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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
Marking a celebratory exhibition in 2017 at Gothic House, their
family home in Charlbury, Oxfordshire, this book brings together
highlights of sculptures and paintings by Briony and Andrew Lawson.
Over the last half-century, these two artists have been inspired by
their surroundings to produce a dynamic and varied body of work.
Their shared passion for the North Devon landscape is infused
throughout much of their work. Briony Lawson has been sculpting in
wood, stone and clay since her days as a student at City &
Guilds Art School in London. Her prolific body of work draws on
natural and organic subjects, often pared down to the most simple
and elemental forms. Known worldwide as a garden photographer,
Andrew Lawson was trained as a painter. His painting has always
informed the eye behind the camera. This book surveys Andrew's work
from his early school posters and from his student days at Oxford,
to his subsequent paintings that draw inspiration from his favoured
woodland and sea landscapes of Devon.
A catalogue of five monumental new works, shown in two exhibitions
at Gagosian Gallery, New York. Richard Serra's most recent
sculptures, all from 2013, include 7 Plates 6 Angles, his largest
indoor work to date.
Mohandas K. Gandhi has been described as 'an artist of
non-violence,' crafting as he did a set of practices of the self
and politics that earned him the mantle of Mahatma, 'the great
soul.' His philosophy and praxis of satyagraha, non-violent civil
disobedience, has been analysed extensively. But is satyagraha also
an aesthetic regime, with practices akin to a work of art? Is
Gandhi, then, an artist of disobedience? Sumathi Ramaswamy explores
these questions with the help of India's modern and contemporary
artists who have over the past century sought out the Mahatma as
their muse and invested in him across a wide range of media from
painting and sculpture to video installation and digital
production. At a time when Gandhi is a hallowed but hollow
presence, why have they lavished so much attention on him? A
hundred and fifty years after his birth, Gandhi is hyper visible
across the Indian landscape from tea stalls and government offices
to museums and galleries. This is ironical given that the Mahatma
appeared to have had little time for the visual arts or for artists
for that matter. Yet fascinatingly, the visual artist has emerged
as Gandhi's conscience-keeper, reminding others of the meaning of
the Mahatma in his own time and today. In so doing, these artists
also reveal why this most disobedient of 'modern' icons has grabbed
their attention, resulting in a veritable art of disobedience as an
homage to one of the twentieth century's great prophets of
disobedience.
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.
Late nineteenth-century Britain experienced an explosion of
interest in sculpture. Sculptors of the New Sculpture movement
engaged in a wide range of experimentation, seeking a new direction
and a modern idiom for their art. This book analyzes for the first
time the art-theoretical concerns of the late-Victorian sculptors,
focusing on their attitudes toward the representation of the human
body. Sculpture through close study of works by key figures in the
movement: Frederic Leighton, Alfred Gilbert, Hamo Thorneycroft,
Edward Onslow Ford, and James Havard Thomas. These artists sought
to activate and animate the conventional format of the ideal statue
so that it would convincingly and compellingly stand in for both a
living body and an ideal image. Complicating the conventions that
had characterised much previous sculpture in Britain, they
fervently pursued a commitment to the mimetic rendering of the body
in three dimensions. In response to the problems and perils of such
a commitment, late-Victorian sculptors worked to develop strategies
that allowed them to accommodate naturalism and symbolism as well
as the materiality of sculpture. Getsy offers an analysis of the
conceptual complexity of the New Sculpture and places its concerns
within the larger framework of the development of modern sculpture.
This first monograph on Phillip Lai (b.1969, Kuala Lumpur,
Malaysia) charts the artist's sculptural development over the
course of the last two decades. From a basement soy-sauce factory
to the Hepworth Prize for Sculpture, the publication surveys
several of the artist's exhibitions across London, Wakefield,
Turin, Berlin and Hong Kong. The nine chapters explore an evolving
oeuvre that finds form in materials like aluminium, pewter,
concrete, resin, rice, cooking pots, textiles and film. It is
through these technologies that Lai broaches the material limits of
the everyday world, often working with casting processes that see
the abstraction and changing stability of materials as they
transition from fluid to solid. What comes into focus is a
fascination with how objects can relieve or modulate primal human
urges to food and water and how, by extension, a material world
might be re-envisioned around concerns of depletion and survival.
This publication includes an essay by critic and writer Jan
Verwoert, with bilingual text in English and Chinese throughout.
The definitive biography of a fascinating and enigmatic figure
'Succeeds in every way as one of the most readable, fascinating and
informative documents, not just on an artist, but on art and
artists in general' WASHINGTON TIMES 'The most moving biography of
a modern artist I've read' NEWSWEEK Alberto Giacometti is one of
the best-known artists of the twentieth century. Born in a Swiss
village, he moved to pre-war Paris and went on to play a leading
role in the art world, alongside characters such as Picasso,
Balthus, Samuel Beckett and Sartre. His passionate and strange life
reflects the genius of his works - his gaunt and haunting
sculptures and his unsettling paintings. As someone who was
personally acquainted with Giacometti and his peers, and who has
consolidated his personal knowledge with extensive research, James
Lord is uniquely qualified to write Giacometti's biography.
Learn the exciting and satisfying craft of wood sculpting with a
chainsaw! This complete guide to chainsaw carving explains
everything you need to know to carve amazing wood sculptures safely
and successfully. Opening with helpful sections on chainsaw care,
maintenance, safety, and other essential tips and tricks, Chainsaw
Carving for Beginners will equip you with the fundamental knowledge
and techniques of wood carving with a chainsaw! Featuring four
projects with step-by-step instructions, coordinating photography,
and expert insight throughout, this must-have resource will walk
you through the entire process from start to finish for carving and
sculpting an old shoe, a rabbit, an elegant lady, and a mountain
goat. The perfect place to start for beginners, this guide will
encourage and inform any woodworker on this exciting and rewarding
craft!
Cinema mon amour focuses on the mutual fascination that art and
film have for one another. It features work by international
artists, including Martin Arnold, John Baldessari, Fiona Banner,
Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff &
George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas,
Thomas Galler, Christoph Girardet & Matthias Muller, Douglas
Gordon, Teresa Hubbard / Alexander Birchler, Samson Kambalu,
Daniela Keiser, Urs Luthi, Philippe Parreno, Julian Rosefeldt,
Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger. All of
them have engaged with different themes surrounding cinema and
filmmaking. The well-founded essays discuss topics such as cinema
as space, the film industry, found footage, specific movies and
genres, the mechanisms of film, as well as the filmmakers' gaze at
art. This lavishly illustrated book, published to coincide with an
exhibition at Aargauer Kunsthaus in Switzerland, offers an insight
into the allure that film and cinema have on us. Cinema mon amour,
Aargauer Kunsthaus, Aarau, Switzerland, 22 January to 17 April
2017.
The transition from the analogue to the digital age has radically
changed our present. The global flow of data shapes social systems,
but the circulation and processing of data does not seem to be
linked to the reality of our lives. As Deutsche Bank's 'Artist of
the Year', young Lebanese artist Caline Aoun (*1983) reveals how
data manifests itself materially and how inseparable the real and
the virtual world have become. For her, the permanent flood of
images and data resembles 'noise' that dominates our lives. Instead
of further intensifying this media noise, she lends it a material
dimension in order to create new experiences, forms of silence, and
empty spaces, and to show otherwise scarcely tangible connections.
Text in English and German.
The collection of post-antique Italian sculpture in the Detroit
Institute of Arts is considered among the three finest and most
comprehensive outside Europe; however, this large and distinguished
collection, whose formation began a century ago, has never been
published in its entirety as a museum catalogue. Ranging from early
medieval, pre-Romanesque stone carvings of the eighth and ninth
centuries to works created more than a millennium later, the
collection numbers over 350 pieces of Italian sculpture in wood,
stone, terracotta, stucco, porcelain and bronze. More than half of
the collection consists of sculpture from the fifteenth and
sixteenth centuries (or the Early, High and Late Italian
Renaissance), and approximately one-fifth dates from the thirteenth
and fourteenth centuries (roughly, Italian Gothic sculpture).
Although the remainder is more or less equally balanced in number
between the eighth to the twelfth centuries, and those pieces from
the seventeenth to the early twentieth centuries, the latter group
of Italian baroque to nineteenth-century sculpture contains some of
the most important and most recently acquired Italian works of art
in the collection. This two-volume catalogue covers the entire
collection of post-antique Italian sculpture in the Detroit
Institute of Arts, ranging from early medieval to the early
twentieth century. "The publication of these two important
catalogues, the fruits of many years of research and collaboration,
have added significantly to our knowledge of Italian sculputre."
(P. Motture in The Burlington Magazine, December 2003, p.862).
In 1972, Giulio Paolini held an exhibition in New York. Art
historian, curator, and critic Germano Celant, who coined the term
'Arte Povera' in 1967, was asked to edit the exhibition catalogue.
What followed was an ample monograph that covered the course of
Paolini's career - his concepts, themes, contexts and influences.
This was an unprecedented move, as, until that time, most galleries
produced simple brochures. This monograph was one of the first
in-depth and scholarly studies of a contemporary artist, and as
such, paved the way for future monographs. Text in English and
Italian.
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Manon
(Hardcover)
Kunsthaus Zofingen; Contributions by Ursula Badrutt, Jorg Heiser, Claire Hoffmann, Claudia Waldner
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R1,090
Discovery Miles 10 900
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Ships in 12 - 17 working days
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Since the 1970s, Swiss artist Manon has been confronting observers
with their own vision. Her performances raise question about the
boundary between staging and exhibitionism. Always challenging and
at times highly subversive, her performances question power
structures and put gender identities to discussion. Following-up on
the previous volume Manon - A Person, published in 2008, this new
volume introduces her work of the past decade to a wider audience.
At the core is Hotel Dolores, a series of installations and
performances staged at closed-down hotels in the Swiss spa town of
Baden between 2008 and 2011. Photographs of venues and Manon's
performances are completed by her conceptual sketches and other
documents. Concise essays on aspects of Manon's art and vision
round out this book. Text in English, French and German.
This remarkable dictionary provides information on the work of over
3,000 sculptors working in Britain between 1660 and 1851. It is a
substantially expanded edition of Gunnis's "Dictionary of British
Sculptors," the primary source for information on church monuments,
portrait busts, carved fireplaces and more since publication in
1951. Published for the Paul Mellon Centre for Studies in British
Art and the Henry Moore Foundation
The scope and potential of mouldmaking and casting is fascinating,
and makes it one of the most exciting processes available to
today's craftsmen. Its opportunities have been developed and
expanded further by a range of new methods and materials only
recently made available to the domestic market. Topics include:
jesmonite mould making and casting; bioresin casting; life moulding
silicone from the body; large-scale clay press moulding; embedding
in clear resin; clay slip casting; plas-ti-shim moulding, and
finally finishing. Aimed equally at the student with little
pre-existing knowledge and the professional wishing to further
their skill base, this book provides an invaluable learning and
reference tool for the studio or workshop of any artist, model
maker or designer.
This book opens a window onto a fascinating and understudied aspect
of the visual, material, intellectual, and cultural history of
seventeenth-century Amsterdam: the role played by its inns and
taverns, specifically the doolhoven. Doolhoven were a type of
labyrinth unique to early modern Amsterdam. Offering guest
lodgings, these licensed public houses also housed remarkable
displays of artwork in their gardens and galleries. The main
attractions were inventive displays of moving mechanical figures
(automata) and a famed set of waxwork portraits of the rulers of
Protestant Europe. Publicized as the most innovative artworks on
display in Amsterdam, the doolhoven exhibits presented the
mercantile city as a global center of artistic and technological
advancement. This evocative tour through the doolhoven pub
gardens-where drinking, entertainment, and the acquisition of
knowledge mingled in encounters with lively displays of animated
artifacts-shows that the exhibits had a forceful and transformative
impact on visitors, one that moved them toward Protestant reform.
Deeply researched and decidedly original, The Moving Statues of
Seventeenth-Century Amsterdam uncovers a wealth of information
about these nearly forgotten public pleasure parks, situating them
within popular culture, religious controversies, global trade
relations, and intellectual debates of the seventeenth century. It
will appeal in particular to scholars in art history and early
modern studies.
This catalogue celebrates the recently installed collection of
twentieth-century sculpture donated to the J. Paul Getty Trust by
the Fran and Ray Stark Trust in 2005. The book takes the reader on
a visual tour of the J. Paul Getty Museum's new sculpture gardens
and installations, which features twenty-eight works by artists
such as Alexander Calder, Alberto Giacometti, Ferdinand Leger, Roy
Lichtenstein, Rene Magritte, Aristide Maillol, Joan Miro, Henry
Moore, and Isamu Noguchi. The book offers essays on the curatorial
decisions involved in establishing harmonious groupings; a history
of European and American sculpture within built outdoor
environments and gardens; and catalogue entries that discuss
individual pieces within their broader art-historical contexts.
Here is the most important autobiography from Renaissance Italy and
one of the most spirited and colorful from any time or place, in a
translation widely recognized as the most faithful to the energy
and spirit of the original.
Benvenuto Cellini was both a beloved artist in sixteenth-century
Florence and a passionate and temperamental man of action who was
capable of brawling, theft, and murder. He counted popes,
cardinals, kings, and dukes among his patrons and was the adoring
friend of--as he described them--the "divine" Michelangelo and the
"marvelous" Titian, but was as well known for his violent feuds. At
age twenty-seven he helped defend the Castel Sant'Angelo in Rome,
and his account of his imprisonment there (under a mad castellan
who thought he was a bat), his escape, recapture, and confinement
in "a cell of tarantulas and venomous worms" is an adventure equal
to any other in fact or fiction. But it is only one in a long life
lived on a grand scale.
Cellini's autobiography is not merely the record of an
extraordinary life but also a dramatic and evocative
account of daily life in Renaissance Italy, from its lowest taverns
to its highest royal courts.
Introduction to Stained Glass is designed to be used as a
do-it-yourself manual or to supplement an instructional course. If
you wish to learn how to make stained glass objects, you will find
that this book provides all the step-by-step information on tools,
supplies and techniques necessary to learn on your own. Full size
patterns are included for sun catchers, windows, lamp shades and
three-dimensional projects, all specifically designed for the
beginning crafter. All projects are shown in colour and have
specification and material lists, assembly illustration and colour
suggestions.
Bonalumi is one of the figures who has made the most significant
marks on the Italian artistic scene starting from the 1960s. He
took part in the cultural debate that developed in those years,
contributing decisively, together with Enrico Baj, Piero Manzoni
and Enrico Castellani, to the transcending of informal language in
the name of a new objectification of the artwork. Starting from
1959, Agostino Bonalumi began to create shaped works using convex
canvas obtained through the use of wooden or steel elements
positioned behind the canvas itself. This is a stylistic
characteristic that was to remain unchanged over the years and that
would lead to the artist testing his skills in both the sculptural
and the environmental/architectural fields. Through a special
selection of works of small dimensions, created by the artist
during the entire course of his career, one can look back to his
conceptual and project path, from the convex canvases to his
sculptural production. The sophisticated results of the artist's
research are achieved here also thanks to a more intimate
dimension, in which he employs his own methodological approach. The
works presented here are neither preparatory models nor sketches of
works of larger dimensions: rather, they have come about from the
same practice and sometimes share the conformation of the larger
works. The small format works were often realised following the
larger ones, as if the reduced dimensions enabled the artist to
better delineate the project idea lying at the basis of the latter.
Text in English and Italian.
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