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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
An examination of women as mothers in medieval French sculpture.
What can medieval sculptural representations of women tell us about
medieval women's experiences of motherhood? Presumably the work of
male sculptors, working for clerical patrons, these sculptures are
unlikely to have been shaped by women's maternal experiences during
their production. Once produced, however, their beholders would
have included women who were mothers and potential mothers, thus
opening a space between the sculptures' intended meanings and other
meanings liable to be produced by these women as they brought their
own interests and concerns to these works of art. Building on
theories of reception and response, this book focuses on
interactions between women asbeholders and a range of sculptures
made in France in the twelfth through sixteenth centuries, aiming
to provide insight into women's experiences of motherhood;
particular sculptures considered include the Annunciation and
Visitation from Reims cathedral, the femme-aux-serpents from
Moissac, the transi of Jeanne de Bourbon-Vendome, the Eve from
Autun, and a number of French Gothic Virgin and Child sculptures.
Marian Bleeke is Associate Professor of Art History and Chair of
the Department of Art and Design at Cleveland State University.
A beautifully presented, practical gift guide to the age-old art of
whittling. There are 50 projects featured in the book, ranging from
quick makes to more elaborate projects, and even a chapter on
creating things from cork. The 8 main themes are: Quick Things -
including a doorstop, a bookmark and a gift-box book; Into The
Woods - including a willow whistle, walking stick, fish hook and
slingshot; Around The House - including chopsticks, coat and
crochet hooks; Cork Creations - including a succulent pot, stamp,
and earphones spool; Ornamental Carving - including a boat, a deer
and a spinning top; Kitchen Carving - including a carrot flute,
apple candle and onion flower; The Natural World - including a bird
feeder and instructions to prepare a fish for cooking, a graft an
apple tree. The projects cater for a range of skill levels and the
instructions are complemented by smart step-by-step illustrations,
which highlight the tactile quality of the material in hand. The
book also includes an introduction with advice on selecting a
penknife, maintaining your blade, choosing your caving material,
and carving techniques. Featuring the ultimate crossover of cool
craftsmanship and savvy survival-skill projects, this book is the
perfect gift for creative adventurers.
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Jannis Kounellis in Six Acts
(Paperback)
Jannis Kounellis; Edited by Vincenzo de Bellis; Foreword by Mary Ceruti; Text written by Michelle Coudray, Claire Gilman, …
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R1,166
Discovery Miles 11 660
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Ships in 12 - 17 working days
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For nearly seven decades the ebullient art of Joan Miro
(1893-1983), Spanish painter, sculptor, ceramist and mythmaker, has
intrigued and enchanted art lovers worldwide. This collection of
his writings presents a portrait of the artist in his own words.
Miro's notebooks, letters, and interviews reveal the work and life
of a brilliant artist revered for his uncanny expression of the
subconscious. "Joan Miro" centres on Paris during the vibrant era
between the wars, when Miro became the intimate of almost everyone
in that scene - boxing with young Hemingway, working with Max Ernst
on the Ballets Russes, drinking, painting and arguing with Picasso,
Braque, Dubuffet, Matisse, Breton and many others. Miro engagingly
recounts all of this, as well as stories of his exile during World
War II. Miro's virtuosity encompassed drawing, painting, sculpture,
ceramics, poetry, stage sets, costumes, murals and tapestries; he
vividly describes the creation of these artworks in these pages.
Painter, draftsman and engraver, Pierre Lesieur (1922-2011) was one
of the most influential French artists of the second half of the
20th century. Trained at the Ecole des Beaux-Arts in Paris - where
he took lessons from Andre Lhote - and at the Academie de
Montmartre, he had his first exhibition in 1952. Lesieur's
paintings of the 1950s are characterised by the use of brightly
coloured areas, in line with the work of Henri Matisse and Pierre
Bonnard. In the 1960s, this research bordered on abstraction,
particularly in still lifes and representations of objects. From
the 1970s onwards, through his paintings and drawings, Lesieur took
a particular interest in interiors, as well as in portraits and
female nudes. Early in his career, Pierre Lesieur was recognised as
an important artist. After his first personal exhibition in 1952,
his work was regularly shown at the Coard Gallery in Paris. From
the 1990s, Lesieur's notoriety became international, resulting in
further exhibitions in Japan and the United States. Some of his
works are now housed in major museums such as the Center Pompidou,
the Metropolitan Museum of Art and the Hiroshima Museum. Text in
English and French.
Reading African art's impact on modernism as an international
phenomenon, The "Black Art" Renaissance tracks a series of
twentieth-century engagements with canonical African sculpture by
European, African American, and sub-Saharan African artists and
theorists. Notwithstanding its occurrence during the benighted
colonial period, the Paris avant-garde "discovery" of African
sculpture-known then as art negre, or "black art"-eventually came
to affect nascent Afro-modernisms, whose artists and critics
commandeered visual and rhetorical uses of the same sculptural
canon and the same term. Within this trajectory, "black art"
evolved as a framework for asserting control over appropriative
practices introduced by Europeans, and it helped forge alliances by
redefining concepts of humanism, race, and civilization. From the
Fauves and Picasso to the Harlem Renaissance, and from the work of
South African artist Ernest Mancoba to the imagery of Negritude and
the Ecole de Dakar, African sculpture's influence proved
transcontinental in scope and significance. Through this
extensively researched study, Joshua I. Cohen argues that art
history's alleged centers and margins must be conceived as
interconnected and mutually informing. The "Black Art" Renaissance
reveals just how much modern art has owed to African art on a
global scale.
In spring 2009, Dumbarton Oaks inaugurated an occasional series
of contemporary art installations intended to provide unexpected
experiences and fresh interpretations of its gardens and
collections. The first artist selected was the American sculptor
Charles Simonds, who is well known for clay sculptures that
document the wanderings of a fantastical civilization of Little
People whose landscapes, architectures, and rituals have been
imagined by the artist since the early 1970s. The outcome was a
project that spanned the whole institution. A wide range of his
current sculptures--some architectural, some figural, and some
evocative of landscape, most preexisting but one made especially
for the exhibition--was installed between May and October 2009 in
various spaces at Dumbarton Oaks.
"Landscape Body Dwelling" documents and reflects on the
installation. Essays by Ann Reynolds and Germano Celant situate it
within the broader context of Simond's artistic career, while
essays by John Beardsley and Joanne Pillsbury detail the often
surprising connections between the exhibited works, the garden
elements, and the permanent collections at Dumbarton Oaks. Richly
illustrated with photographs of the installation, this volume
demonstrates how contemporary culture connects us with the past,
reinvigorating historical tropes while enlivening the institutions
that continue to speak them.
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Charles Ray: Vol. II
(Hardcover)
Charles Ray; Edited by Nora Cafritz, Fanna Gebreyesus, Emily Wei Rales; Text written by Russell Ferguson
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R875
Discovery Miles 8 750
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Colour is at the core of our perception, the very essence of how we
see and understand the world, but the question to ask is: how does
one interpret it? Six well-known British artists - David Batchelor,
Ian Davenport, Lothar Goetz, Jim Lambie, Annie Morris, Fiona Rae -
have interpreted in different ways, the relationship of colour
within space. Colour is the main protagonist of their works: it can
be found in Batchelor's sculptures assembled with found objects, in
the coloured trails of Davenport's paintings, in Fiona Rae's
delicate, floating marks on white surfaces, and in Annie Morris'
sculptures that powerfully define the environment. Finally, the
colour comes out of the paintings to invade the walls and the floor
of the Gallery itself, with two site-specific creations: an entire
wall painted by Lothar Goetz, and Zobop, the floor made of vinyl by
Jim Lambie. Text in English and Italian.
Italian-born American artist Harry Bertoia (1915-1978) was one of
the most prolific, innovative artists of the post-war period.
Trained at the Cranbrook Academy of Art, where he met future
colleagues and collaborators Charles and Ray Eames, Florence Knoll,
and Eero Saarinen, he went on to make one-of-a kind jewellery,
design iconic chairs, create thousands of unique sculptures
including large-scale commissions for significant buildings, and
advance the use of sound as sculptural material. His work speaks to
the confluence of numerous fields of endeavour, but is united
throughout by a sculptural approach to making and an experimental
embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life
accompanies the first U.S. museum retrospective of the artist's
career to examine the full scope of his broad, interdisciplinary
practice, and feature important examples of his furniture,
jewellery, monotypes, and diverse sculptural output. Lavishly
illustrated, the book offers new scholarly essays as well as a
catalogue of the artists numerous large-scale commissions. It
questions how and why we distinguish between a chair, a necklace, a
screen, and a freestanding sculpture and what Bertoia's sculptural
things, when taken together, say about the fluidity of visual
language across culture, both at mid-century and now.
An exploration of Francophone African literary imaginations and
expressions through the lens of Afrofuturism Generally attributed
to the Western imagination, science fiction is a literary genre
that has expressed projected technological progress since the
Industrial Revolution. However, certain fantastical elements in
African literary expressions lend themselves to science fiction
interpretations, both utopian and dystopian. When the concept of
science is divorced from its Western, rationalist, materialist,
positivist underpinnings, science fiction represents a broad
imaginative space that supersedes the limits of this world. Whether
it be on the moon, under the sea, or elsewhere within the
imaginative universe, Afrofuturist readings of select films,
novels, short stories, plays, and poems reveal a similarly
emancipatory African future that is firmly rooted in its own
cultural mythologies, cosmologies, and philosophies. Isaac Joslin
identifies the contours and modalities of a speculative, futurist
science fiction rooted in the sociocultural and geopolitical
context of continental African imaginaries. Constructing an arc
that begins with gender identity and cultural plurality as the
bases for an inherently multicultural society, this project traces
the essential role of language and narrativity in processing
traumas that stem from the violence of colonial and neocolonial
interventions in African societies. Joslin then outlines the
influential role of discursive media that construct divisions and
create illusions about societal success, belonging, and exclusion,
while also identifying alternative critical existential mythologies
that promote commonality and social solidarity. The trajectory
proceeds with a critical analysis of the role of education in
affirming collective identity in the era of globalization; the book
also assesses the market-driven violence that undermines efforts to
instill and promote cultural and social autonomy. Last, this work
proposes an egalitarian and ecological ethos of communal engagement
with and respect for the diversity of the human and natural worlds.
In this book, Dan Adler addresses recent tendencies in contemporary
art toward assemblage sculpture and how these works incorporate
tainted materials - often things left on the side of the road,
according to the logic and progress of the capitalist machine - and
combine them in ways that allow each element to retain a degree of
empirical specificity. Adler develops a range of aesthetic models
through which these practices can be understood to function
critically. Each chapter focuses on a single exhibition: Isa
Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey
Farmer's midcareer survey (Musee d'art contemporain, Montreal,
2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel
Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage
Facilities" (Henry Art Gallery, Seattle, 2008).
***SHORTLISTED FOR THE RSL CHRISTOPHER BLAND PRIZE 2023*** 'I read
the book in one go. I laughed and cried like a baby, and was
transported back to a time of innocence, clouded by the enormity of
the harsh reality . . . Just amazing' CATHERINE ZETA JONES 'As it
happens, I was also a Jill in the eighties - but not half as good a
Jill as real Jill' DAWN FRENCH 'Jill met the crisis head on . . .
She held the hands of so many men. She lost them, and remembered
them, and somehow kept going' RUSSELL T DAVIES A heartbreaking,
life-affirming memoir of love, loss and cabaret through the AIDS
crisis, from IT'S A SIN's Jill Nalder When Jill Nalder arrived at
drama school in London in the early 1980s, she was ready for her
life to begin. With her band of best friends - of which many were
young, talented gay men with big dreams of their own - she grabbed
London by the horns: partying with drag queens at the Royal
Vauxhall Tavern, hosting cabarets at her glamorous flat, flitting
across town to any jobs she could get. But soon rumours were
spreading from America about a frightening illness being dubbed the
'gay flu', and Jill and her friends now found their formerly
carefree existence under threat. In this moving memoir, IT'S A
SIN's Jill Nalder tells the true story of her and her friends'
lives during the AIDS crisis -- juggling a busy West End career
while campaigning for AIDS awareness and research, educating
herself and caring for the sick. Most of all, she shines a light on
those who were stigmatised and shamed, and remembers those brave
and beautiful boys who were lost too soon. 'Thank God for people
like [Jill] . . . I cannot recommend this book highly enough'
MICHAEL BALL 'An engaging, moving account' TIMES SATURDAY REVIEW
'Simultaneously devastating and uplifting' GRAZIA 'Engrossing,
heart-breaking and inspiring' MATT CAIN
For seven years, photographer and artist Lena Herzog followed the
evolution of a new kinetic species. Intricate as insects but with
bursts of equine energy, the "Strandbeests," or "beach creatures,"
are the creation of Dutch artist Theo Jansen, who has been working
for nearly two decades to generate these new life-forms that move,
and even survive, on their own. Set to roam the beaches of Holland,
the Strandbeests pick up the wind in their gossamer wings and
spring, as if by metamorphosis, into action. As if it were blood,
not the breeze, running through their delicate forms, they quiver,
cavort, and trot against the sun and sea, pausing to change
direction if they sense loose sand or water that might destabilize
their movement. Coinciding with a traveling exhibition, Herzog's
photographic tribute captures Jansen's menagerie in a meditative
black and white, showcasing Jansen's imaginative vision, as well as
the compelling intersection of animate and inanimate in his
creatures. The result is a work of art in its own right and a
mesmerizing encounter not only with a very surrealist brand of
marvelous, but also with whole new ideas of existence.
A daring reassessment of Louise Nevelson, an icon of
twentieth-century art whose innovative procedures relate to
gendered, classed, and racialized forms of making In this radical
rethinking of the art of Louise Nevelson (1899–1988), Julia
Bryan-Wilson provides a long-overdue critical account of a
signature figure in postwar sculpture. A Ukraine-born Jewish
immigrant, Nevelson persevered in the male-dominated New York art
world. Nonetheless, her careful procedures of construction—in
which she assembled found pieces of wood into elaborate structures,
usually painted black—have been little studied. Organized around
a series of key operations in Nevelson’s own process (dragging,
coloring, joining, and facing), the book comprises four slipcased,
individually bound volumes that can be read in any order. Both form
and content thus echo Nevelson’s own modular sculptures, the
gridded boxes of which the artist herself rearranged. Exploring how
Nevelson’s making relates to domesticity, racialized matter,
gendered labor, and the environment, Bryan-Wilson offers a
sustained examination of the social and political implications of
Nevelson’s art. The author also approaches Nevelson’s
sculptures from her own embodied subjectivity as a queer feminist
scholar. She forges an expansive art history that places
Nevelson’s assemblages in dialogue with a wide array of
marginalized worldmaking and underlines the artist’s proclamation
of allegiance to blackness.
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Snowman
(Paperback)
Peter Fischli, David Weiss; Text written by Cara Manes
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R461
Discovery Miles 4 610
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Employing superb, clear draughtsmanship this book illustrates each
and every detail of the rigging of typical period fore-and-aft
vessels. The rigging of period ship models is arguably the most
complex task that any modeller has to accomplish; the intricacies
can be daunting and visual references limited. The author's first
book, Rigging Period Ship Models, was a triumph of clarity for
those needing to decipher the complexities of square rig and has
now sold in multiple editions. This book does the same for
fore-and-aft craft and deploys three typical eighteenth-century
types - an English cutter, a three-masted French lugger and an
American schooner. Some 200 diagrams show clearly where each
separate item of standing and running rigging is fitted, led and
belayed. Whatever the requirements of the modelmaker, all the
information is here. This new PB edition brings a visual clarity to
the complexities of period rigging and will delight anyone with an
interest in the rigging of traditional fore-and-aft craft.
Inspired by radical Italian designer Enzo Mari, this practical book
with step-by-step DIY projects for hand built, beautiful furniture
is a tribute to his simple ideas that challenged the consumerism of
the furniture industry. Many interpreted Enzo Mari's book
Autoprogettazione? as a manifesto of nostalgic longing for a
pre-capitalist society where people built what they needed
themselves, but Mari's goal wasn't to make people cease consuming.
Mari wanted people to consider the more basic aspects of the
objects we surround ourselves with and what it is that makes a
piece of furniture, beautiful, comfortable and functional. Taking
Enzo Mari and his book as his influence, Erik Eje Almqvist unpacks
the practical aspects of the Autoprogettazione? theory, offering
simple designs for handbuilt, beautiful furniture. Using just a
hammer, nails and boards cut to standard dimensions, Hammer &
Nail explores only a few techniques but arms the reader with skills
and inspiration for life. With easy-to-follow instructions and
diagrams, there are basic methods for making furniture joints, and
includes tips on how to avoid cracking boards as you go, making
clean cuts with a saw, and ideas on surface treatments. Projects
include: Sheep chair, Tilting Shaker chair, Pinstol/Windsor chair,
Garden chair, Arts & Crafts chair, Ski chair, Mirror stool,
Stackable stool, Beer table, Kitchen bench, Park bench, Sofa, Top
and tail bed, Dining table, Worktable, Cabinet, Gun Kessle's shelf
and Giraffe lamp.
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.
Isaac Cordal ...is a sculpture artist from London. His sculptures
take the form of little people sculpted from concrete in 'real'
situations. Cordal manages to capture a lot of emotion in his
vignettes, in spite of their lack of detail or colour. He is
sympathetic toward his little people and we empathise with their
situations, their leisure time, their waiting for buses and their
more tragic moments such as accidental death, suicide or family
funerals. His sculptures can be found in gutters, on top of
buildings and bus shelters - in many unusual and unlikely places in
the capital. This book is the first time his images have been shown
in together in one book dedicated to his work, many images never
seen before. Cordal's concrete sculptures are like little magical
gifts to the public that only a few lucky people will see and love
but so many more will have missed. Left to their own devices
throughout London, what really makes these pieces magical is their
placement. They bring new meaning to little corners of the urban
environment. They express something vulnerable but deeply engaging.
Diamond jewelry has long been symbolic of political power and
authority in Europe. This book focuses on the individuals who
commissioned and wore extraordinarily precious diamond ornaments
from the mid-14th century until the ‘democratization’ of
diamonds that followed the opening of mines in South Africa in
1867. This enthralling story covers seven centuries of history,
showing the way in which rulers such as Charles V of France, Queen
Elizabeth I of Great Britain, Louis XIV of France and Catherine II
of Russia used diamond jewelry to reinforce their power and
authority. As works of art, these precious creations mirror the
successive styles of each period – late Gothic naturalism, the
culture of the Renaissance, Baroque splendour, Rococo elegance and
the Imperial grandeur of the First and Second Napoleonic Empires.
The recurring themes – religion, sentiment, heraldry, military
glory, miniatures and cameo portraiture – are reinterpreted by
each generation of jewelers. Like royal dress, diamond jewelry was
worn to dazzle and impress – at weddings, coronations,
christenings and state visits – and was presented as gifts
reflecting princely generosity. Over the centuries, these displays
proved remarkably successful as instruments of government,
symbolizing the pride and glory of a nation. Arranged
chronologically, Diamond Jewelry includes some legendary
masterpieces of diamond jewelry. Written by an acknowledged expert,
it offers an intriguing overview of one of the world’s most
precious gems.
Henri Matisse (1869 - 1954) is one of the leading figures of modern
art. His unparalleled cut-outs are among the most significant of
any artist's late works. When ill health first prevented Matisse
from painting, he began to cut into painted paper with scissors as
his primary technique to make maquettes for a number of
commissions, from books and stained glass window designs to
tapestries and ceramics. Taking the form of a 'studio diary', the
catalogue re-examines the cut-outs in terms of the methods and
materials that Matisse used, and looks at the tensions in the works
between finish and process; fine art and decoration; contemplation
and utility; and drawing and colour.
The V&A's collection of ivory carvings from the period 1200 to
1550 is one of the most important in the world, and this is the
first catalogue of it to be published since 1929. Together with the
earlier volume, Medieval Ivory Carvings: Early Christian to
Romanesque (V&A, 2010), the books make available over 400
pieces of the ivory carver's art, discussing in detail many of the
most celebrated ivories of the Middle Ages. Included here are
masterpieces from the most important centres of ivory carving in
the Gothic era. Among them are the Salting Leaf and Soissons
Diptych from thirteenthcentury France; the early-fourteenth-century
Salting Diptych from England; Giovanni Pisano's Crucified Christ
and the Aldobrandini Crozier from Italy; and the unique
Wingfield-Digby Crozier from fourteenth-century Norway.
Additionally, important groups of Virgin and Child statuettes,
tabernacle polyptychs, diptychs, triptychs, writing tablets,
croziers, mirror backs, caskets and the products of the Florentine
and Venetian Embriachi workshops are catalogued. Appendices include
a small group of post- Byzantine and Russian ivories and the
results of radiocarbon-dating of selected works. Each entry
provides a comprehensive physical and scholarly discussion that
incorporates much new research; also included are carvings of
dubious authenticity, which are discussed as fully as the genuine
pieces. Beautifully illustrated with new colour photography,
Medieval Ivory Carvings 1200 - 1550 is the authoritative guide to
the V&A's collection and an accessible survey of the subject.
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