A sequel to The World of Wade, this even larger book continues the Wade story. Here Warner and Posgay share more information and beautiful illustrations of figurines, animal figures, cartoon figures (including Disney), premiums, flowers, money banks, souvenirs, whimsies, tankards, flower jugs, vases, teapots, cream and sugar sets, advertising wares, liquor decanters, tableware patterns, and royal commemoratives. In all, more than 1,300 items are pictured in full color, plus hundreds more in black and white.

This book adds tremendously to our knowledge of Wade. Of special interest is an updated history of the Wade potteries, including a section on decorators and designers. Backstamps, reproductions and reissues also receive careful attention. Well indexed for easy reference, this book comes with a recently updated price guide.

This book examines a famous series of sculptures by the German artist Franz Xaver Messerschmidt (1736-1783) known as his "Character Heads." These are busts of human heads, highly unconventional for their time, representing strange, often inexplicable facial expressions. Scholars have struggled to explain these works of art. Some have said that Messerschmidt was insane, while others suggested that he tried to illustrate some sort of intellectual system. Michael Yonan argues that these sculptures are simultaneously explorations of art's power and also critiques of the aesthetic limits that would be placed on that power.

Modelling German WWII Armoured Vehicles is an essential reference for wargamers and modellers who build and paint World War II German armoured vehicles. It provides extensive information on the vehicles, describing what was used and when, and how the vehicles evolved and were adapted to perform specialised functions. Photographs of vintage vehicles have been included to enable the creation of realistic models. This new book encourages both young and old to get into the fascinating hobby of modelling military vehicles. It describes how to assemble plastic, resin and metal models, including etch brass detailing. It covers colours and markings plus the various paints you can use to finish your models. Finally, it provides a history of German Armoured Fighting Vehicles (AFVs) and looks back at early AFV models and the development of the hobby over the last 50 years.

In the first book of miniature decorative bird-carving patterns ever published, William Veasey presents intricately detailed designs for the novice carver. This concise practicable guide will help the amateur carver to develop the basic skills necessary to produce his own realistic miniature birds.

LAND ART IN GREAT BRITAIN

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed. The book also considers prehistoric art, stone circles, Romanticism, poetry, religion, women's art, contemporary art, and the impact of the British landscape on British land art.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 9781861714022. 352 pages.

www.crmoon.com

EXTRACT FROM THE CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy's snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and 'shock' for Goldsworthy. In Midsummer Snowballs he wrote that 'even in winter each snowfall is a shock, unpredictable and unexpected.'

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child's joy when it snows (school's cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of 'the effect, the excitement' of the first snowfall. Some of this excitement comes across in Goldsworthy's snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy's earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn't have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

This book investigates the wide-ranging connections between sculpture, sexuality, and history in Western culture from the eighteenth century to the present. Sculpture has offered a privileged site for the articulation of sexual experience and the formation of sexual knowledge. As historical objects, sculptures also draw attention to the different ways in which knowledge about sexuality is facilitated through an engagement with the past. Bringing together contributors from across disciplines, including art history, classics, film studies, gender studies, history, literary studies, museum studies, queer theory and reception studies, the volume presents original readings of sculptural art in relation to antiquarianism, aesthetics, collecting cultures, censorship and obscenity, psychoanalysis, sexology, and the experience and regulation of museum spaces. It examines how sculptural encounters were imagined and articulated in literature, painting, film and science. As a whole, the book opens up a new understanding of the ways in which sculptures, as real or imagined objects, have fundamentally shaped approaches to and receptions of the past in relation to sex, gender and sexuality. Chapters 8 and 10 of this book are available open access under a CC BY 4.0 license at link.springer.com.

What does it mean for a sculpture to be described as 'organic' or a diagram of 'morphological forces'? These were questions that preoccupied Modernist sculptors and critics in Britain as they wrestled with the artistic implications of biological discovery during the 1930s. In this lucid and thought-provoking book, Edward Juler provides the first detailed critical history of British Modernist sculpture's interaction with modern biology. Discussing the significant influence of biologists and scientific philosophers such as D'Arcy Wentworth Thompson, Julian Huxley, J. S. Haldane and Alfred North Whitehead on interwar Modernist practice, this book provides radical new interpretations of the work of key British Modernist artists and critics, including Henry Moore, Barbara Hepworth, Paul Nash and Herbert Read. Innovative and interdisciplinary, this pioneering book will appeal to students of art history and the history of science as well as anyone interested in the complex, interweaving histories of art and science in the twentieth century. -- .

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.

Netsuke have once again come to the fore in the popular imagination of the public. In part this is due to the phenomenal success of Edmund De Waals 2010 book, Hare with the Amber Eyes, which highlights a treasured netsuke collection that was challenged by war and the vicissitudes of time. Intricately carved from various materials including ivory, wood and metal, these small toggles served a practical purpose in Japan: a netsuke was used to fasten a mans sash, an integral part of Japanese costume. Up until the seventeenth century netsuke were relatively insignificant objects that were rarely of artistic interest, but as time passed they evolved in terms of both materials and workmanship, and were then used by men to flaunt their wealth or as an expression of status. Today netsuke are considered an art form in their own right and are prized by collectors around the world. They are found in a variety of forms and depict a wide range of subjects including figures of human and legendary form, ghosts, animals, botanical subjects and masks. Skilfully worked, these miniature carvings are of great artistic value, but they also provide a window into Japanese culture and society. This book brings together one hundred of the most beautiful and interesting netsuke from the extensive collection of the British Museum, each of which has its own special charm and story to tell. Uncovering the stories behind these netsuke and coupling them with stunning new photography, this book reveals why these tiny objects have captivated so many, the meaning they have held for those who wore them, and what they can tell us about Japanese everyday life.

For over a hundred years the story of Alice and her adventures has enchanted children of all ages. One of those who has been captivated by its charm is Tom Wolfe, and now he brings the characters to life through his carving. And more he shares his fascination with his readers. While many illustrators have brought their own imagination to Lewis Carroll's characters over the years, Tom goes back to the drawings of Sir John Tenniel for his inspiration. Of course he adds his own interpretation, giving them a unique personality that Carroll would have appreciated. As usual, Tom leads the carver through the project with easy to follow, step-by-step instructions, illustrated in full color photographs. This is a great book for the beginner and intermediate carvers, but the patterns and guidance Tom provides will be valued by all.

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.

Monkeys and apes have come aboard Noah's ark to enliven the ship, keeping Noah and his crew on their toes. Monkeys swing from the rafters and hoot from the bow. Apes cuddle, roar and lounge about the deck. All are animated with detailed expressions and gestures which David Sabol uses to bring his carvings to life. David takes the reader through every step in the transformation of a block of pine into a monkey or ape with enjoyable, straight-forward directions accompanied by clear color photographs. The traditional carving techniques he employs are explained in detail. Wood burning and oil staining bring each carving to life. With the mastery of these traditional techniques, the entire animal kingdom is yours to carve and add to the passenger list of your very own ark. This is the third in a series of books by David Sabol in which animals and crew are added to Noah's ark.

Explore the human form in depth, from concept sketches and armatures to detailed instructions for constructing legs, torso, arms, hands, and head from clay. In Mastering Sculpture: The Figure in Clay, renowned sculptor and instructorCristina Cordova teaches everything you need to know to replicate the full human figure using clay. Start by developing meaningful sketches and reference points. Then learn how to make and use an armature to create hollow forms that are safe to fire in a kiln. Using patterns and slabs, you can move on to develop a full human form, head to toe. Work along with the author to create a form about two-feet tall, or choose your own size: the patterns and instructions can work in a variety of scales. Photographic demonstrations and diagrams cover the construction and articulation of feet and legs, the hip area and upper torso, arms, hands, neck, and head. Cristina includes supplementary tips and insights throughout to support the sculpting process and enhance naturalism. You'll also find a brief section on general anatomical concepts and modeling strategies to facilitate accuracy and expression as all the components come together. Whether you are a clay artist with limited experience in figurative sculpture or a figurative sculptor outside the world of ceramics looking for a straightforward fabrication strategy to create permanent compositions from clay, Mastering Sculpture: The Figure in Clay will expertly guide your way.

The "Misty Creek Carvers" have combined their talents to create a host of original caricatures to give beginning and experienced carver hours of carving enjoyment. The caricatures are carved in the relief style from 3/4" wood. The carver will benefit from Mike's expertise in caricature design, Steve's full-color photograph and helpful description. The book features 22 additional patterns, including a nurse, tourist, salesman, Uncle Sam, bride and groom, preacher, scuba diver, hunter, golfer, and more. A pictorial gallery includes completed carvings of all patterns featured in the book.

Looking for something different to carve for Christmas? This is it. These fanciful ornaments double as whistles and are sure to delight children and adults alike. They can take a variety of shapes and forms, as you can see in the gallery. In fact, the idea of making carved whistles is not limited to Christmas ornaments. The tone and pitch of the whistles is determined by the size of the hole, so a variety of notes can be achieved by the carver. The toy soldier carved in this book has two holes giving dual tones. Kelley makes carving the whistles simple and fun. Each step is clearly illustrated and explained, using full color photographs. 12 patterns are provided, but once you get the hang of it you will probably be drawing your own. A fun book full of Christmas spirit.

This book is written for beginning and intermediate wood carvers interested in carving a traditional Hopi kachina-style doll. Tom Moore, a respected kachina-style doll carver for forty years, provides historical information about the evolution of kachina dolls and kachina carvings. He traces the art form from the early days, when the dolls were intended to be educational toys for children, until modern times, when they became wood sculptures collected by non-Hopis, costing thousands of dollars. This fascinating book provides patterns, respectful background information, and step-by-step instructions for carving and painting Corn Dancer, Poli Sio Hemis, and Crow Mother in the traditional manner. Tom's interpretations of the dolls include the traditional "belly-acher" pose, bright colors of the 1980s style, and the all-wood approach currently favored by Hopi carvers. The book provides a photo gallery, index of terms, and lists of tools used and materials required.

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.

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.

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.

In late 19th century England, Oscar Wilde popularized aestheticism, also known as art-for-art’s-sake – the idea that art, that beauty, should not be a vehicle for morality or truth, but an end in-and-of-itself. Rothko and Jackson Pollock enthroned the idea, creating paintings that are barely graded panels of color or wild splashes. Today, pop culture is aestheticism’s true heir, from the perfect charismatic emptiness of Ocean’s Eleven to the hyper-choreographed essentially balletic movements in the best martial arts movies. But aestheticism has a dark core, one that Social Justice Activists are now gathering to combat, revealing the damaging ideology reflected in or concealed by our most beloved pop culture icons. Taking Bryan Fuller’s television version of Hannibal “The Cannibal” Lecter as its main text – and taking Žižek-style illustrative detours into Malcolm in the Middle, Dark Knight Rises, Harry Potter, Interview with a Vampire, Dexter and more – this book marshals Walter Pater, Camille Paglia, Nietzsche, the Marquis de Sade, Kant and Plato, as well as Dante, Shakespeare, Milton, Blake, Baudelaire, Beckett, Wallace Stevens and David Mamet to argue that Fuller’s show is a deceptively brilliant advance of aestheticism, both in form and content – one that investigates how deeply art-for-art’s-sake, and those of us who consciously or unconsciously worship at its teat, are necessarily entwined with evil.

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.