The celebrated Spanish sculptor Juan Munoz (1953-2001) died at the height of his powers, when he was considered "one of the most complex and individual artists working today" (Guardian). His challenging, enigmatic works almost inexorably draw in viewers. "The spectator," Munoz said about his installations, "becomes very much like the object to be looked at, and perhaps the viewer has become the one who is on view." This handsome book, distinguished by more than 30 stunning photographs, documents a group of Munoz installations at the Sterling and Francine Clark Art Institute. Representing the full range of Munoz's sculptures-from First Banister (1987), which reflects the artist's early use of architectural language, to Conversation Piece (2001), a work that shows his later interest in the human figure-the book demonstrates how Munoz invented a mode of storytelling through objects that spoke to space, memory, and displacement. David Breslin contributes a reflection on notions of interiority and exteriority, and of perception and absorption, as expressed in Munoz's work. Distributed for the Sterling and Francine Clark Art Institute

Quick Whittles offers 16 portable projects you can carve in one sitting or even on-the-go. Featuring detailed guidance that breaks down complex techniques into simple and achievable steps, every easy wood carving project includes step-by-step instructions, coordinating photography, painting and finishing tips, and full-size patterns. From an-inspired whimsy and a folk art Santa ornament to a friendly narwhal, cute caterpillar, turtle wheelie toy, and even a face inside of a golf ball, each project conveys a charming emotion and personality that's sure to delight and offer satisfied smiles upon their completion. Also included is an insightful opening section with overviews on carving basics, such how to hold the knife, make basic cuts, work with the grain, safely sharpen your knife, and how to paint your finished project.

Public Sculpture of Lancashire and Cumbria is a fascinating book that provides much needed attention to the best public sculpture and monuments in these north-west counties. With an invaluable introduction and notes, the author highlights in particular works of art that are in need of restoration or protection by local authorities and other owners.The art works included are mostly in urban areas however some are tucked away on moors and hilltops, and can be reached by a modest walk, and are thus less familiar. Many entries are accompanied by original photographs, often showing details of the craftsmanship. This book highlights the brilliant work of local sculptors, including several women, who have been neglected over the years and were suppressed by the usual dominance of craftsmen from London and the south east. Their biographies appear at the end of the book.Locations of the public sculpture are given and each dedicated entry provides a description and the measurements of the sculpture; records its inscriptions and its condition; the reason for its commemoration; the chief advocate and process of the commission; its sources of funding and cost; the choice of artist and source of the materials; the relationship between the artist and the architect; the name of the bronze founder or builder; the historical and political context; and the date and details of the unveiling ceremony.

Issue 9 of of Maurizio Cattelan and Pierpaolo Ferrari's accessible image-based artists' magazine that challenges the limits of the contemporary art economy Toilet Paper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue, in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Haegue Yang is renowned for her multifaceted works that vary in form from collage to kinetic sculpture, perceptively evoking historical and contemporary narratives of migration, displacement, and cross-cultural translation. Using a language of abstraction, Yang transforms ordinary and domestic materials, such as venetian blinds, light bulbs, drying racks, yarn, and bells, into deeply allegorical, meticulously constructed installations and sculptures that dissociate these materials from their original contexts. The artist's installations become immersive environments that provoke the senses with a diversity of scents, sounds, and textures. Featuring essays contextualising Yang's artistic career, this book fully illustrates the scope of Art Gallery of Ontario's groundbreaking exhibition and generates new understandings of Yang's transformative contributions to the field of contemporary art.

Step-by-step instructions for diamond burr engraving, from making the first cut to displaying finished work. Includes four complete projects, plus expert advice on choosing glass, fashioning glass chunks into usable pieces for engraving, suggestions for arrangement and lighting of finished pieces, more. Over 100 helpful illustrations. Introduction. List of Supply Sources.

When European explorers began their initial forays into southeastern North America in the 16th and 17th centuries they encountered what they called temples and shrines of native peoples, often decorated with idols in human form made of wood, pottery, or stone. The idols were fascinating to write about, but having no value to explorers searching for gold or land, there are no records of these idols being transported to the Old World, and mention of them seems to cease about the 1700s. However, with the settling of the fledgling United States in the 1800s, farming colonists began to unearth stone images in human form from land formerly inhabited by the native peoples. With little access to the records of the 16th and 17th centuries, debate and speculation abounded by the public and scholars alike concerning their origin and meaning.During the last twenty years the authors have researched over 88 possible examples of southeastern Mississippian stone statuary, dating as far back as 1,000 years ago, and discovered along the river valleys of the interior Southeast. Independently and in conjunction, they have measured, analyzed, photographed, and traced the known history of the 42 that appear in this volume. Compiling the data from both early documents and public and private collections, the authors remind us that the statuary should not be viewed in isolation, but rather as regional expressions of a much broader body of art, ritual, and belief.

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.

Engravers Gerd and Patrick Dreher are famous the world over for their masterly animal figures, each of which is cut from a single gemstone. In the early twentieth century, grandfather, great-grandfather and great-great-grandfather all cut gemstones for Faberge - mostly agate but also ruby, obsidian, aquamarine, citrine and rock crystal. Today, creations are still being meticulously made by hand using traditional techniques. The realistic miniature forms of mice, snails, toads, monkeys and hippos are designed by the two artists in multilayered and coloured gemstones so that, for example, the faces, palms of the hand or soles of the feet shine in an iridescent red-brown agate while the bodies are worked in the glossy deep black part of the stone. These unique engravings are today some of the rarest examples of the highest quality in craftsmanship, and represent fascination of the highest cultural degree in a world of increasing globalisation.

Scrap Wood Whittling is a must-have guide for any woodcarver looking to achieve something small, charming, and easy! Small wood carvings tend to intimidate, but author and master carver Steve Tomashek makes it approachable for anyone, even beginners. Opening with helpful insight on materials, tools, cuts, and safety, you'll then go on to complete your tiny animal carvings that slowly progress in difficulty. From a leaping pig and a standing sheep to an aquarium and cat diorama, each project contains clear, step-by-step instructions, coordinating photography, full-size patterns, tips on technique, painting, display ideas, and more!

Drawing especially on the encounters and relationships that defined her exceptional career, The Sustainable Legacy of Agnès Varda outlines a sustainable legacy for the celebrated director and visual artist. Over nine chapters, it unpacks how creation, connection, and environment form the core of Varda’s artistry, which centers foremost on relationships with her family, with other artists, even with passersby she would meet in her travels around the world. Also celebrating her feminist legacy, the chapters cover a wide range, from the classic Cléo from 5 to 7 (1962) to documentaries The Beaches of Agnès (2008) and Faces Places (2017) as well as selected art installations. The book’s final section is dedicated to teaching Varda’s work; here, ten scholars from around the world consider how Varda’s art and feminist pedagogies offer unique ways to bring crucial concepts into the classroom. By seeking a sustainable praxis to discuss and teach Varda’s work, and by making pedagogical concerns an explicit part of this approach, this book argues that Varda’s insights about the nature of creative work will inspire new generations of viewers and audiences.

'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.

From crayons to cough drops, cookies to candles, Beehive Alchemy offers a comprehensive introduction to incorporating the miracle of bees into everyday life. Beehive Alchemy is a continuation of Petra Ahnert's best-selling Beeswax Alchemy. With this new book, beekeepers (and bee lovers) will learn about the benefits and attributes of beeswax, honey, propolis, and more alongside a full range of projects and techniques to process and harness the amazing gifts of bees. Inside, you'll find instructions to make Ahnert's award-winning hand-dipped birthday candles, the classic French dessert canele bordelais, and much more, including: Alchemy for the Body Liquid soap with honey Beard balm Olive and honey lotion Alchemy of Light Taper candles Tea lights Pillars Alchemy for the Home Furniture polish Waxed cotton food wraps Woodcutter incense Alchemy in the Studio Beeswax crayons Encaustic Batik Alchemy in the Kitchen Cookies and candies Beverages Fermentations Whether you keep bees or just love them, Beehive Alchemy will become your go-to comprehensive guide for hive-to-home creations.

If you have ever wanted to try your hand at chip carving and are looking for an approachable introduction, Chip Carving Starter Guide is the perfect place to begin! Its opening chapters will help you build a solid foundation of knowledge on the basics of chip carving, transferring patterns, applying finishes, and correctly making a variety of chips. You'll then go on to complete more than 22 activities and projects to practice carving with confidence as you start simple and slowly progress to advance your skills! Featuring clear step-by-step instructions, coordinating photography, complete materials and tools lists, full-size patterns, and expert tips, this must-have guide emphasizes the importance of skill-building and developing your techniques correctly and carefully to ensure success!

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 book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

Netsuke - classic belt decorations for men - are rooted in a historical, mythological and artistic tradition in Japanese culture. Woodcarvers and their pupils, even counterfeiters, continued the work of their role models, in copies or variants of what came before them, and even created major works of art with the smallest of dimensions. Since the opening up of Japan in 1853, the miniature works have gained appreciation, and enthusiasts are found all over the world. Today netsuke are still being created in a great variety of motifs. Netsuke in Comparison presents one hundred netsuke from a private collection. For the very first time, it endeavours to juxtapose them with comparative images from collections and literature in order to locate them within this genre and to convey something of their diversity and expressiveness. Text in English and German.

Rachel Whiteread has single-handedly expanded the parameters of contemporary sculpture with her casts of the outer and inner spaces of familiar objects, sometimes in quiet monochrome, sometimes in vivid jewel-like colour. She won the Turner Prize in 1993, the same year as her first large-scale public project, House, a concrete cast of a nineteenth-century terraced house in London's east end. This book, by writer and editor Charlotte Mullins - the first significant survey to examine Whiteread's career to date - has been substantial updated with a new chapter containing 10 major works, including Tate's Turbine Hall installation Embankment and Cabin, Whiteread's first permanent public sculpture in America. Born in London in 1963, Rachel Whiteread is one of Britain's most exciting contemporary artists. Her work is characterised by its use of industrial materials such as plaster, concrete, resin, rubber and metal. With these she casts the surfaces and volume in and around everyday objects and architectural space, creating evocative sculptures that range from the intimate to the monumental.

When this book first appeared in 1982, it introduced readers to Robert Irwin, the Los Angeles artist 'who one day got hooked on his own curiosity and decided to live it'. Now expanded to include six additional chapters and twenty-four pages of color plates, "Seeing Is Forgetting the Name of the Thing One Sees" chronicles three decades of conversation between Lawrence Weschler and light and space master Irwin. It surveys many of Irwin's site-conditioned projects - in particular the Central Gardens at the Getty Museum (the subject of an epic battle with the site's principal architect, Richard Meier) and the design that transformed an abandoned Hudson Valley factory into Dia's new Beacon campus - enhancing what many had already considered the best book ever on an artist.