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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
The British School of Sculpture, c. 1760-1832 represents the first
edited collection exploring one of the most significant moments in
British art history, returning to centre stage a wide range of
sculpture considered for the first time by some of the most
important scholars in the field. Following a historical and
historiographical introduction by the editors, situating British
sculpture in relation to key events and developments in the period,
and the broader scholarship on British art more generally in the
period and beyond, the book contains nine wide-ranging case studies
that consider the place of antique and modern sculpture in British
country houses in the period, monuments to heroes of commerce and
the Napoleonic Wars, the key debates fought around ideal sculpture
at the Royal Academy, the reception of British sculpture across
Europe, the reception of Hindu sculpture deriving from India in
Britain, and the relationship of sculpture to emerging industrial
markets, both at home and abroad. Challenging characterisations of
the period as 'neoclassical', the volume reveals British sculpture
to be a much more eclectic and various field of endeavour, both in
service of the state and challenging it, and open to sources
ranging from the newly arrived Parthenon Frieze to contemporary
print culture.
The bamboo: tall, strong and flexible. This fast-growing shoot has
been used as a construction material, a foodstuff and fuel for
millennia, from India to Japan. Tanabe Chikuunsai IV's art elevates
bamboo to new heights. By weaving together small pieces of fibrous
stalk, he creates vast, detailed sculptures without the use of
rivets or adhesives. Under Chikuunsai IV's skilled craftsmanship,
bamboo is more than a functional tool: it is modern art, a unifying
symbol of Japanese culture. His sculptures revere traditional
workmanship, while conveying important contemporary messages - the
codependence of nature and man, and the importance of protecting
our environment. Part autobiography, part introduction to the
craft, this monograph follows Chikuunsai IV's growth from a child
marvelling at his grandfather's mastery of bamboo, to a maestro in
his own right. Bamboo weaves his past to his present, providing a
sturdy foundation on which his art continues to build. "Love
bamboos, live with bamboos," says Chikuunsai IV. As this book
demonstrates, he has done precisely that.
Indian art, increasingly popular in the west, cannot be fully
appreciated without some knowledge of the religious and
philosophical background. This book, first published in 1985,
covers all aspects of Hindu iconography, and explains that its
roots lie far back in the style of prehistoric art. The dictionary
demonstrates the rich profusion of cults, divinities, symbols,
sects and philosophical views encompassed by the Hindu religious
tradition.
Sculpture Journal provides an international forum for writers and
scholars in the field of post-classical sculpture and public
commemorative monuments in the Western tradition. Sculpture Journal
offers a keen critical overview and a sound historical base, and is
Britain's foremost scholarly journal devoted to sculpture in all
its aspects. Periods covered extend to public and private
commissions for present-day sculptors. While being academic and
traditional, the journal encourages contributions of fresh research
from new names in the field.
One of the difficulties about how our minds work is that we often
cannot quite clearly see or know what is inside us. Art therapists
have a longstanding tradition of prescribing image-making to prompt
expression of feelings, often by asking people to draw, paint, or
sculpt "how you feel." It is one of the fundamental approaches in
the field that distinguishes art therapy from verbal techniques
that ask people to simply talk about their emotions. Author Erica
Jong once wrote that imagery is a form of emotional shorthand. This
could be interpreted to mean that while we may use paragraphs of
prose to describe an emotional experience, images allow us to
communicate simply and directly. At its core, art therapy embraces
the paradigm that creating images cuts to the chase when it comes
to expressing feelings. The point is not to draw well. But to draw
with authenticity. This is specifically a book for people who can't
draw.
This book offers a fresh perspective on Michelangelo's well-known
masterpiece, the Vatican Pieta, by tracing the shifting meaning of
the work of art over time. Lisa M. Rafanelli chronicles the object
history of the Vatican Pieta and the active role played by its many
reproductions. The sculpture has been on continuous view for over
500 years, during which time its cultural, theological, and
artistic significance has shifted. Equally important is the fact
that over its long life it has been relocated numerous times and
has also been reproduced in images and objects produced both during
Michelangelo's lifetime and long after, described here as artistic
progeny: large-scale, unique sculpted variants, smaller-scale
statuettes, plaster and bronze casts, and engraved prints. The book
will be of interest to scholars working in art history, Renaissance
studies, early modern studies, religion, Christianity, and
theology.
Sculpture has been a central aspect of almost every art culture,
contemporary or historical. This volume comprises ten essays at the
cutting edge of thinking about sculpture in philosophical terms,
representing approaches to sculpture from the perspectives of both
Anglo-American and European philosophy. Some of the essays are
historically situated, while others are more straightforwardly
conceptual. All of the essays, however, pay strict attention to
actual sculptural examples in their discussions. This reflects the
overall aim of the volume to not merely "apply" philosophy to
sculpture, but rather to test the philosophical approaches taken in
tandem with deep analyses of sculptural examples. There is an array
of philosophical problems unique to sculpture, namely certain
aspects of its three-dimensionality, physicality, temporality, and
morality. The authors in this volume respond to a number of
challenging philosophical questions related to these
characteristics. Furthermore, while the focus of most of the essays
is on Western sculptural traditions, there are contributions that
features discussion of sculptural examples from non-Western
sources. Philosophy of Sculpture is the first full-length book
treatment of the philosophical significance of sculpture in
English. It is a valuable resource for advanced students and
scholars across aesthetics, art history, history, performance
studies, and visual studies.
An incisive history revealing Britain's conquest of the Kingdom of
Benin and the plunder of its fabled Bronzes. The Benin Bronzes are
among the British Museum's most prized possessions. Celebrated for
their great beauty, they embody the history, myth and artistry of
the ancient Kingdom of Benin, once West Africa's most powerful, and
today part of Nigeria. But despite the Bronzes' renown, little has
been written about the brutal imperial violence with which they
were plundered. Paddy Docherty's searing new history tells that
story: the 1897 British invasion of Benin. Armed with shocking
details discovered in the archives, Blood and Bronze sets this
assault in its late Victorian context. As British power faced new
commercial and strategic pressures elsewhere, it ruthlessly
expanded in West Africa. Revealing both the extent of African
resistance and previously concealed British outrages, this is a
definitive account of the destruction of Benin. Laying bare the
Empire's true motives and violent means, including the official
coverup of grotesque sexual crimes, Docherty demolishes any moral
argument for Britain retaining the Bronzes, making a passionate
case for their immediate repatriation to Nigeria.
A unique look at the visionary artist, educator and activist Ruth
Asawa (1926-2013). 'I state, without hesitation or reserve, that I
consider Ruth Asawa to be the most gifted, productive, and
originally inspired artist that I have ever known personally' R.
Buckminster Fuller, 1971 Although less known outside North America,
Japanese-American artist Ruth Asawa is an artist of vital
importance to modern art. Ruth Asawa: Citizen of the Universe,
which accompanies the first exhibition of Asawa's work to be staged
in public galleries in Europe, introduces European audiences to
both Asawa's powerful art - including her signature hanging
sculptures in looped and tied wire - and her pioneering education
practice. It positions her expansive ethos - her
self-identification as 'a citizen of the universe' and belief that
art education can be life enriching for everyone - as a catalyst
for creative forward-thinking in the 21st century. Focusing on a
dynamic and formative period in her life from 1945 to 1980, this
book gives readers a unique experience of the artist and her work,
exploring her legacy from a European perspective and positioning
her as an abstract sculptor crucial to American modernism. It is a
wonderful celebration of her holistic integration of art, education
and community engagement, through which she called for a
revolutionary and inclusive vision of art's role in society.
Carving is an area of woodworking that has wide appeal and can
start as simply as whittling figures with a pocket knife. Since the
cost of entry is so low, many people are willing to give it a try.
But some people are put off by the conflicting information about
what tools to buy, how to sharpen them, and by the bewildering
range of carving styles. This book, with its common-sense approach
to tools and sharpening, and its broad survey of the many styles is
the perfect introduction for the novice carver. The projects will
help the beginner become familiar with the tools and learn skills
while trying a variety of carving styles to see which suits him
best. The projects range from the traditional to the contemporary
and reflect the tastes of today's woodcarvers.
This book presents essays that exemplify key themes including the
interdependence of conservation, research and access; the need for
a 21st-century inventory of the medieval sculpture; the breadth and
value of the wide range of the research tools; and conservation
issue.
Sam Durant is a multimedia artist whose work engages social,
political, and cultural issues. His work has been widely exhibited
in the UK, Europe, Asia and the Americas. It has been included in
the Panama, Sydney, Venice, and Whitney Biennials and can be found
in many public collections including MOMA, New York, Project Row
Houses, Houston and Tate Modern, London. Based in Los Angeles,
Durant teaches at the California Institute of the Arts. Durant's
'The Meeting House' (2016) was a public art project at The Old
Manse, a National Historic Landmark built in 1770 and former home
and gathering place for politicians, thinkers, and
transcendentalists including Ralph Waldo Emerson and Nathaniel
Hawthorne. The sister exhibition at Blum & Poe, Los Angeles in
2017, 'Build Therefore Your Own World', introduced new works that
expanded upon Durant's premise of the interdependence between
transcendentalists, abolitionists, and African American writers of
pre- and post-revolutionary America in the creation of American
culture and identity.Featured in The Meeting House / Build
Therefore Your Own World is a full-colour photo documentation of
the project in Concord, MA and Los Angeles, CA as well as new
essays by Pedro Alonzo, independent curator, and Tim Phillips,
pioneer in the field of conflict resolution and reconciliation; and
a new collection of poems by Tisa Bryant, Robin Coste Lewis,
Danielle Legros Georges, and Kevin Young, who recently became
Director of the Schomburg Center for Research in Black Culture in
New York.
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Folon
- The Sculptures
(Hardcover)
Jean-Michel Folon, Renzo Piano, Stephanie Angelroth, Marilena Pasquali, Allison Michel, …
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The extraordinary sculptures of Belgian artist Jean-Michel Folon
The first half of Belgian artist Jean-Michel Folon's (1934-2005)
career was devoted to posters, illustrations, and television
animations that brought him international acclaim for their
diversity and virtuosity; his illustrations appeared in magazines
including The New Yorker, Fortune, and Esquire. In the 1990s, he
pivoted to sculpture, focusing on statuary and working with both
direct carving and modeling, which he then translated to bronze or
stone. This is the first publication to explore the entirety of
Folon's sculptural work. Drawing inspiration from the Cyclades, the
Etruscans, from African masks and Indian totems, Folon's sculptures
are characterized by their frontality and corporality. Distributed
for Mercatorfonds Exhibition Schedule: Villers-la-Ville, Brussels
(October 24, 2020-February 21, 2021)
Fresh ideas and techniques for the rapidly evolving area of
three-dimensional textiles. Leading textile artist Ann Goddard
takes three-dimensional textiles to a new level in this practical
book. Drawing inspiration from natural landscapes, organic material
and a concern for the environment, Ann's work combines textile and
non/textile elements with construction. Linen, loose fibres, paper
and yarn are complemented by seemingly unlikely materials including
concrete, wood, lead and bark. Fragile is juxtaposed with hard,
natural with man-made, beauty with imperfection. The techniques
range from stitching, wrapping, couching, and knotting to sawing,
drilling, and casting. In this book, previously separate art media
are combined to create eclectic works; boundaries are crossed,
expectations challenged and categorisation rejected. Mixed Media
Textile Art in Three Dimensions takes a linear look at the creative
process from themes, research and experimentation through to
preparing elements, conveying meaning and constructing
three-dimensional forms, encouraging you to broaden your horizons
in textile work. Brimming with beautiful artwork from the author
and featuring the work of some inspiring and exciting artists
creating three-dimensional constructions.
This book demonstrates that copper-alloy casting was widespread in
southern Nigeria and has been practiced for at least a millennium.
Philip M. Peek's research provides a critical context for the
better-known casting traditions of Igbo-Ukwu, Ife, and Benin. Both
the necessary ores and casting skills were widely available,
contrary to previous scholarly assumptions. The majority of the
Lower Niger Bronzes, which we know number in the thousands, are of
subjects not found elsewhere, such as leopard skull replicas,
grotesque bell heads, ritual objects, and humanoid figures.
Important puzzle pieces are now in place to permit a more complete
reconstruction of southern Nigerian history. The book will be of
interest to scholars working in art history, African studies,
African history, and anthropology.
Beneath the original Venetian glass and rosewood case at La Specola
in Florence lies Clemente Susini's Anatomical Venus (c. 1790), a
perfect object whose luxuriously bizarre existence challenges
belief. It - or, better, she - was conceived of as a means to teach
human anatomy without need for constant dissection, which was
messy, ethically fraught and subject to quick decay. This
life-sized wax woman is adorned with glass eyes and human hair and
can be dismembered into dozens of parts revealing, at the final
remove, a beatific foetus curled in her womb. Sister models soon
appeared throughout Europe, where they not only instructed the
specialist students, but also delighted the general public. Deftly
crafted dissectable female wax models and slashed beauties of the
world's anatomy museums and fairgrounds of the 18th and 19th
centuries take centre stage in this disquieting volume. Since their
creation in late 18th-century Florence, these wax women have
seduced, intrigued and amazed. Today, they also confound, troubling
the edges of our neat categorical divides: life and death, science
and art, body and soul, effigy and pedagogy, spectacle and
education, kitsch and art. Incisive commentary and captivating
imagery reveal the evolution of these enigmatic sculptures from wax
effigy to fetish figure and the embodiment of the uncanny.
Published annually from 1906 until 1980, Decorative Art, The Studio
Yearbook was dedicated to the latest currents in architecture,
interiors, furniture, lighting, glassware, textiles, metalware, and
ceramics. Since the publications went out of print, the now
hard-to-find yearbooks have become highly prized by collectors and
dealers. This volume spotlights the futuristic, experimental
aesthetic of the 1970s. After the revolutions of the '60s, the
world of design and architecture became an increasingly exciting
and fast-moving hotbed of ideas, rife with vehemently opposing
schools and movements. In many ways it was a more extreme era for
design than the previous decade. Experimentalism was everywhere,
and many projects, thought not practical, were forward-thinking
visions of a new kind of decorative art and design. Various groups
advocated returning to natural methods, rejecting style in favor of
craft or pushing the logic of industrial living to its concrete,
high-rise extreme. Decorative Art 1970s includes the work of the
decade's brightest stars, such as Afra and Tobia Scarpa, Luigi
Colani, Achille Castiglioni, Kisho Kurokawa, Norman Foster, Richard
Meier, and Theo Crosby.
Revealing the processes and production of nine artists during the
ground breaking Sculpture Shock award (2013-2015) for temporary
site-specific interventions. It took sculpture out of the often
clinical confines of the gallery space and into non-traditional
environments, with a view to reintegrating art into everyday
life.The site-specific interventions took the form of installation,
performance, socially engaged and object-based work in media as
diverse as light, sound and text into unusual sites: subterranean
(the unseen world beneath our city), ambulatory (without physical
confines in movement through space and time) and historic (an
illustrious building in London). This richly illustrated
publication is contextualised throughout by: Dave Beech, writer,
curator and Senior Lecturer in Fine Art at Chelsea College of Art;
Richard Cork, British art historian, editor, critic and
broadcaster; and Sarah Kent, former visual arts editor of Time Out
and the ICA's Director of Exhibitions.
The first book-length examination of the clay models and creative
process of the preeminent neoclassical sculptor Antonio Canova The
most celebrated sculptor of the neoclassical age, Antonio Canova
(1757–1822) established himself as the preeminent artist of his
time with his funerary monuments and meticulously carved marbles on
classical themes. Although his idealized and sensual sculptures are
widely known, this is the first book devoted entirely to the
brilliantly expressive clay models that he made in preparation for
his marble sculptures. Only sixty-five of his terracotta models
survive today. Extraordinarily modern in their boldness, the models
retain the touch of the artist’s hand and yield a revelatory
glimpse into Canova’s imaginative and technical process. The
authors, with expertise in art history and conservation, examine
Canova’s techniques for making terracotta models, including how
he used clay to develop full-scale models that his assistants
copied in marble, and his practice of gifting his models to
friends. Distributed for the National Gallery of Art, Washington
Exhibition Schedule: National Gallery of Art, Washington, DC (June
11–October 9, 2023) Art Institute of Chicago (November 19,
2023–March 18, 2024) Â
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