Among Southeast Alaska's best-known tourist attractions are its totem parks, showcases for monumental wood sculptures by Tlingit and Haida artists. Although the art form is centuries old, the parks date back only to the waning years of the Great Depression, when the US government reversed its policy of suppressing Native practices and began to pay Tlingit and Haida communities to restore older totem poles and move them from ancestral villages into parks designed for tourists. Dramatically altering the patronage and display of historic Tlingit and Haida crests, this New Deal restoration project had two key aims: to provide economic aid to Native people during the Depression and to recast their traditional art as part of America's heritage. Less evident is why Haida and Tlingit people agreed to lend their crest monuments to tourist attractions at a time when they were battling the US Forest Service for control of their traditional lands and resources. Drawing on interviews and government records, as well as on the histories represented by the totem poles themselves, Emily Moore shows how Tlingit and Haida leaders were able to channel the New Deal promotion of Native art as national art into an assertion of their cultural and political rights. Just as they had for centuries, the poles affirmed the ancestral ties of Haida and Tlingit lineages to their lands. Supported by the Jill and Joseph McKinstry Book Fund Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/proud-raven-panting-wolf

The origins of raku can be traced back hundreds of years to Japan, where it was used as the traditional method of creating clay bowls for the tea ceremony. Over the years, potters have embraced and adapted these methods, celebrating the remarkable but unpredictable results achieved using raku techniques. Irene Poulton, who has specialized in raku firing for over 20 years, considers the origins of raku before offering 300 glaze recipes. A selection of other potters also share their ideas. With 100 color photos of raku-fired pieces, this is an outstanding source of information and inspiration for all potters.

Among the most popular of Tom Wolfe's carving books is Tom Wolfe Carves Dragons. From the day it came off the presses Tom has received letters asking for a Wizard book to go with it. What good is a dragon without a Wizard? one reader asked. Well, here it is! These fanciful figures let the imagination run wild. You can make them friendly or sinister, young or old, comic or deadly serious. Tom gives patterns and step-by-step instructions illustrated in full color. The gallery has a coven of Wizards, in both full-figure and bust forms. But that is only the starting point. From there a change in costume, setting, or facial feature can lead to an infinite variety of figures. As a companion piece or by itself, this is an exciting new project for carvers. Enjoy.

Nationally known carver Bob Lundy shares the techniques of relief carving in an easy to follow book. Amply illustrated, it takes the reader step-by-step through two carving projects and offers the information needed to carry out even more. With everything carved by hand, the book is written for both the beginner and for the veteran. Bob Lundy approaches his work with an eye for the personality of the carving. He will instill that sensitivity to the reader, giving the carver a feeling of closeness and intimacy with the figures that come to life from the wood.

Subject to passionate controversy during his lifetime, the work of Joseph Beuys is now considered one of the most significant and influential contributions to twentieth-century fine arts. This book provides a survey of Beuys's oeuvre, which he viewed as part of a larger, philosophically based practice emphasising direct democracy, free access to education and the restructuring of society to meet ecological requirements. A total of 152 works from Beuys's many fields of activity - drawings and watercolours, prints and multiples, sculpture and objects, spaces and actions - are arranged in chronological order, demonstrating the artist's formal versatility, creative richness and conceptual depth. The peculiar poetry of the materials Beuys used - felt, grease, honey, wax, copper and sulfur - emerges along with the gentle melancholy suffusing the work of this sensitive agent provocateur. Alain Borer analyses Beuys's motivation with special reference to the artist's written and spoken statements. The book is an informed introduction to the artistic work and conceptual world of Joseph Beuys, for anyone interested in art.

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.

Block Print Magic is an essential guide to the techniques of linoleum block printing, including 17 captivating step-by-step projects and the works and insights of talented printmakers for inspiration and visual demonstration. Block Print Magic is the perfect reference for a wide range of printmaking enthusiasts. The easy-to-follow illustrated instruction takes you through every step of the process, beginning with choosing and caring for tools and setting up a studio, through design essentials, carving techniques, and printing techniques. Those techniques include multi-block printing, reduction cuts, puzzle blocks, and rainbow-roll printing. Advanced carving techniques for creating textures, crosshatching, and three-dimensional shading will give you the opportunity to expand and strengthen your expertise. Among the visually stunning projects you'll learn to create: Colorful, multi-block hex sign Reduction cut sunflowers print One-page pocket zine from a single block Fabric wall hanging embellished with embroidery Along with author Emily Howard's own work, artist spotlights feature interviews with and examples of work by five other contemporary artists-Lili Arnold, Jen Hewett, Kelli MacConnell, Derrick Riley, and Aftyn Shah-as a means of clarifying how each technique can be used in different ways. Block Print Magic is a must-have addition to any printmaker's bookshelf.

Here it is, a book for everyone who loves antique and collectible glass candle holders! Over 600 candle holders, many of which are commonly found in malls, antique stores, and flea markets, are shown in full color. Roaring '20s, Depression Era, and modern collectible candle holders are listed alphabetically--from A & A Imports to Westmoreland--making this book especially easy to use. With up-to-date pricing and extensive color information based on published values and authors' personal experience, this book is a must for beginners and experienced collectors alike.

Verrocchio was arguably the most important sculptor between Donatello and Michelangelo but he has seldom been treated as such in art historical literature because his achievements were quickly superseded by the artists who followed him. He was the master of Leonardo da Vinci, but he is remembered as the sulky teacher that his star pupil did not need. In this book, Christina Neilson argues that Verrocchio was one of the most experimental artists in fifteenth-century Florence, itself one of the most innovative centers of artistic production in Europe. Considering the different media in which the artist worked in dialogue with one another (sculpture, painting, and drawing), she offers an analysis of Verrocchio's unusual methods of manufacture. Neilson shows that, for Verrocchio, making was a form of knowledge and that techniques of making can be read as systems of knowledge. By studying Verrocchio's technical processes, she demonstrates how an artist's theoretical commitments can be uncovered, even in the absence of a written treatise.

This reprint of twelve 1972-1983 Blenko Glass Company catalogs is the third in the trilogy covering Blenko's early and middle years. 1983 marks the beginning of the late period when the label was changed. Glass items from the early years of the 1940s through the 1960s have been the most popular with collectors of Blenko Glass, but interest in 1970s items is awakening. Some pieces from the 1970s are already commanding high prices in the secondary markets both on-line and in person. The catalogs are reproduced in their entirety, and a guide to current values for the items is included. John Nickerson and Don Shepherd were staff designers responsible for all of the newly-introduced glass in these catalogs. This volume catalogs their creativity and and its roots in the work of their predecessors, Winslow Anderson, Wayne Husted, and Joel Myers. For the collector and the historian, this is important and interesting information.

Carve lifelike animal-handled canes and walking sticks with power tools. Over 180 clear color photos and concise, informative text take the reader through all the tools, techniques, and individual steps, from carving the blank and setting the eyes to texturing the fur and painting the finished handle. Patterns are provided for fifteen projects to make handles that depict an elephant, bear, sheep, bison, chimpanzee, horse, dog, groundhog, cobra, lion, rabbit, squirrel, tiger, and walrus. Instructions are given for procuring, sizing, and fastening shafts. This book will challenge and delight the novice and inspire a seasoned wood carver.

20 kawaii trinkets in polymer clay from Kawaii Studios! Kawaii is becoming the ultimate buzzword for all things cute and miniature, and in this new Twenty to Make title, Ruth Thompson shows you how to create 20 cute miniature charms and trinkets out of polymer clay. As well as learning how to colour the clay and add super-cute expressions, there's also advice on how to turn your charms into wearable jewellery. From adorable sushi earrings to panda paperclips, there's something sweet to suit everyone!

Rebecca Horn (*1944) is one of today's most outstanding artists. Since the early 1970s her poetic performances, drawings, films, and kinetic sculptures have laid the foundation for the body-related art of today. In 2018 Saint Hedwig's Cathedral in Berlin showed her installation Glowing Core, which quickly became the highlight of the Berlin Art Week. The cathedral opened each day at sunset and remained open until late in the evening, revealing a new universe of light. In this book three photographers and four renowned authors examine this work. Text in English and German.

Chintz ceramics were introduced in the late 19th century, and rose to great heights of popularity in the first half of the 20th century as they were exported around the world. This classic work, now in its third edition, is better than ever for dealers and collectors. The brilliant floral bouquets adorning chintz ceramics are displayed in nearly 500 gorgeous color photographs. The major English chintz manufacturers, Royal Winton, James Kent, Lord Nelson, Shelley, Crown Ducal, and Empire, are discussed and many examples of their chintz wares are identified and shown. Over one hundred patterns are amply illustrated, including the popular DuBarry, Rosalynde, and Summertime patterns. Lesser known firms and American importers are also explored, along with the Japanese manufacturers of hand-painted chintz. Manufacturers' marks are identified and dated. A value guide is included with newly updated prices.

Learn to create delightful wooden Santas destined to be treasured family heirlooms. With a combination of over 280 color photographs, a minimal set of carving tools, and easily followed instructions, Paul Bolinger carefully guides the reader step-by-step through rough and detail carving techniques. Camille Bolinger, Paul's wife, demonstrates the oil painting techniques used to bring the carved Santas to life. The text is followed by a gallery of the Bolingers' heirloom Santas destined to fire the imagination of every carver who sees them. Novices and old hands alike will enjoy this book.

This is the third volume of the definitive reference series dealing with commercial bronze sculptures in the period 1800 to 1930. This period spans the rise and decline of commercial industrial foundries in Europe, especially in France, and a wide array of international sculptors. Together, they produced millions of fine statuettes for the general public. Volume 3 includes 1315 photographs of sculptures on 320 pages with information on the Hirsch Foundry of Paris and Brooklyn, New York. It incorporates lists of the sculptors whose work is shown, the founders represented, and 21 different founders' seals. The photographs are remarkably clear enabeling small details in the sculptures to be visible. With this reference series, collectors will be able to identify many of the old commercial bronzes found on the market today.

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.

By taking simple ways of looking at sculpture, this book uncovers unexpected affinities between works of very different periods and types. From sundials to mirrors, from graves to way-markers, from fountains to contemporary art, a wide range of illustrated examples expands the definitions of sculpture and proposes that we understand this art as something more fundamental to the way we experience and construct our rites of passage. Penelope Curtis argues that there are some basic functions shared by many kinds of three-dimensional objects, be they more or less obviously sculptural. Even contemporary sculpture, with no apparent purpose, makes use of this deeply embedded vocabulary. Together, the qualities of vertical, horizontal, closed and open are consolidated in the ensemble, which places the viewer at its heart, on the threshold of sculpture and on the threshold of change. This book elides the usual notions of figurative and abstract to think instead about how sculpture works. Published in association with the Paul Mellon Centre for Studies in British Art

German Meissen porcelain figures made during the Kaendler Period are considered the best era in the Meissen factory's history. They are organized here by their subjects, depicting Street Traders, Court Life, Military and Hunting scenes, Italian Comedy, Children, Mythology, Artisans, and various nationalities. Many figures are matched to the original engravings that inspired them. By recognizing the colors used when the originals were made, one can date the figures; manufacturer marks alone are not reliable. This book guides and delights today's designers and collectors by presenting the figures in exquisite detail.

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.

Dialectical Materialism: Aspects of British Sculpture Since the 1960s charts a network of relations linking the work of six sculptors: Anthony Caro, Barry Flanagan, Richard Long, William Turnbull, Rachel Whiteread and Alison Wilding. Since the 1960s, successive artists and art-critical frameworks have sought to undermine or dispense with traditional media and the boundaries between painting and sculpture, the core disciplines of modern Western art. The artists studied here are united by their commitment to sculpture as a distinct practice, but also to broadening, challenging and redefining the basis of that practice. In his essay, art historian Jonathan Vernon argues that each of these sculptors has engaged in a realignment of sculptural and material space - in removing sculpture from the disembodied, 'disinterested' spaces of mid-century modernism and returning it to a shared world inhabited by other objects, ourselves and our material interests. From the conflicts that inhere in this space, we may discern the outlines of a new idea of British sculpture since the 1960s - an idea by turns narrative, dramatic and dysfunctional.