This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Renee Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

This publication offers a rich and expansive visual record of Julie Brook's artistic practice, and proposes a unique collaboration between Brook and distinct voices from the nature writing and craftsmanship traditions. Situating Brook's practice in the context of critical reflections by Robert Macfarlane, Alexandra Harris and Raku Jikinyu, the publication presents a striking visual narrative of Brook's landscape and tidal sculptural work, and a sense of its timeless yet contemporary resonance. Documenting in depth a number of recent works made in the Hebrides, Japan and Namibia, their shared attention to the elements and their key pre-occupations of the fleeting, mobile forces of light, time, and gravity demonstrate Brook's coherent vision within vastly contrasting environments. Throughout her oeuvre, the balance between what Brook makes in relation to the environment and materials themselves is paramount. Including film stills, photography and drawing, which are all integral languages for conceptualising and communicating the work, plus insightful extracts from Brook's notebooks, this beautiful publication succeeds in providing the reader with a unique understanding of the artist's 'monuments to the moment'.

Philip Rawson, a distinguished academic and author, practiced as a sculptor all of his life. Sculpture, his final book, completes the trilogy begun with his classic works, Drawing and Ceramics. As in those earlier volumes, Rawson provides a clear, factual description of the underlying principles and structural techniques of the art. Although Rawson discusses sculptures from many places and periods - including Africa, Asia, Greece, Medieval and Renaissance Europe, and twentieth-century Europe and America - Sculpture is not a history as such. Rather, it is an original analysis of sculpture as a fundamental and integral form of human language capable of conveying a variety of different insights, offering a wealth of cultural and symbolic meaning. In the course of this analysis, Sculpture explores the full range of expressive techniques available to the sculptor today. Rawson's intent is to reveal possible modes of sculptural thought for practitioners and to enable the nonexpert to better understand and appreciate the emotional and intellectual content of any work.

Lesley Dill is an American artist working at the intersection of language and fine art in printmaking, sculpture, installation and performance, exploring the power of words to cloak and reveal the psyche. Dill transforms the emotions of the writings of Emily Dickinson, Salvador Espriu, Tom Sleigh, Franz Kafka, and Rainer Maria Rilke, among others, into works of paper, wire, horsehair, foil, bronze and music — works that awaken the viewer to the physical intimacy and power of language itself. Lesley Dill – Wilderness: Light Sizzles Around Me features a uniquely inspired group of sculptures and two-dimensional works more than a decade in the making. It is testimony of Dill’s ongoing investigation into the significant voices and personas of America’s past. For the artist, the American voice grew from early America’s obsessions with divinity and deviltry, on fears of the wilderness out there and wilderness inside us. The plates, in colour throughout, are supplemented with essays by Lesley Dill, Brooklyn-based writer Nancy Princenthal, Figge Art Museum’s curator Andrew Wallace, and researcher and tribal historian Juaquin Hamilton-Youngbird. The book also features a literary text by writer by Tom Sleigh and a poem by author and poet Ray Young Bear.

This fascinating volume showcases the work of British artist, poet and performer Liz Finch and presents a series of 25 sculptures created between 1975 and 2016. The gentle figures are strangely familiar, built using found and made objects that might otherwise be discarded. Knitted limbs and faces with stitched or collaged features are affixed to torsos made from cardboard boxes that are plastered with papier-mâché and painted. The fragile bodies are then suspended on pieces of frayed string and twisted wire from the shoulders or sometimes by the neck. Finch subverts the ordinary and engages with the uncanny; a strange and anxious feeling created by familiar objects in unfamiliar contexts. Featuring full reproductions of each artwork alongside close details that reveal their composition, the book is threaded with poetic texts by Finch that blur the lines between personal memories, surreal dreams and everyday reality.

Caricatures demand the same skill and sense of proportion that realistic figures do. This is particularly true of carving heads, which can easily become grotesque looking if certain rules are not followed. With his years of carving, Pete LeClair has developed a sure-fire method for carving great caricature heads. Now he shares it with carvers around the country. He takes the reader step-by-step through the process of carving 33 projects, with each step illustrated with a color photograph and precise caption. A gallery showing the variety that can be achieved by following this method is included in the back.

A monumental new work of scholarship on a luminary of twentieth-century art "I'm not sure I have ever seen a catalogue raisonne as beautiful, as magnificent, as the new publication on the oeuvre of the great American sculptor David Smith."-Michael Fried, Bookforum Embracing factory methods of construction, building on the legacy of cubism, and turning his back on European carving and casting traditions, David Smith (1906-1965) transformed postwar sculpture. His body of work, contemporary with the New York School in painting, and his pioneering placement of sculptures in a natural setting are foundational for present-day sculpture and installation art. This three-volume boxed set comprehensively details the entirety of Smith's sculptural oeuvre. It is now the definitive catalogue raisonne and supplants the one constructed by Rosalind E. Krauss in 1977. With Christopher Lyon as editor and Susan J. Cooke as research editor, the volumes also contain a foreword by Rebecca and Candida Smith; essays by Michael Brenson, Sarah Hamill, Marc-Christian Roussel, and Christopher Lyon; and a chronology by Tracee Ng. Reproductions of documents and images, including many photographs, paintings, drawings, and sketches by the artist offer insights into Smith's methods and creative thought. Handsomely designed and illustrated with fine color reproductions, this catalogue raisonne is both a sumptuous object and an essential scholarly resource. Distributed for the Estate of David Smith

This book is designed to be a valuable reference for wargamers and modellers who build and paint models of the armoured cars used during World War II. It includes extensive information on the many different types, some well known and others less so, with photographs of vintage vehicles to help create realistic models. It is aimed at new entrants to this hobby, as well as those who wish to widen their field of interest. With over 220 colour photographs, this book includes hints and tips on modelling tools and accessories; British, Commonwealth, German, Italian, Hungarian, Japanese, American, Soviet and French armoured cars, and more. There are guidelines for building plastic, resin and metal models in 1/76, 1/72, 1/48 and 1/35 scales. Real-life reference pictures and a 3D-printed model is featured.

Auguste Rodin (1840-1917) was a radical sculptor whose unorthodox approach to sculpture-making provided a definitive break in the history of Western sculpture. Although much of his commercial success was based on the bronze and marble versions of his work, Rodin's greatest talent was as a modeller who captured movement, emotion, light and volume in clay and plaster, to challenge traditional conceptions of beauty and perfection. In line with new thinking on Rodin, this book explores the artist's use of plaster, a material which demonstrates his interest in creating sculptures that are never completed, always becoming. United by their materiality, fragile and experimental pieces are explored alongside new readings of some of Rodin's iconic works, and a selection of his watercolour drawings. Including an exclusive contribution from sculptor Phyllida Barlow, The Making of Rodin sheds light on the artist's use of materials, his unique way of working, and his imaginative use of photography, revealing how Rodin reinvented sculpture for the modern age - and why his work continues to enthral and provoke to this day.

This richly illustrated book offers a complete guide to building model truck kits, across all of the popular scales. Concentrating on civilian vehicles, renowned modeller George Dent describes the fundamental processes involved in kit-building, including preparation and assembly of components, detailing and modification work including custom fittings, plus an in-depth look at painting and weathering techniques. Featuring a range of popular, readily available kits in all of the popular scales: 1:72, 1:48, 1:35, 1:32 and 1:24, and suitable for modellers of all abilities, each project is clearly explained in an illustrated, step-by-step format with over 680 colour photographs.

Woodturning is as popular as ever -- a constantly growing segement in the woodworking world and one of the most wide-reaching woodcrafts among artists and hands-on crafters. It s appeal is based on the short learning curve, the minimal equipment, and the sheer joy of learning to make something out of wood with one s own hands. But, unlike a lot of crafts that rely on individuality and creative thinking, the initial techniques of woodturning must be mastered. While at first liberating, these same techniques can eventually be confining because in mastering them, one must follow the lead of others. At a certain point, woodturners can feel that mastering the techniques has become the end in itself as they lose sight of their true pursuit: to create one s own original style. In fact, some woodturners, who believe they aren t creative enough, will simply continue to master techniques while imitiating the style of others. Terry Martin, the author of The Creative Woodturner and a woodturning artist, instructor, and photographer for over thirty-years, believes this goes against the fundamental nature of creating and being an artist. There is no right or wrong and the pursuit of originality should be the goal of every woodturner. Best of all, creativity can be learned and the ability to think and see in one s own artistic style can be achieved. The Creative Woodturner is not your usual how-to woodturning book. It won t tell you what a chuck is, how to sharpen a scraper, or how to turn a goblet. Instead, this book is a how-to for unlocking curiosity, how to break the rules, and for following one s own artistic path with confidence. Designed to give readers a wide-persepective on creativity, The Creative Woodturner begins first with insightful commentary, quotes, and examples from the woodturning and art community that will both inspire and inform. In addition, the author shares his Idea Tools: questions to ask during the planning and creative process that are as important to the creation of the woodturning project as any equipment in the shop. Finally, 16 one-of-a-kind projects from boxes and vessles to bowls and one-of-a-kind scultpures are featured that will spark the creative mindset of any woodturner. Each project is documented with instructions and crisp photography highlighting the key steps, techniques, and tasks necessary for completion. In taking the reader through each project, the author pulls back the curtain on his woodturning magic and shares his vision and how the Idea Tools and creative thinking emerges in each project. An inspiring and enjoyable read not only for woodturners, but for any artist, The Creative Woodturner will anyone to think and see differently so time is spent at the lathe or whatever creative pursuit it is -- creating the original ideas instead of imitating someone else."

This volume offers fresh approaches to the material and the subject matter of late medieval English alabaster sculptures, bringing them into dialogue with twenty-first-century scholarship on pre-modern visual culture. The book comprises an introduction by Brantley and Perkinson; ten essays by scholars trained in the history of medieval art and/or medieval English literature, including Brantley and Perkinson; and an afterword by Paul Binski.

Shaun Tan fans get to see his extraordinary talent applied to sculpture in this award-winning, lavishly presented collection of art based on fairy tales told by the Brothers Grimm. Artist Shaun Tan is world renowned for his singular vision and storytelling abilities. This art book showcases his sculptural talent, applied here to fairy tales from the Brothers Grimm. Tan captures the essence of these tales as he brings traitorous brothers, lonely princesses, cunning foxes, honourable peasants and ruthless witches to life in surprising - and illuminating - ways. Introduced by author Neil Gaiman and fairy-tale scholar Jack Zipes, The Singing Bones is a feast for the eyes, a profound, powerful celebration of the world's most beloved stories.

The objects in the Museum's extensive collection range in date from the Late Bronze Age to the Middle Ages, spanning over 2000 years of glassmaking. All four of the major techniques - core-forming, casting , blowing and mould-blowing are represented in this catalogue, and the different ways in which the glass was decorated and used are described.

Juraj Cutek is one of the most remarkable Slovak artists. He is mainly known for his sculptures of wood combined with ready-made metal elements. Cuteks works oscillate between the imaginary and real worlds, drawing inspiration from history, music, mythology, and circus art. His sculptures feature a highly distinctive style and dynamic rendering. Although they are static and firmly attached to their base, each of them gives its own unique theatrical performance in playful and lively posture.

The most recent work of renowned Austrian sculptor and photographer Werner Feiersinger is an artistic intervention at the Belvedere 21, Austria's national museum for contemporary art, located in the former Austrian Pavilion for the 1958 Brussels World's Fair that had been transferred to Vienna in 1962. For this extensive sculptural work, Feiersinger took cues from the building's history and architectural details. As is characteristic of his work, the Belvedere 21 intervention combined the artist's deep and broad knowledge of design and architectural history with a laconic, minimalist formal vocabulary. Werner Feiersinger. Overturn documents this ambitious project with drawings and photographs, essays, and an insightful interview with the artist. Together, they shed light on the ways in which the Belvedere 21 intervention reimagines the Pavilion as an autonomous object that nonetheless speaks to fundamental questions about sculpture. In doing so, it undermines conventional ways of seeing. Text in English and German.

"I couldn't think of a better place to have a dialogue about art today and what it can be" - Jeff Koons Curated by Koons himself, together with guest curator Norman Rosenthal, this show features seventeen important works, fourteen of which have never been exhibited in the UK before. They span the artist's entire career and his most well-known series, including Equilibrium, Statuary, Banality, Antiquity and his recent Gazing Ball sculptures and paintings. This exhibition will provoke a conversation between his creations and the history of art and ideas with which his work engages. Jeff Koons burst onto the contemporary art scene in the 1980s. He has been described as the most famous, important, subversive, controversial and expensive artist in the world. From his earliest works Koons has explored the 'ready-made' and 'appropriated image', using unadulterated found objects and creating painstaking replicas of ancient sculptures and Old Master paintings which almost defy belief in their craftsmanship and precision. Throughout his career Koons has pushed at the boundaries of contemporary art practice, stretching the limits of what is possible. This publication accompanies an exhibiton, running from February to June, 2019 at the Ashmolean. Koons will be in conversation with Martin Kemp at the Sheldonian Theatre, Oxford, in May 2019. Contents: Director's Foreword; interview with Jeff Koons (by Xa Sturgis); Jeff Koons and the Sheen and Shine of Time (Sir Norman Rosenthal); catalogue entries; Jeff Koon biography.

This book is the most comprehensive attempt to survey the history of painting and sculpture in Slovakia between 1890 and 1949. Slovak Modernism is presented as a logical, continuous complex of the endeavors of artists from all cultural backgrounds: Slovak, Hungarian, Czech, and Jewish. From the flourishing of the Austro-Hungarian Empire to the communists gaining full control over Czechoslovakia, this consideration demonstrates how art in Slovakia was exposed to many changes during this period.