***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

The Erotic Object: Sexuality in Sculpture From Prehistory to the Present

The power and eroticism of sculpture, form, volume and space are sensitively explored in this wide-ranging study, which takes in the history of sculpture from prehistoric times to contemporary art.

Featuring discussions of many famous sculptors, including: Michelangelo Buonarroti, Antonio Canova, Auguste Rodin, Eric Gill, Andy Goldsworthy, Jasper Johns, Constantin Brancusi, Pablo Picasso, Barbara Hepworth and Gianlorenzo Bernini.

Many contemporary artists are studied too, including installation and performance artists (Catherine Elwes, Karen Finley, Ana Mendieta, Carolee Schneemann), and women sculptors such as Alice Aycock, Mary Miss, Rebecca Horn, Nancy Graves, Eva Hesse, Kathe Kollwitz and Judy Chicago.

Regardless of what sculpture depicts, it can be seen as erotic. The surfaces, materials and forms are sensuous: wood, stone, marble, granite, clay, bronze. Touching is pleasure. It is a pleasure that is, perhaps, pre-institutional, pre-industrial and pre-political.

Touching cuts through socialand cultural constructs, such asart, ideology, education and war, and goes back to aprimeval form of being. At same time, touching is a sense of the both personal and societal. John Keats said, 'touch hasa memory'. Sculpture activates this fundamental relation with things. Sculpture renews contact with the simple but utterly crucial experiences such as touch, sight, and smell.

Fully illustrated, with many rare and fascinating illustrations, including prints, paintings and buildings as well as sculptures and statues.

This book has been revised and updated. ISBN 9781861714092. 296 pages. www.crmoon.com

This title features 25 practical projects from world renowned woodturning expert. It will appeal to novice and intermediate turners. It includes all the knowledge needed to get started, along with step-by-step instructions and detailed drawings. Build your woodturning skills and confidence with this variety of projects that take between a couple of hours and a couple of days to complete. All of the 25 projects can be undertaken using a limited amount of tools and equipment. Making use of the six basic tools - spindle roughing gouge, spindle gouge, parting tool, bowl gouge, skew chisel and scrapers - the book will introduce a couple of carving tools and a boring tool and explain why and how to use them. Each project will have a list of tools and materials required, drawings with dimensions and a panel on the wood used. Sections on safety and seasoning wood are also included. Projects include: napkin rings, rolling pin, pastry press, meat tenderizer, wall clock, and bud vase

A multidisciplinary overview of current research into the enduringly fascinating martial artefact which is the sword. The sword is the most iconic of all weapons. Throughout history, it has connected various, sometimes conflicting, dimensions of human culture: physical combat and representation of political power, definition of gender roles and refinement of body techniques, evolution of craftsmanship and mythological symbolism. The articles collected here explore these dimensions, from a variety of disciplines, among them archaeology, medieval history, museum conservation, and linguistics. They cover topics from the production and combat use of Bronze Age swords via medieval fencing culture to the employment of the sword in modern military. They question traditional sword typologies and wide-spread theories about sword making, discuss medieval sword terminology and the use of swords as royal insignia, and describe the scientific methods for approaching original finds. Arising from an international conference held at Deutsches Klingenmuseum Solingen (the German Blade Museum), the volume provides fresh insights into the forms the sword can take, and the thoughts it inspires. LISA DEUTSCHER and MIRJAM E. KAISER work in prehistoric archaeology, specialising in La Tène and Bronze Age swords, respectively. SIXT WETZLER is the deputy director of the German Blade Museum; his research focuses on the history of edged weapons, and their use. Contributors:Matthias Johannes Bauer, Holger Becker, Jan-Heinrich Bunnefeld, Rachel J. Crellin, Vincenzo D'Ercole, Andrea Dolfini, Raphael Hermann, Daniel Jaquet, Robert W. Jones, Ulrich Lehmann, Claus Lipka, Stefan Maeder, Michael Mattner, Florian Messner, Nicole Mölk, Ingo Petri, Stefan Roth, Fabrizio Savi, Ulrike Töchterle, Iason-Eleftherios Tzouriadis, Marion Uckelmann, Henry Yallop

Clay artist Lauren Tomlinson is your guide to polymer clay! Learn to create like a pro with a strong basic foundation, artisan techniques, and 15 jewellery and home decor projects.

Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgments are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project. It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterises the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions.

"TITTIPUSSIDAD" documents English artist Sarah Lucas' (born 1962) journey through Mexico. From a visit to a brick factory in Oaxaca to the creation of her bulbous and sexually suggestive sculptures, the odyssey culminates in a final exhibition at the Museo Diego Rivera Anahuacalli.

Carving Kitchen Tools is the beginning of your woodworking journey and is a practical guide to creating your own beautiful utensils. From the all-important wooden spoon to butter knives, salad servers and spatulas, Moa Brannstroem Ott shows you how to create kitchen implements that will bring individuality and personality to your home. As well as this, Carving Kitchen Tools explores the variety of different woods, their properties and the whittling techniques to which they are most suited. With step-by-steps to illustrate the correct grips for knife and wood, tips on how to source your wood and details on the tools you need, this book is the perfect guide to this surprisingly simple and mindful craft. Projects include: Butter knives Frying utensils Straight spoons Curved spoons Salad servers Kuksa cups

From crayons to cough drops, cookies to candles, Beehive Alchemy offers a comprehensive introduction to incorporating the miracle of bees into everyday life. Beehive Alchemy is a continuation of Petra Ahnert's best-selling Beeswax Alchemy. With this new book, beekeepers (and bee lovers) will learn about the benefits and attributes of beeswax, honey, propolis, and more alongside a full range of projects and techniques to process and harness the amazing gifts of bees. Inside, you'll find instructions to make Ahnert's award-winning hand-dipped birthday candles, the classic French dessert canele bordelais, and much more, including: Alchemy for the Body Liquid soap with honey Beard balm Olive and honey lotion Alchemy of Light Taper candles Tea lights Pillars Alchemy for the Home Furniture polish Waxed cotton food wraps Woodcutter incense Alchemy in the Studio Beeswax crayons Encaustic Batik Alchemy in the Kitchen Cookies and candies Beverages Fermentations Whether you keep bees or just love them, Beehive Alchemy will become your go-to comprehensive guide for hive-to-home creations.

'David Esterly's handsome book on Gibbons has been republished by the V&A with sumptuous pictures' Laura Freeman, The Times, 14th August 2021 Reissued to mark 300 years since the death of Grinling Gibbons (1648-1721), this study views the work of the greatest of decorative woodcarvers from the perspective of a fellow carver, the late David Esterly. Grinling Gibbons is famous for giving wood "the loose and airy lightness of flowers." His flamboyant cascades of lifelike blossoms, fruits, foliage, birds and fish dominate English interiors of the late seventeenth century. They are among the glories of Windsor Castle, Hampton Court Palace, and St. Paul's Cathedral, as well as Badminton, Burghley, Petworth, and other great country houses. A contemporary of Christopher Wren and of the diarists Samuel Pepys and John Evelyn, Gibbons was part of the colourful world of Restoration England. His discovery by Evelyn in a tumble-down cottage near the River Thames was followed by a presentation to King Charles II, who rejected his early sculptural work. Gibbons responded by inventing his spectacular style of decorative carving. He was then rediscovered, reintroduced to the king, and launched into a triumphant career. After setting Gibbons in historical context, David Esterly's ground-breaking approach allows us to understand the process by which these exuberant carvings were created and how their forms reflect the organization of Gibbon's workshop. Esterly, a professional woodcarver who restored some of Gibbons' most important carvings, shares his unique knowledge of the layering process by which Gibbons built up such masterpieces as the Cosimo panel or the elaborate overmantels at Hampton Court Palace. Specially commissioned photographs show these carvings in a disassembled state, revealing the secrets of their construction. Esterly also discusses Gibbons' formidable carving techniques, and his tools, workshop practice, materials, and finishing are described in detail. This generously illustrated volume will have a special appeal for carvers as well as for those interested in seventeenth-century interiors and the decorative arts.

Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.

Told in his own words, in response to questions from the writer and art critic Andrew Lambirth, this book chronicles Andrew Logan's life and work through expressive anecdote and factual recollection. Reflections is a look back, but also a look at the present and a look forward: it is about the meaning of Andrew's world and the sculpture he has made to fill it, and about his approach to art, to friendship and to living in London and Wales. The Alternative Miss World, founded by Andrew in 1972, is at the heart of his philosophy, not just the world's greatest drag act (though it is this too), but an exhilarating celebration of the transformative power of the imagination. Andrew's work, which is all about joy and beauty, is inspiring and uplifting. This book, based upon discursive interviews dealing with all periods of his career, explains and contextualises it fully for the first time.

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).

Pedro de Mena y Medrano (1628-1688) is the most highly regarded master of Spanish Baroque sculpture, on a par with his contemporaries, the great seventeenth-century painters Velazquez, Zurbaran and Murillo. Mena's contributions to Spanish Baroque sculpture are unsurpassed in both technical skill and expressiveness of his religious subjects. His ability to sculpt the human body was remarkable, and he excelled in creating figures and scenes for contemplation. This first monograph of Pedro de Mena shows incredible details and remarkable images of his hyper-realistic sculptures, full of passion. In addition to text by curator Xavier Bray, Pedro de Mena also features important contributions by Jose Luis Romeo Torres, curator of the exhibition Pedro de Mena, to be held in Malaga in 2019.

South African beadwork has a rich and diverse history and is abundantly represented in the beaded art pieces in the Wits Art Museum (WAM) collection. Some works date back to the 4th century CE but most date from the 19th to the 21st centuries. Currently numbering over 9 000 items, the three major collecting areas of classical, historical and contemporary African artworks are broad in their geographical range and deep in some local areas of specialisation. Paying homage to this collection, Beadwork, art and the body is a compilation of essays by scholars who have researched and written about the traditions, practices and aesthetic forms of beadwork in southern Africa. The book covers an expansive history of beadwork in South Africa from the 19th century to the contemporary moment. The artists and the beadwork featured range from Sotho-, Tsonga-, Xhosa- and Zulu-speakers, ending with a focus on fashion designer Laduma Ngxokolo, whose work has been inspired by Xhosa beadwork. Questions of ethnic affiliation and beadwork patterns are explored in relation to the different aesthetic forms of beadwork and its use as a marker of identity and status within and beyond communities.

Carlos Bunga's sculptural and painterly structures propose architecture as body and mindscape. Using only cardboard and paint, Bunga creates fantastical buildings, furniture-like sculptures and paintings as immersive environments. This book surveys his actions and performances, and documents over a decade of installations. Enacting cycles of construction and destruction, Bunga explores states of dispossession and nomadism; the nature of spatial experience; and the creative and symbolic potential of ruin. With essays by Iwona Blazwick, Carlos Bunga, Nuno Faria, Inês Grosso and Antony Hudek.

This volume tackles a pressing issue in Roman art history: that many sculptures conventionally used in our scholarship and teaching lack adequate information about their find locations. Questions of context are complex, and any theoretical and methodological reframing of Roman sculpture demands academic transparency. This volume is dedicated to privileging content and context over traditions of style and aesthetics. Through case studies, the chapters illustrate multivariate ways to contextualize ancient objects. The authors encourage Roman art historians to look beyond conventional interpretations; to reclaim from the study of Greek sculpture the Roman originals that are too often relegated to discussions of "copies" and "models"; to consider the multiple, dynamic, and shifting contexts that one sculpture could experience over the centuries of its display; and to recognize that post-antique receptions can also offer insight into interpretations of ancient viewers. The collected topics were originally presented in three conference sessions: "Grounding Roman Sculpture" (Archaeological Institute of America, 2019); "Ancient Sculpture in Context" (College Art Association, 2017); and "Ancient Sculpture in Context II: Reception" (College Art Association, 2019).

The exquisite Japanese hikaru dorodango, or shiny mud ball, is created by rolling earth by hand into a perfect sphere and polishing it until it gleams. Not only are the results truly impressive, but this calm and meditative practice, once a playground game, has been rediscovered as a peaceful pastime. Known for inducing flow, the ultimate state of happiness, this simple art is being adopted by people of all ages. Alongside beautiful photographs of the process, master dorodango maker Bruce Gardner covers every aspect of making and finishing your dorodango, accompanied by inspiring words on the mindful qualities of this earthy activity.

The only comprehensive textbook on dance research methodologies that covers all the main areas of dance research, previously only covered in individual books with narrower scope. Spans all areas of academic dance, including the main disciplines of dance studies and dance education. Provides practice-based chapters with rich examples on how to navigate research design and implementation, as well as a practical workbook.

Reimagines black and brown sensuality to develop new modes of knowledge production In Sensual Excess, Amber Jamilla Musser imagines epistemologies of sensuality that emerge from fleshiness. To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago's The Dinner Party, Kara Walker's A Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.