Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines.

More than any other book that I can think of, Bronze Inside and Out puts a human face on Western art - indeed, all art. It invites us to ponder the very nature of the creative process. From the foreword by Brian W. Dippie, University of Victoria Bronze Inside and Out is a literary biography of sculptor Bob Scriver, written by his wife, Mary Strachan Scriver. Bob Scriver is best known for his work in bronze and for his pivotal role in the rise of "cowboy art." Living and working on the Montana Blackfeet Reservation, Scriver created a bronze foundry, a museum, and a studio - an atelier based on classical methods, but with local Blackfeet artisans. His importance in the still-developing genre of "western art" cannot be overstated. Mary Strachan Scriver lived and worked with Boba Scriver for over a decade and was instrumental in his rise to international acclaim. Working alongside her husband, she became intimately familiar with the man, his work, and his process. Her frank, uncensored, and highly entertaining biography reveals details that give the reader a unique picture of Scriver both as man and as artist. Bronze Inside and Ou t also provides a fascinating look into the practice of bronze casting, cleverly structuring the story of Bob Scriver's life according to the steps in this complicated and temperamental process.

Giacometti: Critical Essays brings together new studies by an international team of scholars who together explore the whole span of Alberto Giacometti's work and career from the 1920s to the 1960s. During this complex period in France's intellectual history, Giacometti's work underwent a series of remarkable stylistic shifts while he forged close affiliations with an equally remarkable set of contemporary writers and thinkers. This book throws new light on under-researched aspects of his output and approach, including his relationship to his own studio, his work in the decorative arts, his tomb sculptures and his use of the pedestal. It also focuses on crucial ways his work was received and articulated by contemporary and later writers, including Michel Leiris, Francis Ponge, Isaku Yanaihara and Tahar Ben Jelloun. This book thus engages with energising tensions and debates that informed Giacometti's work, including his association with both surrealism and existentialism, his production of both 'high' art and decorative objects, and his concern with both formal issues, such as scale and material, and with the expression of philosophical and poetic ideas. This multifaceted collection of essays confirms Giacometti's status as one of the most fascinating artists of the twentieth century.

This publication offers a rich and expansive visual record of Julie Brook's artistic practice, and proposes a unique collaboration between Brook and distinct voices from the nature writing and craftsmanship traditions. Situating Brook's practice in the context of critical reflections by Robert Macfarlane, Alexandra Harris and Raku Jikinyu, the publication presents a striking visual narrative of Brook's landscape and tidal sculptural work, and a sense of its timeless yet contemporary resonance. Documenting in depth a number of recent works made in the Hebrides, Japan and Namibia, their shared attention to the elements and their key pre-occupations of the fleeting, mobile forces of light, time, and gravity demonstrate Brook's coherent vision within vastly contrasting environments. Throughout her oeuvre, the balance between what Brook makes in relation to the environment and materials themselves is paramount. Including film stills, photography and drawing, which are all integral languages for conceptualising and communicating the work, plus insightful extracts from Brook's notebooks, this beautiful publication succeeds in providing the reader with a unique understanding of the artist's 'monuments to the moment'.

Blazed Wax is a comprehensive and colourful guide to contemporary candle making from friends and designers Ruby Kannava and Emma Cutri, with twenty-five projects for beautiful candles and candleholders that will light up your life. Candle making is an ancient craft, but modern candle making is all about incredible shapes and surprising colour combinations. This book brings together everything you need to start making your own sculptural candles at home - from mould-making using everyday items like fruit and vases, to dip-dyed candle-pouring, or even making fun twisted candles from supermarket candles. Including twenty-five projects for candles and candle holders, with easy instructions, step-by-step photography and guides to materials, scents, safety and styling, Blazed Wax will have you creating in no time. Beautiful candles are a surprisingly easy art to try at home, the possibilities are endless, and you can always melt your creation down and start again! These unique candles bring warmth and ambience to your home, are perfect for celebrations and gifts, and will become the centrepiece of any dinner table or relaxing ritual. There's something innately magical about how a burning candle brings people together, and Blazed Wax will help you to capture some of that magic in your own hand-made candles.

The essential guide to the smoke firing method with highlights from international artists' work. Smoke firing is an ancient technique, used both to fire raw clay into durable ceramic and also to decorate it with smoke designs. Its technological simplicity not only lends itself to endless interpretations but encourages artistic creativity through improvisation and experimentation. Smoke Firing is a thorough survey of the varied work and approaches of contemporary artists today, showing recent innovative developments. By investigating the ideas of selected ceramicists Jane Perryman reveals the meanings and inspiration behind their work. Clear and colourful images demonstrate the various processes used, showing sequences of artists in action. The book covers smoke firing using bonfires, various containers, earth pits, saggars, and kilns, with a chapter on how smoke firing can be used as an educational tool in groups and workshops. Dynamic illustrations feature the work of the 29 artists represented, from 17 different countries, making it a truly international focus on smoke firing.

The meaning of architectural sculpture is essential to our understanding of ancient Greek culture. The embellishment of buildings was common for the ancient Greeks, and often provocative. Some ornamental sculpture was placed where, when the building was finished, no mortal eye could view it. And unlike much architectural ornamentation of other cultures, Greek sculpture was often integral to the building, not just as decoration, and could not be removed without affecting the integrity of the building structure. This book is the first comprehensive treatment of the significance of Greek architectural sculpture. Brunilde Sismondo Ridgway, a world-class authority on ancient Greek sculpture, provides a highly informative tour of many dimensions of Greek public buildings--especially temples, tombs, and treasuries--in a text that is at once lucid, accessible, and authoritative.
Ridgway's pragmatism and common sense steer us tactfully and clearly through thickets of uncertainty and scholarly disagreement. She refers to a huge number of monuments, and documents her discussions with copious and up-to-date bibliographies. This book is sure to be acknowledged at once as the standard treatment of its important topic.

The bamboo: tall, strong and flexible. This fast-growing shoot has been used as a construction material, a foodstuff and fuel for millennia, from India to Japan. Tanabe Chikuunsai IV's art elevates bamboo to new heights. By weaving together small pieces of fibrous stalk, he creates vast, detailed sculptures without the use of rivets or adhesives. Under Chikuunsai IV's skilled craftsmanship, bamboo is more than a functional tool: it is modern art, a unifying symbol of Japanese culture. His sculptures revere traditional workmanship, while conveying important contemporary messages - the codependence of nature and man, and the importance of protecting our environment. Part autobiography, part introduction to the craft, this monograph follows Chikuunsai IV's growth from a child marvelling at his grandfather's mastery of bamboo, to a maestro in his own right. Bamboo weaves his past to his present, providing a sturdy foundation on which his art continues to build. "Love bamboos, live with bamboos," says Chikuunsai IV. As this book demonstrates, he has done precisely that.

The extraordinary sculptures of Belgian artist Jean-Michel Folon The first half of Belgian artist Jean-Michel Folon's (1934-2005) career was devoted to posters, illustrations, and television animations that brought him international acclaim for their diversity and virtuosity; his illustrations appeared in magazines including The New Yorker, Fortune, and Esquire. In the 1990s, he pivoted to sculpture, focusing on statuary and working with both direct carving and modeling, which he then translated to bronze or stone. This is the first publication to explore the entirety of Folon's sculptural work. Drawing inspiration from the Cyclades, the Etruscans, from African masks and Indian totems, Folon's sculptures are characterized by their frontality and corporality. Distributed for Mercatorfonds Exhibition Schedule: Villers-la-Ville, Brussels (October 24, 2020-February 21, 2021)

In recent years, art historians have begun to delve into the patronage, production and reception of sculptures-sculptors' workshop practices; practical, aesthetic, and esoteric considerations of material and materiality; and the meanings associated with materials and the makers of sculptures. This volume brings together some of the top scholars in the field, to investigate how sculptors in early modern Italy confronted such challenges as procurement of materials, their costs, shipping and transportation issues, and technical problems of materials, along with the meanings of the usage, hierarchies of materials, and processes of material acquisition and production. Contributors also explore the implications of these facets in terms of the intended and perceived meaning(s) for the viewer, patron, and/or artist. A highlight of the collection is the epilogue, an interview with a contemporary artist of large-scale stone sculpture, which reveals the similar challenges sculptors still encounter today as they procure, manufacture and transport their works.

Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children. Published to accompany an exhibition at the National Gallery of Scotland, June-October 2019.

Step-by-step instructions for carving an amusing golfing figure from wood, painting it, and displaying it. Full of original personality and a spark of wit, the design will delight all who encounter it. Other patterns make up a foursome, with a color gallery illustrating all.

Few craft materials are cheaper to buy or easier to work with than plaster, and by mastering and using a few simple techniques you can turn this humble material into gloriously inspiring objects and artefacts. No expensive equipment is required - plaster dries naturally and does not need kiln-firing - so all you need to get started is a bag of plaster, a few simple materials and some basic shaping tools. The book shows how to make articles such as shells, fruit, animals, masks, wall plaques and bows; practical objects such as containers, candleholders, frames and bookends; and how to restore damaged frames. There is also advice on finishing techniques - from painting and gilding to weathering, distressing and varnishing. The book presents the craft of plastering in a beautifully inspirational form.

This book explores the ways in which statues have been experienced in public in different cultures and the role that has been played by statues in defining publicness itself. The meaning of public statues is examined through discussion of their appearance and their spatial context and of written discourses having to do with how they were experienced. Bringing together experts working on statues in different cultures, the book sheds light on similarities and differences in the role that public statues had in different times and places throughout history. The book will also provide insight into the diverse methods and approaches that scholars working on these different periods use to investigate statues. The book will appeal to historians, art historians and archaeologists of all periods who have an interest in the display of sculpture, the reception of public art or the significance of public monuments.

Socrates Sculpture Park is one of the most acclaimed public art spaces in the country. The Park opened in 1986 and has been an outdoor studio to over 500 artists, a venue presenting more than 40 exhibitions of large-scale sculpture, and a vital park attracting a diverse audience to Long Island City's East River waterfront. This handsome book is published to celebrate the 20th anniversary of Socrates Sculpture Park, and it is the first major publication on this unique outdoor museum. Sculptor Mark di Suvero founded the Park with the assistance of fellow artists, community members, and city officials who transformed an abandoned lot into an award-winning urban renewal project. The history, spirit, and nature of this collaborative enterprise is presented through photographs and essays that reveal the beauty, energy, and import of this successful public art space. Distributed for Socrates Sculpture Park

This book explores the ways in which medieval Christians sought to memorialize the deceased: with tombs, cenotaphs, altars and other furnishings connected to a real or symbolic burial site. Reverent memorial for the dead was the inspiration for the production of a significant category of artworks during the Middle Ages - artworks aimed as much at the laity as at the clergy, and intended to maintain, symbolically, the presence of the dead. Memoria, the term that describes the formal, liturgical memory of the dead, also includes artworks intended to house and honour the deceased. A dozen essays analyze strategies for commemoration from the 4th - 15th century: the means by which human memory could be activated or manipulated through the interaction between monuments, their setting, and the visitor. Building upon from the growing body of literature on memory in the Middle Ages, the collection focuses on the tomb monument and its context as a complex to define what is to be remembered, to fix memory, and to facilitate recollection. The papers were originally presented at the 1994 meetings of the College Art Association, the International Congresses of Medieval Studies at Western Michigan University, Kalamazoo, and the University of Leeds, England, in 1995.

"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.

Accompany woodsman Ben Law as he celebrates the amazing diversity of craft products made from materials sourced directly from the woods. Including brooms, rakes, pegs, spoons, chairs, baskets, fencing, yurts and even a caravan, the items are hewn from freshly cut green wood, shaped by hand and infused with a simple, rustic beauty. Detailed instructions and advice are given for each craft, along with essential knowledge about tools and devices. With fascinating information on the history, language and traditions of the crafts, coppice management and tree species, this book teaches about all aspects of the low-impact woodland way of life.

When the stresses of modern life get too much, what could be better than gathering a few simple tools, heading into the woods and literally whittling away a few hours? The gentle art of whittling is a relaxing and absorbing hobby that can be enjoyed almost anywhere from round the campfire to in a cozy armchair at home. All you need is a good pocket knife, a piece of wood and your imagination. Projects can range from the delightfully simple to impressively intricate--it's up to you. Woodland Whittling guides you through the basics explaining what equipment you need, how to hold the knife, and what timber to use. The projects are then all described in detail with clear step-by-step photographs. Projects include: letter opener, thumb stick, ring tree and egg cup.

A case study of one specific substantial three-part project inspired by the work of William Shakespeare. Three interconnected performances that interrogate roles in the theatre-making process, along with essays that contextualize the themes and approaches of the work, serve as provocations for the acts of dramaturgy the work entailed, juxtapose new writing and performance writing, and problematize the notion of playtexts. Taking as their starting point a stage direction or a moment in the narrative that is not the main focus, the playtexts recontextualize, deconstruct and disorientate the classic text within a landscape that is more polarized, free from the text and inherently and explicitly aware of its own theatricality. The work negotiates the ever-shifting relationship between the text and its performance, the performers and their audience, whilst acknowledging that Shakespeare often employed a play-within-a-play as a device, what we now call a meta-theatrical mode of representation. The three playtexts are The Beginning, an interpretation of A Midsummer Night’s Dream, The Middle, a deconstruction of Hamlet, and The End, triggered by a stage direction from The Winter’s Tale. Shown together as The Trilogy, each play asks the audience to enter a world where a performance can be a rehearsal, text can be both script and set … and they are always aware of where the fire exits are. The playtexts are presented with essays from a range of contributors that reflect on their poetics, themes and concerns in relation to dramaturgy.  Brings together scholarship and creative work, places them in dialogue with each other and does so from a wide range of perspectives: from those involved in the process, those in the margins of that process and those encountering the works without having been part of that process. The particular strengths of this challenging but accessible book are in the ways it places these perspectives in conversation with and through dramaturgy, and contributes a dialogue about making and reflecting text and performance.  A rich and thought-provoking text that has the potential to move the dialogue on dramaturgy forward both among practitioners and academics. It is a fresh, intellectually invigorating read; the change of perspective and the playful structure that brings a recognisable five-act dramatic structure and academic elaboration together keeps readers focused and guides them through the book. Very conscious of its own unorthodox format – a combination of script and reflection, by a variety of voices – which is certainly part of the freshness of the book and part of its appeal.  Primary readership will be among practitioners, academics and researchers in the field of dramaturgy, teaching, devising, writing for performance and non-linear narrative; performance students making or reflecting on their own devised performance work; postgraduate students who are engaged in making practice as research.  Also of relevance and interest to makers and scholars of theatre and performance, alongside those interested in creative critical writing; to those interested in how we make, and reflect on, theatre and performance; those interested in contemporary dramaturgy and embedded criticism; and those studying theatre and performance, and interdisciplinary practice research.

Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque."

The first book-length examination of the clay models and creative process of the preeminent neoclassical sculptor Antonio Canova The most celebrated sculptor of the neoclassical age, Antonio Canova (1757–1822) established himself as the preeminent artist of his time with his funerary monuments and meticulously carved marbles on classical themes. Although his idealized and sensual sculptures are widely known, this is the first book devoted entirely to the brilliantly expressive clay models that he made in preparation for his marble sculptures. Only sixty-five of his terracotta models survive today. Extraordinarily modern in their boldness, the models retain the touch of the artist’s hand and yield a revelatory glimpse into Canova’s imaginative and technical process. The authors, with expertise in art history and conservation, examine Canova’s techniques for making terracotta models, including how he used clay to develop full-scale models that his assistants copied in marble, and his practice of gifting his models to friends. Distributed for the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington, DC (June 11–October 9, 2023) Art Institute of Chicago (November 19, 2023–March 18, 2024)  

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.