough medium. The book celebrates
the work of Ben-David, and features the moody floor installation
Blackfield, containing over 17,000 miniatures of flowers,
duplicated and hand painted from 900 different species. The book
also includes new works inspired by botanical drawings in Kew's
archives from the 15th - 18th century.
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.
LaMonte s highly charged works embody a challenge to historic
conceptions of the female nude. Integrated into a comprehensive
monograph are 250 images of her acclaimed series from glass,
ceramic, bronze, and rusted iron-draped female figures to timely
explorations in climatology and biomimetics. In this definitive
look at a vital contemporary artist, essays by award-winning
authors frame LaMonte s work in the context of female identity,
music, art history, and science, placing her alongside other
contemporary sculptors who have adopted the human body as an
vehicle for expressing the human condition.
Born in New York in 1941, Joel Shapiro is one of the most
significant artists of his generation. Since the first public
showing of his work in 1969 as part of the landmark Anti-Illusion:
Procedures/Materials exhibiton at the Whitney Museum of American
Art, he has been the subject of numerous solo exhibitions in
galleries and museums around the world. Most renowned for having
developed in the 1980s and '90s a distinctive language of dynamic
sculpture that blurs the lines between abstraction and figuration,
Shapiro became known through his earliest 1970s New York shows for
introducing common forms of often diminutive size. Since then he
has continued to push the material and conceptual boundaries of
sculpture by working in a number of materials and employing various
working methods. Joel Shapiro: Sculpture and Works on Paper
1969-2019 is the first book in over twenty years to survey the
artist's entire working career. In an extensive essay, art
historian Richard Shiff provides a fresh and incisive examination
of Shapiro's oeuvre and working process. With more than two hundred
striking full-colour illustrations, this is a long-anticipated and
much-needed survey of this vital and essential American artist.
2019 marked the 40th anniversary of Barbara Nanning's graduation in
ceramics from the Gerrit Rietveld Academie in Amsterdam. Over those
forty years, Nanning (b.1957) has become an internationally
respected artist with work in countless public and private
collections in the Netherlands and around the world. Originally,
her reputation was due mainly to her pioneering ceramics and
installations, which had completely abandoned the container form
that had so long dominated studio pottery. But for the last 25
years Nanning has worked chiefly in a different medium: glass, in
which she has created an amazing and multi-faceted oeuvre. Each
year she spends an extended period in the Czech Republic, where
expert glassblowers help her to conjure up the most extraordinary
and thrilling objects in that material.
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