The Messerschmitt Me 262 Schwalbe ("Swallow") was the world's first operational jet-powered fighter aircraft. Design work started even before World War II began, but engine problems meant the aircraft did not reach operational status until mid-1944. Compared with Allied fighters of its day, including the jet-powered Gloster Meteor, it was much faster and better armed. In combat, it proved supremely difficult to counter due to its speed and the design was pressed into a variety of roles, including light bomber, reconnaissance and even experimental night fighter versions. The Me 262 is considered to have been the most advanced German aviation design in operational use during World War II. The Allies countered its potential effectiveness in the air by relentlessly attacking the aircraft on the ground, or while they were taking off or landing. This book provides a complete modelling guide with numerous profiles, line drawings and photographs. This book is written entirely in German.

Illustrated in colour with photographs of the artist's sculptures and reproductions of his graphic works, this title covers six decades of his artistic output and tells the story of his life. It includes his manifesto which gives the reader invaluable insight into the mind and soul of the artist. It was launched on the artist's 77th birthday in February 2010. Bill's impressive curriculum vitae includes details of his numerous solo and group exhibitions, prizes, public and private commissions, and of the public collections that include works of his, including the Iziko National Gallery in Cape Town. Major influences in Bill's training were Professor Lippy Lipschitz, Russell Harvey, May Hillhouse and Katrina Harries at the Michaelis School of Fine Art of the University of Cape Town, and Professor P Esser at the Rijksakademie van Beeldende Kunsten in Amsterdam. Cecil Higgs was a great friend and mentor who convinced Bill in 1971 that he must leave teaching and work full-time as a sculptor. The book provides fascinating insights into the institutions in which he studied and the artistic milieu in South Africa. In 2008, when Bill was recovering from lymphoma and months of debilitating treatment, Jane Raphaely commissioned a portrait bust of Nelson Mandela for the Mandela Rhodes Foundation, which now graces the entrance foyer of the Foundation's headquarters in St George's Mall in Cape Town. Bill continues his work in his studio in Vermont near Hermanus in the Western Cape. When the writing was nearing completion Jan Mostert joined the team. His expertise in design and his part in choosing the illustrative material have made a significant contribution to the beauty of the production, as do David Richardson's excellent photographs. The book includes a catalogue of Bill's works from 1952 to 2009, and is fully indexed.

Lena Mattsson (*1966) is a distinguished Swedish artist. Her practice includes photography, performance and social critique, as well as film and video art. Her new book encompasses her whole career, yet at the same time, it highlights her most recent works and future perspectives: especially Mattsson’s works on legendary Swedish publisher Bo Cavefors or her latest experiments with light and projections. The selection of photographs, film stills, and documentary material forms the basis for the profound discussion of her work by Lars Gustaf Andersson, John Peter Nilsson, and Charlotte Wiberg.

Published on the occasion of Ali Kaaf's exhibition Ich bin ein Fremder. Zweifach Fremder at the Museum fur Islamische Kunst in the Pergamonmuseum Berlin, the catalogue documents the sculptural intervention created in the context of the Mschatta Facade. The eventful history of this icon of Islamic architectural culture is not only a metaphor for human existence, but also equally for the biography of the German-Syrian artist. The volume is augmented to include works on paper from past groups of works in the Rift series and Byzantine Corner, which illustrate Kaaf's intermedial working method. In subtle, abstract imagery, he works with layerings, incisions, burns, photography and digital image processing. Through the artistic exploration of breakages and reassemblages, complex spatial voids emerge that reflect both intercultural and internal processes.

This generously illustrated book provides a complete overview of current knowledge about the sculptures of the Parthenon and suggests new interpretations of the ancient temple's sculptural creations. Margaretha Lagerlof steps back from viewing the fragments of the sculptures that remain today to focus more clearly on their meanings in the light of classical Athenian knowledge and society. She considers what the sculptures reveal about the Greek sense of democracy and how they characterize women's lives in a warrior culture. Using Plato's philosophy and the visually oriented similes of his myths, Lagerlof offers a new decoding of the aesthetic structure of the Parthenon's entire sculptural ensembles.

The book compares the sculptures of the pediments to those of the metopes and the frieze, uncovering subtle differences in both the nature and the content of the images. Whereas the pediments represent divine elements, for example, the frieze is seen as the domain of human beings, representing events and also the stage of history when humans no longer have direct access to the presence of the gods. The frieze can be interpreted as an invocation of this presence, a means of regaining closeness with the gods. Using a multifaceted and imaginative approach to the sculptures of the Parthenon, Lagerlof finds powerful new meaning in them as well as an enhanced appreciation of their Athenian creators.

Jana Sophia Nolle's (*1986) Living Room is a conceptual photographic study documenting temporary homeless shelters recreated in various San Francisco living rooms. The artist worked closely with unhoused persons to understand their improvised dwellings and subsequently approached wealthy people to reconstruct and photograph these shelters in their homes. While Nolle forms an aesthetically striking photographic "inventory, a typology of improvised dwellings, cataloging their various attributes", her photographs confront the urging socio-political dichotomy of lives most precious and lives most precarious.

Peter Macnair and Alan Hoover recount the history of Haida argillite carving since it began in the early 1800s, and they describe more than 200 examples from the extensive collection of the Royal BC Museum. Argillite is a dense, black shale mined from a quarry on Haida Gwaii (Queen Charlotte Islands), reserved for the exclusive use of Haida carvers. Argillite works are unique in style and character, ranging from ceremonial pipes and model poles to elaborate platters and chests. "The careful scholarship of Peter Macnair and Alan Hoover has ensured that The Magic Leaves remains an authoritative text on the types, subjects and history of argillite carving. Argillite carvings made for the souvenir, ethnographic and fine-art markets maintained and developed Indigenous stylistic and narrative traditions. The beautiful black slate of Haida Gwaii continues to be a vehicle for profound expressions of Haida history and artistic innovation." - Dr. Martha Black, from the Foreword.

Pedro de Mena y Medrano (1628-1688) is the most highly regarded master of Spanish Baroque sculpture, on a par with his contemporaries, the great seventeenth-century painters Velazquez, Zurbaran and Murillo. Mena's contributions to Spanish Baroque sculpture are unsurpassed in both technical skill and expressiveness of his religious subjects. His ability to sculpt the human body was remarkable, and he excelled in creating figures and scenes for contemplation. This first monograph of Pedro de Mena shows incredible details and remarkable images of his hyper-realistic sculptures, full of passion. In addition to text by curator Xavier Bray, Pedro de Mena also features important contributions by Jose Luis Romeo Torres, curator of the exhibition Pedro de Mena, to be held in Malaga in 2019.

Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks implies that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials and other issues concerning care and management of these artworks. By analysing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation (authenticity, artist's intention, and the notion of ownership) while exploring how these concepts apply in contemporary art conservation. Based on original empirical research and cross-case analysis, this ground-breaking study offers a re-examination of traditional conservation values and ethics, and argues for a reassessment of the role of the conservator of contemporary art.

The texture of memory and the ability of art and film to bear witness to traumatic events are delicately approached in this book-length essay by a Mekas cinephile.  For years, filmmaker Peter Delpeut has had Jonas Mekas's Movie Journal within easy reach of his desk. Since his student days, he has been a great admirer of the Lithuanian-American ‘Godfather of avant-garde cinema’. Until he was startled in June 2018 by an article in The New York Review of Books. Historian Michael Casper claimed that Mekas had deliberately forgotten or misrepresented certain events during World War II. Seeded by this controversy over Mekas’s memories of his Lithuanian youth and Mekas’s pain over his subsequent exile, Delpeut’s essayistic and self-reflective book flowers into an inquiry about memory and forgetting; the moral compass of the future that cannot find its bearing in the past; the abilities of art to witness; and the roles we all must play in writing the adequate history of events too traumatic for a just accounting.  Although there is little doubt that Mekas himself never participated in the horrors of the Holocaust in Lithuania, his silence about the fate of his Jewish countrymen and neighbors could be said to enable a rewriting of history, at the sacrifice of witness testimonies. As Delpeut follows Mekas through films, diaries, his public performances, his speeches, and finally his testimony given to the United States Holocaust Memorial Museum (USHMM), he encounters an impasse for which he was not prepared.

Woodcarving remains one of the most popular crafts in the U.S. and continues to grow in popularity. While there are many books on how to carve wood, including Taunton's popular How to Carve Wood (1985), this book provides inspiration for carvers through original patterns. Any carver knows that once the technique is mastered, the greatest challenge is finding clear, well-illustrated designs to carve. This book solves that problem by offering a wide variety of carefully detailed drawings of designs especially suited to carving.

Trained in European carving and drawing techniques, artist/author Lora Irish presents an extensive library of ornamental designs with a traditional look. Included here are classic ornamental motifs from 18th century and other period furniture as well as original designs by the author. The motifs include line designs, triangular designs, square and rectangular designs, circular and oval designs, S- and C-curve designs, mirror-image designs, and free-form designs.

The book can be used in number of ways: The drawings can be adapted to the carver's preference or used directly as patterns, easily enlarged by photocopying and transferred directly to the wood to be carved. The patterns can also be used in other woodcrafts including woodburning and woodpainting.

Is there such a thing as "Impressionist sculpture"? Since 1881 when Edgar Degas presented Little Dancer Aged Fourteen at the Sixth Impressionist Exhibition in Paris, the term has existed along with the discourse around it. This book is dedicated to the extensive examination of the question what it would mean to translate the characteristics of Impressionist painting, such as light, colour, ephemerality, and the ethereal, into sculpture. The book features a selection of artists including Edgar Degas, Auguste Rodin, and Medardo Rosso and examines the artistic processes that traverse genres in which one medium is enhanced by others. This valuable, fascinating resource offers a unique addition to the scholarship on the Impressionist era.

Developed in the early 1950s to meet a Soviet Army requirement and first flown in June 1957, the Mi-6 was the largest-yet helicopter created in the Soviet Union. Its notable features included a power-plant consisting of two turbo-shaft engines (for the first time on a Soviet helicopter) and stub wings offloading the main rotor in forward flight; the cabin was big enough to accommodate artillery systems and tactical ballistic missiles. Built by two plants, the Mi-6 saw service with the Soviet Air Force (including participation in the Afghan War) and the air arms of several Soviet allies. It also proved valuable as a civil air-lifter during oilfield exploration in Siberia, remaining in service right the way up to 2002. A worthy successor to the Mi-6 appeared in 1977 - the Mi-26. With its 20-ton payload, it was (and still is) the world's largest and most capable transport helicopter. Again, the Mi-26 had both military and commercial uses (the former included participation in several armed conflicts); the type is still in production, being updated to meet modern requirements, and has been exported to several countries in Asia and Latin America.The book describes the history, variants and service career of the Mil' 'big lifters' and contains a detailed overview of the scale model kits covering these types which are currently available on the market.

This text explores three of Bernini's baroque chapels to show how Bernini achieved his effects. Careri examines the ways in which the artist integrated the disparate forms of architecture, painting and sculpture into a coherant space for devotion, and then shows how this accomplishment was understood by religious practitioners. In the Fonseca Chapel, the Albertoni Chapel and the church of Saint Andrea al Quirinale, all in Rome, Careri identifies three types of ensemble and links each to a particular spiritual journey. Using contemporary theories in anthropology, film and reception aesthetics, he shows how Bernini's formal mechanisms established an emotional dynamic between the beholder and a specific arrangement of forms.

How does photography shape the way we see sculpture? In "David Smith in Two Dimensions," Sarah Hamill broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906-1965). Smith was a modernist known for radically shifting the terms of sculpture, a medium traditionally defined by casting, modeling, and carving. He was the first to use industrial welding as a sustained technique for large-scale sculpture, influencing a generation of minimalists to come. What is less known about Smith is his use of the camera to document his own sculptures as well as everyday objects, spaces, and bodies. His photographs of sculptures were published in countless exhibition catalogs, journals, and newspapers, often as anonymous illustrations. Far from being neutral images, these photographs direct a pictorial encounter with spatial form and structure the public display of his work.
"David Smith in Two Dimensions" looks at the sculptor's adoption of unconventional backdrops, alternative vantage points, and unusual lighting effects and exposures to show how he used photography to dramatize and distance objects. This comprehensive and penetrating account also introduces Smith's expansive archive of copy prints, slides, and negatives, many of which are seen here for the first time. Hamill proposes a new understanding of Smith's sculpture through photography, exploring issues that are in turn vital to discourses of modern sculpture, sculptural aesthetics, and postwar art. In Smith's photography, we see an artist moving fluidly between media to define what a sculptural object was and how it would be encountered publicly.

This second volume on Early Cycladic (and Cycladicising) sculptures found in the Aegean, examines finds from mainland Greece, along with the rarer items from the north and east Aegean, with the exception of those discovered in the Cyclades (covered in the preceding volume), and of those found in Crete. The significance of these finds is that these are the principal testimonies of the influence of the Early Bronze Age Cycladic cultures in the wider Aegean. This influence is shown both by the export of sculptures produced in the Cyclades (and made of Cycladic marble), and of their imitations, produced elsewhere in the Aegean, usually of local marble. They hold the key, therefore, to the cultural interactions developing at this time, the so-called 'international spirit' manifest particularly during the Aegean Early Bronze II period.This was the time when the foundations of early Aegean civilisation were being laid, and the material documented is thus of considerable significance. The volume is divided into sections wherein contributions examine finds and their archaeological, social, and economic contexts from specific regions. It concludes with an overview of the significance and role of these objects in Early Bronze Age societies of the Aegean and eastern Mediterranean region. This will be the first time that this material has been systematically gathered together. Highly illustrated, it follows and builds on the successful preceding volume, Early Cycladic Sculpture in Context (Oxbow 2016).