Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum In Race ExpertsLinda Kim examines the complicated and ambivalent role played by sculptor Malvina Hoffman in the Races of Mankind series created for the Chicago Field Museum in 1930. Although Hoffman had training in fine arts and was a protege of Auguste Rodin and Ivan Mestrovic, she had no background in anthropology or museum exhibits. Nonetheless, the Field Museum commissioned her to make a series of life-size sculptures for the museum's new racial exhibition, which became the largest exhibit on race ever installed in a museum and one of the largest sculptural commissions ever undertaken by a single artist. Hoffman's Races of Mankind exhibit was realized as a series of 104 bronzes of racial types from around the world, a unique visual mediation between anthropological expertise and lay ideas about race in interwar America. Kim explores how the exhibition compelled the artist to incorporate into her artistic model of race not only racial science but also popular ideas that ordinary Americans brought to the museum. Kim situates the Races of Mankind exhibit at the juncture of these different forms of expertise and examines how the sculptures represented the messy resolutions between them. Race Experts is a compelling story of ideological contradiction and accommodation within the racial practices of American museums, artists, and audiences.

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.

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).

The essential five-volume resource on the painting and sculpture of one of the world's foremost contemporary artists For more than 60 years, Jasper Johns (b. 1930) has remained a singular figure in contemporary art. His most widely influential work-depictions of everyday objects and signs such as flags, targets, flashlights, and lightbulbs-helped change the face of the art world in the 1950s by introducing subject matter that stood in contrast to the prevailing style of Abstract Expressionism. In subsequent decades, Johns's art has increasingly engaged issues of memory and mortality, often incorporating references to admired artistic predecessors. This definitive 5-volume catalogue raisonne documents the entire body of painting and sculpture made by Johns from 1954 through 2014, encompassing 355 paintings and 86 sculptures. Each work is illustrated with a full-page reproduction, nearly all of which were commissioned expressly for this publication. A decade of research underpins the project, with thorough documentation of each object and an overarching monograph that represents the most comprehensive study of the artist's work to date. All facets of the catalogue reflect the input of the artist, who worked closely with the author at all stages.

'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.

Ann Morris has become a priestess of sorts, investing her mind and spirit into an ambitious oeuvre of figurative bronzes that speak with a singular and meditative voice. In a comprehensive and insightful essay, Ted Lindberg traces the arc of Morris's artistic development from her beginnings as a mother, philosophy student, and Pasadena printmaker, to her reclusion on the wind-swept bluffs of Lummi Island in north Puget Sound. There Morris has created an extraordinary bronze park that she calls Sculpture Woods, a 15-acre sanctuary of stately forest and highbank waterfront that is home to her studio and to a winding path populated by 16 sculptural tableaus seen through a Jungian lens. Monumental figures emerge from the forest, as if stepping through a rift in time from the mists of classical and Celtic antiquities, to tell their archetypal tales. In a second essay, Jake Seniuk muses on how Morris moved from such overtly mythological themes to a kind of talismanic naturalism when she turned to an ongoing series of more intimately scaled bronzes that trace an ongoing Bone Journey. Unfolding her own creation myth through her work, Morris remains true to the marriage of the Platonic and the aboriginal, where a clear-eyed awareness of mortality is liberating and transcendent.

Marking the occasion of Didier Vermeiren's eponymous solo exhibition at WIELS in Brussels, this book illuminates the recurrent strategies of repetition, reversal, doubling and inversion that the artist explores in his work Published to mark the occasion of Didier Vermeiren's (b. 1951) eponymous solo exhibition at WIELS in Brussels, Double Exposition takes its name from a photograph by Vermeiren that refers to its own double exposure ("exposition" in French, which also translates as "exhibition"). The title thus evokes the recurrent strategies of repetition, reversal, doubling, and inversion that Vermeiren explores in his work. Conceived by the artist and containing a rich array of his striking photographs, this book also features an in-depth analysis of Vermeiren's most recent sculptures written by long-term commentator on his practice, Michel Gauthier; an essay on the central role of photography in his studio practice by Susana Gallego-Cuesta; and a look at the shifts and continuities in his oeuvre over the past four decades by the exhibition's curator, Zoe Gray. Distributed for Mercatorfonds

This work treats the life and work of a significant classical sculptor. Although Moitte was a leading sculptor during the French Revolution and the following consular government, he is today scarcely-known, even among art historians. This analysis of his works, together with its detailed catalogue, lays a new foundation for research of the French sculpture of the late 18th century.

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface; it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."--Johann Gottfried Herder
Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's "Plastik" (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with a wide range of sources--from the classics to Norse legend, Shakespeare to the Bible--to illuminate the ways we experience sculpture.
Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, "Sculpture" is also important as an anticipation of subsequent developments in art theory.
Jason Gaiger's translation of "Sculpture" includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text.

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.

The Ashmolean Museum houses one of the most extensive collections of wood engravings in the world. The collection effectively began with the gift in 1964, by Arthur Mitchell, of over 3,000 prints, including a large group of wood engravings. During the 1980s and 1990s, it expanded remarkably with acquisitions of large groups of prints, often as gifts from the artists, resulted in a succession of monographic exhibitions on some of the most important wood engravers. They included John Farleigh (1986), John Buckland Wright (1990), Clare Leighton (1992), Monica Poole (1993) and Anne Desmet (1998). A key point in this period of expansion was the acquisition of a comprehensive body of work by Gertrude Hermes and Blair Hughes-Stanton in 1995 from the artists' family, which resulted in a memorable exhibition organised by Katharine Eustace. More recently, the Ashmolean has formed a close partnership with the SWE, and has been keeping the collection up to date by acquiring work by members, both at the Society's annual exhibition and privately.

The first biography of sculptor Chana Orloff. In Sculpting a Life, the first book-length biography of sculptor Chana Orloff (1888-1968), author Paula Birnbaum tells the story of a fiercely determined and ambitious woman who fled antisemitism in Ukraine, emigrated to Palestine with her family, then travelled to Paris to work in haute couture before becoming an internationally recognized artist. Against the backdrop of revolution, world wars, a global pandemic and forced migrations, her sculptures embody themes of gender, displacement, exile, and belonging. A major figure in the School of Paris, Orloff contributed to the canon of modern art alongside Picasso, Modigliani and Chagall. Stories from her unpublished memoir enrich this life story of courage, perseverance, and extraordinary artistic accomplishments that take us through the aftermath of the Holocaust when Orloff lived between Paris and Tel Aviv. This biography brings new perspectives and understandings to Orloff's multiple identities as a cosmopolitan emigre, woman, and Jew, and is a much-needed intervention into the narrative of modern art.

Create beautiful, natural soaps without leaving home

Ever wonder what's really in your store-bought soap? Once you start making your own soap, you'll never have to wonder again "The Everything Soapmaking Book, 3rd Edition" is a comprehensive guide to making all kinds of soap, whether you want to decorate your home or pamper your or your family's skin. Homemade soap is not only an easy project for any level craft lover, but it's beautiful, too

Completely revised and updated with information on natural and organic ingredients, this easy-to-use guide shows you how to:

• Choose the right soapmaking equipment
• Blend colors and aromatic scents
• Create all kinds of soap, from bath soap to facial cleanser
• Make soaps for holidays and special occasions

For all those looking for this much sought-after handbook, the wait is over. Originally published in 1990 and out of print for almost 10 years, Swedish Carving Techniques by Wille Sundqvist has enjoyed cult status among carvers and craftsmen and is widely considered the bible of spoon carvers. Now a brand-new issue, just like the 1990 version, can be yours. In an honest, straightforward style, Wille Sundqvist shares his love for basic hand tools and the practical objects they can produce from branches, burls, and crooked pieces of wood. He brings this simple art to life by showing you carving techniques, tips for designing spoons for maximum strength, how to shape dough bowls, butter paddles and ladles, techniques for adding decorative detailing and safety tips for enjoying this age-old craft.

Why did Roman portrait statues, famed for their individuality, repeatedly employ the same body forms? The complex issue of the Roman copying of Greek 'originals' has so far been studied primarily from a formal and aesthetic viewpoint. Jennifer Trimble takes a broader perspective, considering archaeological, social historical and economic factors, and examines how these statues were made, bought and seen. To understand how Roman visual replication worked, Trimble focuses on the 'Large Herculaneum Woman' statue type, a draped female body particularly common in the second century CE and surviving in about two hundred examples, to assess how sameness helped to communicate a woman's social identity. She demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities.

<div>One of the most important sculptors of this century, Richard Serra has been a spokesman on the nature and status of art in our day. Best known for site-specific works in steel, Serra has much to say about the relation of sculpture to place, whether urban, natural, or architectural, and about the nature of art itself, whether political, decorative, or personal. In interviews with writers including Douglas and Davis Sylvester, he discusses specific installations and offers insights into his approach to the problem each presents. Interviews by Peter Eisenman and Alan Colquhoun elicit Serra's thoughts on the relation of architecture to contemporary sculpture, a primary component in his own work. From essays like "Extended Notes from Sight Point Road" to Serra's extended commentary on the <i>Tilted Arc</i> fiasco, the pieces in this volume comprise a document of one artist's engagement with the practical, philosophical, and political problems of art.</div>

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.

This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

Originally published in 1916, this book discusses, debates and demonstrates the inextricably entwined nature of architecture and sculpture, in terms of their principles, ideals and practices. Providing a detailed overview of the history of the two arts and the harmony which has existed between them throughout the centuries, this book endeavours to disentangle the historic assumption that the two arts exist independently of one another. A broad range of chapters are included, ranging from 'The treatment and placing of sculpture in the historic periods' to 'Decorative sculpture' to 'Large monumental layouts'. Photographs depicting international examples of architecture and sculpture are included throughout. This book explores the necessity for practitioners to understand the requirements and limitations in both fields and will be a valuable resource to students, scholars and researchers of the history of architecture and sculpture.

This work tells the story of the spectacular artistic and engineering project of carving the American presidents' portraits on Mount Rushmore. It describes how it was conceived and carried out. The author was brought up in sight of Mount Rushmore and witnessed the work in progress.

A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598-1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti-the master of the previous age. Bernini's Michelangelo is the first comprehensive examination of Bernini's persistent and wide-ranging imitation of Michelangelo's canon (his art and its rules). Prevailing accounts submit that Michelangelo's pervasive, yet controversial, example was overcome during Bernini's time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear's oeuvre. Such imitation earned him the moniker "Michelangelo of his age." Investigating Bernini's "imitatio Buonarroti" in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter's reveals how Bernini approached Michelangelo's art as a surprisingly flexible repertory of precepts and forms that he reconciled-here with daring license, there with creative restraint-to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini's imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo's art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.