Munnu: Vision & Passion traces the creativity and vivacity of the late Munnu Kasliwal. Kasliwal’s magical designs put The Gem Palace, his family’s jewellery house, and India on the fashion map of the jewellery world. The book follows the design journey of Munnu Kasliwal of The Gem Palace Jaipur, a jewellery house synonymous with luxury, sophisticated style, striking statement pieces, and exquisite craftsmanship. Munnu: Vision & Passion chronicles the metamorphosis of The Gem Palace from a local jewellery firm to an international jewellery house, an evolution synchronous with Munnu’s life. From the creation of the ‘T-shirt’ necklace to dreaming up settings that fused gemstone and metal in unique ways, Munnu produced a new genre of jewels that bridged the historical past with an uber-stylish present. While Munnu loved and admired traditional Indian opulence and grandeur, he brought a unique vision and passion, a rare sensibility and elegance to all his designs, establishing his unique style. To Munnu, a piece of jewellery was a beautiful creation, to be liberated from the confines of the conventional. Published as a tribute to Munnu, this book documents his design journey for more than two decades.

In 1428, a devastating fire destroyed a schoolhouse in the northern Italian city of Forli, leaving only a woodcut of the Madonna and Child that had been tacked to the classroom wall. The people of Forli carried that print - now known as the Madonna of the Fire - into their cathedral, where two centuries later a new chapel was built to enshrine it. In this book, Lisa Pon considers a cascade of moments in the Madonna of the Fire's cultural biography: when ink was impressed onto paper at a now-unknown date; when that sheet was recognized by Forli's people as miraculous; when it was enshrined in various tabernacles and chapels in the cathedral; when it or one of its copies was - and still is - carried in procession. In doing so, Pon offers an experiment in art historical inquiry that spans more than three centuries of making, remaking, and renewal.

Block Print Magic is an essential guide to the techniques of linoleum block printing, including 17 captivating step-by-step projects and the works and insights of talented printmakers for inspiration and visual demonstration. Block Print Magic is the perfect reference for a wide range of printmaking enthusiasts. The easy-to-follow illustrated instruction takes you through every step of the process, beginning with choosing and caring for tools and setting up a studio, through design essentials, carving techniques, and printing techniques. Those techniques include multi-block printing, reduction cuts, puzzle blocks, and rainbow-roll printing. Advanced carving techniques for creating textures, crosshatching, and three-dimensional shading will give you the opportunity to expand and strengthen your expertise. Among the visually stunning projects you'll learn to create: Colorful, multi-block hex sign Reduction cut sunflowers print One-page pocket zine from a single block Fabric wall hanging embellished with embroidery Along with author Emily Howard's own work, artist spotlights feature interviews with and examples of work by five other contemporary artists-Lili Arnold, Jen Hewett, Kelli MacConnell, Derrick Riley, and Aftyn Shah-as a means of clarifying how each technique can be used in different ways. Block Print Magic is a must-have addition to any printmaker's bookshelf.

Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker's work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere. This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art - Neudecker's first comprehensive solo exhibition in Ireland - presents more than 200 works from a 35-year-long career. In addition to a foreword by Una McCarthy, the gallery's Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker's practice. A 'timeline' that Neudecker made specially for 'SEDIMENT' concludes the publication. Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker's archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker's practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions. James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and 'time', while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker's work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialisation in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker's photographic series 'Plastic Vanitas' (2015). Dominic Gray, Projects Director at Opera North, offers insight into Neudecker's work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker's work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley's second offering returns to Neudecker's use of sound - its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates 'temporal turbulences' and 'an entanglement of materiality, space, form and position,' foregrounding the artist's desire for viewers to see everything as eternally in flux. The publication, which is released to coincide with a new iteration of Neudecker's exhibition 'SEDIMENT' at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London. Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987-90), and an MA in sculpture at Chelsea College of Art and Design, London (1990-1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN's guest programme, the European Commission's JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

"The Fashion Handbook" is the indispensable guide to the fashion industry. It explores the varied and diverse aspects of the business, bringing together critical concepts with practical information about the industries structure and core skills, as well as offering advice on real working practices and providing information about careers and training.
Tracing the development of the fashion industry the book looks at how fashion can be understood from both social and cultural perspectives. Each chapter contributes to the knowledge of a particular academic or vocational area either through building on existing research or through the dissemination of new research undertaken into specialist vocational disciplines.
"The Fashion Handbook" uses case studies, interviews and profiles and includes chapters written by recognized academics and fashion industry experts. Specialist topics include fashion culture, luxury brands, fashion journalism, fashion buying, design and manufacturing, retailing, PR and styling.
"The Fashion Handbook" includes:
* a unique and wide overview of the fashion industry
* chapters on specialist topics
* contributions from recognized experts in both academia and the fashion industry
* expert advice on careers in fashion retailing.
A must for all students of the fashion world.

"The Fashion Handbook" is the indispensable guide to the fashion industry. It explores the varied and diverse aspects of the business, bringing together critical concepts with practical information about the industries structure and core skills, as well as offering advice on real working practices and providing information about careers and training.
Tracing the development of the fashion industry the book looks at how fashion can be understood from both social and cultural perspectives. Each chapter contributes to the knowledge of a particular academic or vocational area either through building on existing research or through the dissemination of new research undertaken into specialist vocational disciplines.
"The Fashion Handbook" uses case studies, interviews and profiles and includes chapters written by recognized academics and fashion industry experts. Specialist topics include fashion culture, luxury brands, fashion journalism, fashion buying, design and manufacturing, retailing, PR and styling.
"The Fashion Handbook" includes:
* a unique and wide overview of the fashion industry
* chapters on specialist topics
* contributions from recognized experts in both academia and the fashion industry
* expert advice on careers in fashion retailing.
A must for all students of the fashion world.

Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. Moreover the relationship is frequently a double one. As these essays show, figures such as Donald Judd, Barbara Hepworth, Gilbert and George, Jean-Jacques Lebel, Eva Hesse, Robert Morris, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

From a veteran culture writer and modern movie expert, a celebration and analysis of the movies of 1999—“a terrifically fun snapshot of American film culture on the brink of the Millennium….An absolute must for any movie-lover or pop-culture nut� (Gillian Flynn). In 1999, Hollywood as we know it exploded: Fight Club. The Matrix. Office Space. Election. The Blair Witch Project. The Sixth Sense. Being John Malkovich. Star Wars: The Phantom Menace. American Beauty. The Virgin Suicides. Boys Don’t Cry. The Best Man. Three Kings. Magnolia. Those are just some of the landmark titles released in a dizzying movie year, one in which a group of daring filmmakers and performers pushed cinema to new limits—and took audiences along for the ride. Freed from the restraints of budget, technology, or even taste, they produced a slew of classics that took on every topic imaginable, from sex to violence to the end of the world. The result was a highly unruly, deeply influential set of films that would not only change filmmaking, but also give us our first glimpse of the coming twenty-first century. It was a watershed moment that also produced The Sopranos; Apple’s AirPort; Wi-Fi; and Netflix’s unlimited DVD rentals. “A spirited celebration of the year’s movies� (Kirkus Reviews), Best. Movie. Year. Ever. is the story of not just how these movies were made, but how they re-made our own vision of the world. It features more than 130 new and exclusive interviews with such directors and actors as Reese Witherspoon, Edward Norton, Steven Soderbergh, Sofia Coppola, David Fincher, Nia Long, Matthew Broderick, Taye Diggs, M. Night Shyamalan, David O. Russell, James Van Der Beek, Kirsten Dunst, the Blair Witch kids, the Office Space dudes, the guy who played Jar-Jar Binks, and dozens more. It’s “the complete portrait of what it was like to spend a year inside a movie theater at the best possible moment in time� (Chuck Klosterman).

It was during the Renaissance period that sculptors' models, together with drawings, were first assembled by avid collectors fascinated by the tangible evidence of the creative process of the artist. This fully illustrated collection of essays, by distinguished scholars and experts in the field, focuses on the process of sculptural design in fifteenth- and sixteenth-century Europe. The publication arises from a 2017 conference, and is the third and final Robert H. Smith Renaissance Sculpture volume.

First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements. Newly available opportunities to study authentic examples, such as the Royal Academy exhibition that provided the impetus for this volume, allowed for greater opportunities to conduct in-depth examination than had previously been possible. Following an introduction giving an overview of Chinese art and its history in the west, six chapters cover painting and calligraphy, sculpture and lacquer, 'the potter's art', bronzes and cloisonne enamel, jades, and textiles - supplemented by a chronology of Chinese epochs, a selected bibliography and 25 images.

Bringing together established and emerging specialists in seventeenth-century Italian sculpture, Material Bernini is the first sustained examination of the conspicuous materiality of Bernini's work in sculpture, architecture, and paint. The various essays demonstrate that material Bernini has always been tied (whether theologically, geologically, politically, or in terms of art theory) to his immaterial twin. Here immaterial Bernini and the historiography that sustains him is finally confronted by material Bernini. Central to the volume are Bernini's works in clay, a fragmentary record of a large body of preparatory works by a sculptor who denied any direct relation between sketches of any kind and final works. Read together, the essays call into question why those works in which Bernini's bodily relation to the material of his art is most evident, his clay studies, have been configured as a point of unmediated access to the artist's mind, to his immaterial ideas. This insight reveals a set of values and assumptions that have profoundly shaped Bernini studies from their inception, and opens up new and compelling avenues of inquiry within a field that has long remained remarkably self-enclosed.

Here Barbara Freitag examines all the literature on the subject since their discovery 160 years ago, highlighting the inconsistencies of the various interpretations in regard to origin, function and name. By considering the Sheela-na-gigs in their medieval social context, she suggests that they were folk deities with particular responsibility for assistance in childbirth.

This fascinating survey sheds new light on a controversial phenomenon, and also contains a complete catalogue of all known Sheela-na-gigs, including hitherto unrecorded or unpublished figures.

The institution of the pantheon has come a long way from its classical origins. Invented to describe a temple dedicated to many deities, the term later became so far removed from its original meaning, that by the twentieth century, it has been able to exist independently of any architectural and sculptural monument. This collection of essays is the first to trace the transformation of the monumental idea of the pantheon from its origins in Greek and Roman antiquity to its later appearance as a means of commemorating and enshrining the ideals of national identity and statehood. Illuminating the emergence of the pantheon in a range of different cultures and periods by exploring its different manifestations and implementations, the essays open new historical perspectives on the formation of national and civic identities.

The notion that the practice of abstraction was confined to Western Europe while a stereotyped form of figuration defined the art of the Eastern bloc continues to dominate art historical accounts of public sculpture of the post-war period. This book offers a number of alternative readings, and demonstrates strategic uses of figuration and abstraction across East and West. Encompassing sites of memory (including war memorials and Holocaust memorials), state, civic and corporate sculpture, as well as temporary and unexecuted projects, the book shows that persuasive advocates of figuration were to be found in the West, while in the East imaginative experiments in abstraction were proposed in the name of Social Realism. Presenting fresh insights into sculptural practice in the period between 1945 and 1968, this book brings together a wide range of authors, some of whom have never before been published in English. Their essays are complemented by extracts from documentary texts, which give a flavour of contemporary debates, and a biographical section includes entries on many sculptors who will be unfamiliar to an English-speaking audience.

The expression 'the Zola of Sculpture' was coined in the circles of the Royal Academy in the 1880s as a term of abuse. Rodin: 'The Zola of Sculpture' reveals how the appraisal of Rodin in British culture was shaped by controversies around the literary models of Zola and Baudelaire, in a period when negative notions about French culture were being progressively transformed into positive expressions of modern sculpture. Embedded within this collaborative book is the editor's proposition that Rodin came to play an important role in the cultural politics of the Entente Cordiale at a critical juncture of European history. Encompassing new scholarship in several disciplines, drawn from both sides of the Channel, Rodin: 'The Zola of Sculpture' offers the first in-depth account of Rodin's career in Britain in the period 1880-1914 and weaves this historical trajectory into a complex investigation of the interactions between French and British cultures. The authors examine the cultural agencies in which conceptions of Rodin's practice played a defining role, dealing in turn with artists' professional associations, art criticism, private and public collectors and the education of women sculptors.

Pierre Culot (1938-2011) was a Belgian ceramist and sculptor who was trained by Antoine de Vinck and English master potter Bernard Leach. He is one of the ceramists of the 1950s who transformed their craft into an art form. In his work, Pierre Culot passionately expresses his desire to be in the world, to be on earth and to be in nature the sole generator of life and beauty. The clay that he molds into slabs, scratches and enamels becomes containers for daily use with majestic presence. Over his career Culot aimed at mastery of his practice, shaping his pieces in terms of size and in surface effect, by combining the raw earth in each item with luxuriant enamels that had unique variations.   All of Culot’s life he remained faithful to his initial experience as a potter, evolving his ceramic works from basic forms (bowls, plates, jugs) to more daring shapes (cruciform vases, gourds, compound pots, inkwells), and even into the landscape space by sculpting garden walls. This book offers a complete overview of his unique and multi-faceted career in pottery, sculpture and landscaping.   Distributed for Mercatorfonds

First opened in 1873, the Victoria and Albert Museum's Cast Courts were purpose built to house copies of architecture and sculpture from around the world. They contain some of the Museum's largest objects, including casts of Trajan's Column (shown in two halves) and the twelfth century Portico de la Gloria from the cathedral at Santiago de Compostela. Among the Museum's most popular galleries, the Cast Courts are an extraordinary expression of Victorian taste, ambition and public spirit. Published to celebrate the opening of the refurbished Cast Courts at the V&A, this book presents a fresh perspective on the Museum's diverse collection of reproductions including plaster casts, electrotypes and photographs.

'The cultural history of the mirror is fully explored by Sabine Melchior-Bonnet. The book marries science and art, literature and philosophy.' - New York Times

'This erudite meditation ... reveals how significantly the mirror has influenced Western culture ... this beautifully illustrated study offers so many intriguing glimpses into the meanings of reflection that it will reward anyone who peers beneath its surface.' - Publishers' Weekly

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work This richly illustrated volume reintroduces readers to American sculptor William Edmondson (1874–1951) more than 80 years after his historic solo exhibition at the Museum of Modern Art. Edmondson began carving at the onset of the Depression in Tennessee. Initially creating tombstones for his community, over time he expanded his practice to include biblical subjects, the natural world, and recognizable figures including nurses and preachers. This book features new essays that explore Edmondson’s life in the South and his reception on the East Coast in the 1930s. Reading the artist through lenses of African American experience, the authors draw parallels between then and now, highlighting the complex relationship between Black cultural production and the American museum. Countering existing narratives that have viewed Edmondson as a passive actor in an unfolding drama—a self-taught sculptor “discovered� by White patrons and institutions—this book considers how the artist’s identity and position within history influenced his life and work. Distributed for the Barnes Foundation  Exhibition Schedule: The Barnes Foundation, Philadelphia (June 25–September 10, 2023)  

This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists that supposedly constituted a "national sculpture." By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugene Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.

This title was first published 2003. In the twentieth century, Britain was rich in artistic achievement, especially in sculpture. Just some of those working in this field were Jacob Epstein, Henri Gaudier-Brzeska, Henry Moore, Barbara Hepworth, Anthony Caro, Richard Long, Mona Hatoum and Anish Kapoor. The work of these and other known and less well-known artists has an astonishing variety and expressive power, a range and strength that has placed Britain at the hub of the artistic world. Alan Windsor has compiled a concise biographical dictionary of sculpture in Britain in book form. Richly informative and easy-to-use, this guide is an art-lover's and expert's essential reference. Written by scholars, the entries are cross-referenced and each concise biographical outline provides the relevant facts about the artist's life, a brief characterization of the artist's work, and, where appropriate, major bibliographical references.