In a fine assimilation of abstraction, myth, landscape and conceptualization, her art is threaded with the face, form and guration of the `goddess' in various incarnations of Rini's own design. This book is an attempt to understand and appreciate the dramatis persona, review her creative journey and take the reader through the various stages of her life and work until the present, with its focus on an exceptionally impressive and extensively varied repertoire.

A catalogue of 108 portrait bronzes of great masters of the Tibetan Buddhist traditions. It presents a history of these teaching lineages. The sculptures span the most productive period in the history of Tibetan Buddhist art, illustrating Tibetan portraiture's long and varied history. This is a catalogue of 108 portrait bronzes of great masters of the Tibetan Buddhist traditions, it presents a history of these teaching lineages based on and illustrated by the collection. Ranging in date from the 12th to 18th century, the sculptures span the most productive period in the

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work This richly illustrated volume reintroduces readers to American sculptor William Edmondson (1874–1951) more than 80 years after his historic solo exhibition at the Museum of Modern Art. Edmondson began carving at the onset of the Depression in Tennessee. Initially creating tombstones for his community, over time he expanded his practice to include biblical subjects, the natural world, and recognizable figures including nurses and preachers. This book features new essays that explore Edmondson’s life in the South and his reception on the East Coast in the 1930s. Reading the artist through lenses of African American experience, the authors draw parallels between then and now, highlighting the complex relationship between Black cultural production and the American museum. Countering existing narratives that have viewed Edmondson as a passive actor in an unfolding drama—a self-taught sculptor “discovered� by White patrons and institutions—this book considers how the artist’s identity and position within history influenced his life and work. Distributed for the Barnes Foundation  Exhibition Schedule: The Barnes Foundation, Philadelphia (June 25–September 10, 2023)  

Combining a broad overview of Jean-Jacques Lebel’s coming-of-age among Surrealists and his rupture with the movement, Laurel Jean Fredrickson focuses on two landmark happenings in this book: the first, “Funeral of the Thing of Tinguely� (1960), and the most scandalous, “120 Minutes dedicated to the Divine Marquis� (1966). This study illustrates the development and significance of French happenings in relation to cultural and political changes of the 1960s. Research in Lebel’s archives, and others like the Archives nationale d’outre-mer are indispensable in the telling of this extraordinary historical and theoretical narrative. It illuminates sensitive, often veiled dimensions of postwar French society, from torture during the Algerian War, to government censorship, to the sexual politics of nudity in art. This volume shows how Lebel synthesized the lessons of Dada and surrealism and 1960s experimentalism, electrified by political radicalism, to participate in shaping the erotics and forms of revolution in May 1968.

From architectural space to narrative dynamics: a brilliant new conception of sculpture’s unique modalities.

While discussions about installation art or other three-dimensional art forms are widespread, the discourse on sculpture seems to be stuck in historical or thematic frameworks. Drawing from literature, philosophy, psychoanalysis and architecture, Ernst van Alphen explores “seven logics” of sculpture: the Logic of Inner Necessity; the Logic of Narration; the Logic of Space; the Logic of Volume; the Logic of Assemblage; the Logic of Architectural Space; and the Non-Logic of Singleness. These themes articulate the modalities specific to sculpture in a fresh and brilliant conception.

Artists discussed include Carl Andre, Louise Bourgeois, Constantin Brâncusi, Joseph Cornell, Marcel Duchamp, Eva Hesse, Donald Judd, Sol Lewitt, Franz Xaver Messerschmidt, Michelangelo, Bruce Nauman, Meret Oppenheim and Rachel Whiteread.

Intricate, painstaking, sturdy yet incredibly delicate...scrimshaw has been a beautiful tradition on the sea and at the sea-side for centuries. Far from the comforts (and distractions) of land, whalers from America, England, Australia, and Portugal could spend the long hours of attention necessary to perfect the scrimshander's art. They forgot their loneliness and discomfort as the crafted pieces like those shown in over 400 vivid color photographs in this new, fascinating book. Martha Lawrence's research covers every facet of the art of scrimshaw, from its origins on whaling ships, to the daily life of the sailor/scrimshander, to the materials, themes, and tools used for creating these objects. She also discusses modern scrimshaw artists. Today's collector will find her chapters on collecting scrimshaw work especially helpful, particularly when used in conjunction with the thorough price guide.

Lovely Danish porcelain figurines by the Dahl-Jensen company are showcased in this first and superb reference for collectors. Celebrated designer Jens Peter Dahl-Jensen worked for the Bing & Grohdahl company before founding his own firm in 1925. He modeled new sculptures, particularly creating a wonderful series representing models from the Far East, which he produced as figurines in the early days of the company's growth. Later, he acquired the works of other artists to enlarge the model collection. Of the almost 400 figurines the factory produced, Dahl-Jensen himself sculpted about 280. All the known figurines made by the company are included, arranged in both numerical and subject matter order, for easy reference. Over 350 color photographs display the natural wildlife and charming people that occupy this high quality line of sculpture. They are growing in popularity among collectors and presently are surprisingly affordable. Current values are reflected in the captions.

This guide for carving an intricate, three-dimensional dogwood branch sculpture in butternut lends itself well to wood carvers at most skill levels and will inform and inspire carvers to create future 3D relief projects. The book includes advice on power carving and back-cut techniques, and the step-by-step process is easy to follow. These simple but innovative methods can be applied to flat-plane furniture or multi-depth relief and implemented with themes from nature, the arts, or anything else the carver can imagine. The biggest challenge for many may be taking the opportunity to reflect and hone wood-carving skills and to anticipate a Best-of-Show quality by slowing down technique. Carvers can control the level of difficulty by modifying the depth levels. The guide includes invaluable tips on specific chisels, router types and transfer methods, as well as chapters on sealing, painting, and building a frame, and an inspiring gallery.

The sculptor Louise Bourgeois is best known for her monumental abstract sculptures, one of the most striking of which is the installation "Spider" (1997). Too vast in scale to be viewed all at once, this elusive structure resists simple narration. It fits both no genre and all of them--architecture, sculpture, installation. Its contents and associations evoke social issues without being reducible to any one of them. Here, literary critic and theorist Mieke Bal presents the work as a theoretical object, one that can teach us how to think, speak, and write about art.
Known for her commentary on the issue of temporality in art, Bal argues that art must be understood in relationship to the present time of viewing as opposed to the less-immediate contexts of what has preceded the viewing, such as the historical past of influences and art movements, biography and interpretation. In ten short chapters, or "takes," Bal demonstrates that the closer the engagement with the work of art, the more adequate the result of the analysis. She also confronts issues of biography and autobiography--key themes in Bourgeois's work--and evaluates the consequences of "ahistorical" experiences for art criticism, drawing on diverse sources such as Bernini and Benjamin, Homer and Eisenstein.
This short, beautiful book offers both a theoretical model for analyzing art "out of context" and a meditation on a key work by one of the most engaging artists of our era.

Updated values and text revisions have been made to this popular and thorough guide to Candlewick crystal, one of the most popular lines of glass produced by the Imperial Glass Corporation of Bellaire, Ohio, which was introduced in 1936 and manufactured until the company's closing in 1984. Today this pattern, made in crystal and many lovely colors, attracts avid collectors of fine glassware. In this beautifully photographed and updated book, nearly every item in the crystal line is shown and discussed. The author and her late husband, Bob, carefully researched Imperial's factory records, catalogs, and price lists to assemble extensive background information on these exclusively crystal Candlewick items. Organized in easy-to-use categories, the book covers place settings, serving pieces, sets, and miscellaneous items such as ashtrays, candleholders, compotes, and vases. To further help with identification, some undocumented pieces, reproductions, and similarities are shown as well. Measurements for all of Candlewick's stem and tumbler lines are included. In this new third edition, the primary focus is on updated values that are included in the captions and in an overall price guide organized by mold number. This book is an essential reference for Candlewick collectors and all who enjoy beautiful glass. According to collectors, the photographs are an outstanding feature of the book. A separate companion volume by the authors presents the colored and decorated lines of Candlewick.

This new book presents an important part of Anchor Hocking's glass production, the dark "Forest Green" styles made from the late 1950s through the mid-1960s. The history and variety of Forest Green glassware is precisely documented here, covering seventeen established patterns, many boxed sets, and a myriad of accessory pieces such as relish sets, ashtrays, lamps, vases, pitchers, and tumblers. These and many other styles are beautifully presented in over 300 gorgeous color photographs. Many pages of historical documentation are included to make this the most comprehensive reference guide to Anchor Hocking's Forest Green glassware.

Cobalt blue glass holds a fascination for collectors of glassware. The origin of this distinctive blue glass goes back to the Egyptians. In this book, authors Monica Lynn Clements and Patricia Rosser Clements showcase nearly 400 photographs that illustrate the wide appeal of cobalt blue glass. From Depression Era patterns and elegant glassware to reproduction pieces and new glass, the colorful photographs exemplify what appeals to the collector. Also shown are cobalt blue glass jewelry, condiment pieces, candlesticks, vases, lamps, bells, perfume bottles, bottles and jars, animals, iridescent glass pieces, and other items. This revised and expanded second edition contains up-to-date market values and nearly 30 new photographs. For anyone who appreciates the beauty of cobalt blue glass, this book is an indispensable reference guide.

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.

Little is known about Walter Leblanc (1932-1986), one of the key representatives of kinetic and optical art in the mid-20th century. This comprehensive monograph, the first on this artist for an international audience, includes unpublished materials, which provide insight not only into the art of LeBlanc, but also into the ZERO artist movement to which he was connected and with which he was in close dialogue beginning in the 1950s. Walter Leblanc is based on extensive studies of the artist's work: with about 150 images of his paintings and sculptures, comparative works, historical photos and documents, it includes a selection of Leblanc's writings, an iconographic mapping of selected works in museums around the world, and a bio-bibliographical appendix. Demonstrating the wealth of his creative output, the book reaffirms the enduring role Leblanc played in the development of modern and contemporary art on a global scale. Distributed for Mercatorfonds

A study of two exhibitions that took place five years apart in the same building in Brussels city-centre Full House explores two exhibitions that took place five years apart in the same building in Brussels and featured over 300 contemporary art works from the renowned collection of Frederic de Goldschmidt. The first show, Not Really Really, was organized in 2016 in a building that had only been vacated a few months before by a mental health clinic. The works were mostly sculptures made with everyday objects and played with the ambiguity of what the last occupants could have left and what the artists purposefully created. The building then underwent a long renovation, with photos included illustrating this process. The second show, Inaspettatamente (Unexpectedly), then engaged with themes such as order and disorder, time, classification, the artist's process or his/her position in world conflicts using the prism of the famous Arte Povera artist Alighiero Boetti. Curatorial texts and images of the works both in context and in studio allow the reader to discover and appreciate both exhibitions. Distributed for Mercatorfonds Exhibition Schedule: Cloud Seven , Quai du commerce 7 (November 11, 2021-January 30, 2022)

The native American face has long fascinated artists in every medium. Its strong features and deep character present a challenge and an opportunity for visual expression. In this new book, Terry Kramer offers the wood carver a method for creating realistic native American faces in wood. From layout to finish, Terry takes the carver step-by-step through the process. Each step is illustrated in full color and clearly described. A gallery of several carved faces gives the reader an idea of the variations that are possible, as well as guidelines for future carving projects.

What is an immersive soundscape? It can be as simple as a recording made in a forest: leaves crunching underfoot, birds chirping, a squirrel chattering. Or it can be as complex as a movie soundtrack, which involves music but also uses many other sounds--to set the mood for the action and to literally put the viewer in the picture. Sound art defies categorization, and artists using this medium describe their work in many different ways: as sound installations, audio art, radio art, and music.
"The Art of Immersive Soundscapes" provides a fascinating tour of contemporary sound art practices that comprises scholarly essays, artists' statements, and a DVD with sonic and visual examples. Included are perspectives from soundscape composition and performance, site-specific sound installation, recording, and festival curation. The book and accompanying DVD will appeal to a broad audience interested in music, sound, installation art, the environment, digital culture, and media arts. Importantly, it recognizes the pioneering place of Canadian sound artists within this international field.

Godzilla & Kong: The Cinematic Storyboard Art of Richard Bennett features storyboard art from the blockbuster hits Godzilla vs. Kong, Godzilla: King of the Monsters, and Kong: Skull Island. It features a selection of the best sequences from these three films, along with full color stills reflecting the final shots in the film. Special "Unused Scenes" sections give you an unprecedented peek into the making of the films, revealing never before seen sequences. Presented in a deluxe 11.75" x 8.5" widescreen hardcover coffee table book of over 200 pages, plus featuring an introduction by Godzilla vs. Kong director Adam Wingard and afterword by Oscar-Nominated Production Designer Stefan Dechant, this collection is a must for movie buffs, film students, and all Kaiju aficionados. "Within these pages we find the imagination and artistry of Richard Bennett. He brings to life the Kaiju of cinema's yesteryear through the modern retelling of Legendary Pictures' Monsterverse." -Stefan Dechant, Oscar-Nominated Production Designer "When I see Richard's boards, I see the film." -Adam Wingard, Director of Godzilla vs. Kong