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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
Stretching lengths of yarn across interior spaces, American artist
Fred Sandback (1943 2003) created expansive works that underscore
the physical presence of the viewer. This book, the first major
study of Sandback, explores the full range of his art, which not
only disrupts traditional conceptions of material presence, but
also stages an ethics of interaction between object and observer.
Drawing on Sandback's substantial archive, Edward A. Vazquez
demonstrates that the artist's work with all its physical
slightness and attentiveness to place, as well as its relationship
to minimal and conceptual art of the 1960s creates a link between
viewers and space that is best understood as sculptural even as it
almost surpasses physical form. At the same time, the economy of
Sandback's site-determined practice draws viewers' focus to their
connection to space and others sharing it. As Vazquez shows,
Sandback's art aims for nothing less than a total recalibration of
the senses, as the spectator is caught on neither one side nor the
other of an object or space, but powerfully within it.
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Baule Monkeys
(Hardcover)
Bruno Claessens, Jean-Louis Danis; Foreword by Susan Vogel
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R1,527
Discovery Miles 15 270
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Ships in 12 - 17 working days
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The Baule people of the Ivory Coast are renowned for their refined
sculptural work of masks and figures. This book is the first to
focus exclusively on an antithetic aspect of Baule culture-rough
zoomorphic sculptures representing monkeys. These awe-inspiring
bowl-bearing figures evoke invisible powers and serve their
communities through the mediation of diviners. Investigating the
creation, forms, and usage of the sculptures, the authors shed
light on the cultural and ritual contexts in which they operated.
Beautifully illustrated with over 55 full-page color images of
works in public and private collections, this important publication
also includes many unpublished field photographs. Distributed for
Mercatorfonds
Published to accompany MASS MoCA's landmark installation of
LeWitt's innovative wall drawings, this book celebrates the artist
and his illustrious 50-year career. Published in association with
Mass MoCA Exhibition Schedule: Mass MoCA, North Adams,
Massachusetts (opens November 16, 2008)
This exciting new book from Angie Scarr presents a voyage of
discovery and inspiration for all miniaturists to delve into. Here,
Angie shares the secrets of her amazingly intricate work in a
variety of exciting materials and invites us to join in with her
passion for miniature food. The projects are more adventurous than
ever before and created with extraordinary attention to
detail.Follow this master class that is packed full of ideas,
detailed information on techniques, tools, materials and is
illustrated with easy-to-follow, step-by-step pictures throughout.
Find out how to create liquid and translucent effects, glazes,
moulding and veining all to mouth-watering effect. Just some of the
projects included are: pastry cases, chocolate recipes, toffee
apples, fruit tarts, strawberries, melons, cabbage and mushrooms.
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.
This career-spanning publication features conceptual, political,
formal, and technical perspectives on the work of contemporary
sculptor Charles Ray For Charles Ray (born 1953), sculpture is a
way of thinking that informs his work across a wide range of
media-from gelatin silver prints to porcelain, fiberglass, wood,
and steel. Charles Ray: Figure Ground spans the whole of the
artist's fifty-year career, from his early photographs and
performances through his intriguing, often unsettling sculptures,
some of which are published here for the first time. The essays
foreground Ray's engagement with preexisting traditions, as well as
charged issues around race, gender, and sexuality (notably
expressed through his explorations of Mark Twain's 1884 novel
Adventures of Huckleberry Finn) and investigate the modalities of
touch that run through his work. In addition, a reflection by Ray
himself and a conversation between the artist and Hal Foster offer
further insights into his multifaceted practice. Published by The
Metropolitan Museum of Art/Distributed by Yale University Press
Exhibition Schedule: The Metropolitan Museum of Art, New York
(January 31-June 5, 2022)
Hanneke Beaumont is known for her life-size sculptures of human
figures in public spaces, which are to be found everywhere - from
Brussels to Connecticut. For 35 years, she has been a key part of
the international art scene with works in the collections of, among
others, the Copelouzos Family Art Museum in Athens, the Baker
Museum in Florida and the Frederik Meijer Gardens & Sculpture
Park in Michigan. The latter two also organised a highly-successful
solo exposition of her work.
Your ultimate guide to carving, painting and decorating pumpkins
for your home, complete with tips and recipes for getting the most
out of your pumpkin all season long. From playful and whimsical
pumpkins that will liven up Halloween, Day of the Dead or
Thanksgiving parties to sophisticated and elegant designs that will
bring autumnal charm to your home all season long, you'll find
projects to suit every style and taste. Divided and organised into
helpful sections, you'll find: A guide to the tools, tips and
techniques that will help you achieve the best results Pumpkin
carving projects, for transforming your pumpkins and seasonal
gourds into show-stopping jack-o-lanterns Pumpkin painting
projects, for transforming your pumpkin with a lick of paint, no
sharp objects required Pumpkin dressing projects, for turning your
pumpkin into an original creation with glue, tape and other odds
and ends And recipes, for using every part of the pumpkin to create
delicious meals and tasty snacks Each project features
easy-to-follow instructions, whilst beautiful photographs
throughout will give you all the inspiration you need. And handy
templates at the back of the book can be copied and used again and
again for perfect results every time.
In this in-depth analysis, Peter Muir argues that Gordon
Matta-Clark's Conical Intersect (1975) is emblematic of Henri
Lefebvre's understanding of art's function in relation to urban
space. By engaging with Lefebvre's theory in conjunction with the
perspectives of other writers, such as Michel de Certeau, Jacques
Derrida, and George Bataille, the book elicits a story that
presents the artwork's significance, origins and legacies. Conical
Intersect is a multi-media artwork, which involves the
intersections of architecture, sculpture, film, and photography, as
well as being a three-dimensional model that reflects aspects of
urban, art, and architectural theory, along with a number of
cultural and historiographic discourses which are still present and
active. This book navigates these many complex narratives by using
the central 'hole' of Conical Intersect as its focal point: this
apparently vacuous circle around which the events, documents, and
other historical or theoretical references surrounding
Matta-Clark's project, are perpetually in circulation. Thus,
Conical Intersect is imagined as an insatiable absence around which
discourses continually form, dissipate and resolve. Muir argues
that Conical Intersect is much more than an 'artistic hole.' Due to
its location at Plateau Beaubourg in Paris, it is simultaneously an
object of art and an instrument of social critique.
Learning to Look at Sculpture is an accessible guide to the
study and understanding of three dimensional art. Sculpture is all
around us: in public parks, squares, gardens and railway stations,
as part of the architecture of buildings, or when used in
commemoration and memorials and can even be considered in relation
to furniture and industrial design. This book encourages you to
consider the multiple forms and everyday guises sculpture can
take.
Exploring Western sculpture with examples from antiquity through
to the present day, Mary Acton shows you how to analyse and fully
experience sculpture, asking you to consider questions such as What
do we mean by the sculptural vision? What qualities do we look for
when viewing sculpture? How important is the influence of the
Classical Tradition and what changed in the modern period? What
difference does the scale and context make to our visual
understanding?
With chapters on different types of sculpture, such as
free-standing figures, group sculpture and reliefs, and addressing
how the experience of sculpture is fundamentally different due to
the nature of its relationship to the space of its setting, the
book also explores related themes, such as sculpture s connection
with architecture, drawing and design, and what difference changing
techniques can make to the tactile and physical experience of
sculpture.
Richly illustrated with over 200 images, including multiple
points of view of three dimensional works, examples include the
Riace bronzes, Michelangelo s "David," Canova s "The Three Graces,"
medieval relief sculptures, war memorials and works from modern and
contemporary artists, such as Henry Moore, Cornelia Parker and
Richard Serra, and three-dimensional designers like Thomas
Heatherwick.
A glossary of critical and technical terms, further reading and
questions for students, make this the ideal companion for all those
studying, or simply interested in, sculpture."
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Carve
(Hardcover)
M Abrantes
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R396
R302
Discovery Miles 3 020
Save R94 (24%)
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Ships in 12 - 17 working days
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Weapons and tools are frequently found depicted in rock art in many
parts of the globe and different periods and in varying social
contexts. This collection of papers by leading rock art specialists
examines the subjective and metaphorical value of weapons and tools
in art, the actions that created them, and their contexts. It also
takes into account that such representations incorporate and
transmit some kind of understanding about the world and the
relationship between objects and humans. Contributors analyse
objects and weapons as status symbols, as evidences of cultural
contacts, as ideological devices, etc. Divided into regional
sections which, for once, do not focus on Scandinavia, chapters
deal with the representations of weapons and certain kinds of tools
(such as axes and sickles) in different prehistoric, protohistoric
and traditional community contexts all over the world. Attention
focuses on rock art, but also looks at stelae and statue-menhirs,
as well as other kinds of 'container' or vehicle for this kind of
depiction. The major concern is to discuss the possible meanings of
these embodied signs in different areas and periods, since meanings
are permeable both to time and space. Papers either centre their
attention in broader approaches based on a specific area, region or
people, or focus on particular case studies.
Featuring photographs, this book traces the history of Chinese
sculpture throughout the imperial period. By outlining the
principles which underlie all forms of statuary, regardless of size
and material, it aims to elucidate the extent to which sculpture in
China has been adapted to serve the political, practical and
spiritual needs of its rulers. Archaeological discoveries over the
last fifty years have revolutionised knowledge about Chinese
sculpture, revealing the length and strength of a hitherto
unsuspected tradition stretching back to prehistoric times. This
Paula Murphy, the leading expert on Irish sculpture, offers an
extensive survey of the history of sculpture in Ireland in the
nineteenth century, with particular emphasis on the large public
works produced during the Victorian period. The works of such major
figures as Patrick MacDowell, John Henry Foley, Thomas Kirk, and
Thomas Farrell are discussed -as well as works by a host of
lesser-known sculptors, including John Edward Carew, Christopher
Moore, James Cahill, and Joseph Robinson Kirk. Lavishly
illustrated, the book covers the work of many Irish sculptors who
practiced abroad, particularly in London, and the work of English
sculptors, including John Flaxman, Francis Chantrey, E. H. Baily,
and Richard Westmacott, who were located in Ireland. Murphy makes
extensive use of contemporary documentation, much of it from
newspapers, to present the sculptors and their work in the
religious and political context of their time. Published for the
Paul Mellon Centre for Studies in British Art
This is the twentieth volume in the Public Sculpture of Britain
series, the ambitious collaboration between Liverpool University
Press and the Public Monuments and Sculpture Association that will
eventually document the outdoor sculptural heritage of the whole of
the UK. Public sculpture is defined in this context as any work of
three-dimensional art located in an unregulated public space,
typically consisting of free-standing commemorative monuments,
architectural carvings and statues attached to buildings, and
contemporary site-specific interventions. A subject that was until
recently overlooked as a matter of marginal relevance to the
history of art, public sculpture has been shown through the
Liverpool University Press series to offer a range of important
insights into the built environment, enriching our understanding of
architecture and city planning, and raising many challenging issues
relating to the development of society as a whole. This is nowhere
better illustrated than in Edinburgh, where the richness of its
history as a capital city, and the dramatic power of its urban
topography, have combined to create a uniquely fertile breeding
ground for public sculpture of every kind. With the coverage
divided between two companion volumes, the study begins
appropriately with the historic Old Town, and the various suburbs
extending from it to the south.
The publication The Architecture of Deception / Confinement /
Transformation accompanies the eponymously titled exhibition
trilogy at BNKR - current reflections on art and architecture in
Munich and showcases 18 diverse artistic standpoints at the
intersection of art and architecture. Each chapter directly
corresponds to the evolving history of the exhibition space, which
was originally constructed as a camouflaged air-raid bunker during
the Second World War, then used as a postwar internment camp, and
finally transformed into its current state as a mixed-use
residential and office building. The Architecture of Deception
explores notions of illusion and deception, the creation of new
realities, truth versus fiction; Confinement explores notions of
shelters and safety, captivity and freedom, 'outside' versus
'inside'; Transformation explores notions of gentrification, decay
and definition of living spaces. With contributions by the editors,
David Adjaye and Nikolaus Hirsch, Isabelle Doucet, and Madeleine
Freund. Artists: The Architecture of Deception: Hans Op de Beeck,
Emmanuelle Laine, Bettina Pousttchi, Gregor Sailer, Cortis &
Sonderegger, The Swan Collective; The Architecture of Confinement:
Ramzi Ben Sliman, Mona Hatoum, Nadia Kaabi-Linke, Annika Kahrs,
OEzgur Kar, Joanna Piotrovska; The Architecture of Transformation:
Dana Awartani, Olivier Goethals, Eva Nielsen, Jeremy Shaw, Hannah
Weinberger, Andrea Zittel.
The Thomson Collection contains examples of the highest quality of
most types of medieval ivory carving, both secular and religious.
These include large statuettes of the Virgin and Child intended to
stand on altars in chapels, small versions for private use in the
home, and folding tablets or diptychs with scenes from the life of
Christ carved in relief.
Objects of adornment have been a subject of archaeological,
historical, and ethnographic study for well over a century. Within
archaeology, personal ornaments have traditionally been viewed as
decorative embellishments associated with status and wealth,
materializations of power relations and social strategies, or
markers of underlying social categories such as those related to
gender, class, and ethnic affiliation. Personal Adornment and the
Construction of Identity seeks to understand these artefacts not as
signals of steady, pre-existing cultural units and relations, but
as important components in the active and contingent constitution
of identities. Drawing on contemporary scholarship on materiality
and relationality in archaeological and social theory, this book
uses one genre of material culture - items of bodily adornment - to
illustrate how humans and objects construct one another. Providing
case studies spanning 10 countries, three continents, and more than
9,000 years of human history, the authors demonstrate the myriad
and dynamic ways personal ornaments were intertwined with embodied
practice and identity performativity, the creation and remaking of
social memories, and relational collections of persons, materials,
and practices in the past. The authors’ careful analyses of
production methods and composition, curation/heirlooming and
reworking, decorative attributes and iconography, position within
assemblages, and depositional context illuminate the varied
material and relational axes along which objects of adornment
contained social value and meaning. When paired with the broad
temporal and geographic scope collectively represented by these
studies, we gain a deeper appreciation for the subtle but vital
roles these items played in human lives.
A comprehensive overview of renowned Belgian artist Berlinde De
Bruyckere's work since 2014, inspired by the figure of the angel
Belgian artist Berlinde De Bruyckere has long been a leading light
in the international contemporary art world whose sculptures,
installations and drawings endeavor to find the meaning of
humanity, physicality, suffering and vitality. Conceived in the
loneliness and isolation of the COVID-19 pandemic, this book
explores De Bruyckere's recent, never-before-seen work inspired by
the figure of the angel as portrayed in myths, stories, literature
and art history. According to De Bruyckere, an angel-with its warm,
dark wings-provides protection, a refuge from fear. The angel
guards against a lonely existence and, even more importantly,
against a lonely death. It symbolizes the fragile line De Bruyckere
treads between artistic poeticism and engagement with current
affairs. This volume will serve as an essential resource on an
artist whose works constitute a provocative and influential
addition to the contemporary art canon. Distributed for
Mercatorfonds Exhibition Schedule: Bonnefantenmuseum Maastrich, The
Netherlands (March 29-September 26, 2021)
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