A beautifully written study of three pioneering artists, entwining their work and our understanding of creativity Bringing the creative process of three contemporary artists into conversation, Architectures of the Unforeseen stages an encounter between philosophy and art and design. Its gorgeous prose invites the reader to think along with Brian Massumi as he thoroughly embodies the work of these artists, walking the line that separates theory from art and providing equally nurturing sustenance for practicing artists and working philosophers. Based on Massumi's lengthy-and in two cases decades-long-relationships with digital architect Greg Lynn, interactive media artist Rafael-Lozano Hemmer, and mixed-media installation creator Simryn Gill, Architectures of the Unforeseen delves into their processes of creating art. The book's primary interest is in what motivates each artist's practice-the generative knots that inspire creativity-and in how their pieces work to give off their unique effects. More than a series of profiles or critical pieces, Massumi's essays are creative, developing new philosophical concepts and offering rigorous sentiments about art and creativity. Asking fundamental questions about nature, culture, and the emergence of the new, Architectures of the Unforeseen is important original research on artists that are pioneers in their field. Equally valuable to the everyday reader and those engaged in scholarly work, it is destined to become an important book not only for the fields of digital architecture, interactive media, and installation art, but also more basically for our knowledge of art and creativity.

In 2018 India's prime minister, Narendra Modi, inaugurated the world's tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India's economic reforms of the 1990s. In Gods in the Time of Democracy Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the "infrastructures of the sensible."

A retrospective monograph of Alistair MacLennan’s performance art practice, its influence on the Belfast art scene, and its relationships with wider art histories. This new book is the most comprehensive and complete legacy monograph about Alastair MacLennan’s extensive performance practice Alastair MacLennan is emeritus professor of fine art, School of Art and Design, Ulster University in Belfast. He is one of Britain’s major practitioners in live art, and travels extensively in Eastern and Western Europe, also America and Canada, presenting ‘Actuations’ (his term for performance/installations).  MacLennan is a founding member of Belfast's Art and Research Exchange, of Belfast's Bbeyond performance collective and is a member of the performance art entity Black Market International. He has represented Ireland at the Venice Biennale (1997) and is an honorary associate of the National Review of Live Art, Glasgow, Scotland. There is a wide variety of approach in the essays, ranging from descriptive to interpretive. Some set the work in historical context and others provide pertinent biography. This variety is appropriate – and perhaps even necessary – in looking at the work of a living artist whose work is particularly complex. The selection of essays presents a complex body of work in an understandable way, with each writer allowed to address the art in their own terms. Placing the work in historical context is important but presenting MacLennan as an influential teacher is also important. Includes a significant contribution from Adrian Heathfield (professor of performance and visual culture at Roehampton, UK) who has written an extended essay on MacLennan’s oeuvre, focusing on its use of materials and its creation of sculptural environments. Discussing the artist’s deployment of slow-time action and contemplative space, Heathfield sees MacLennan’s work as activating sustained contact with the elemental and locates MacLennan’s work as a significant intervention in performance art history globally and discusses the politics of its engagement with local history, violence, social conflict and memory. The primary readership will be academics, researchers and scholars working in performance art and contemporary art in general. Also valuable to students in performance art, visual arts and related practices. Of relevance to academics and artists in the interrelated fields of performance art, art and philosophy, critical theory, conflict studies and Zen philosophy.

This volume is an anthology of current groundbreaking research on social practice art. Contributing scholars provide a variety of assessments of recent projects as well as earlier precedents, define approaches to art production, and provide crucial political context. The topics and art projects covered, many of which the authors have experienced firsthand, represent the work of innovative artists whose creative practice is utilized to engage audience members as active participants in effecting social and political change. Chapters are divided into four parts that cover history, specific examples, global perspectives, and critical analysis.

Volumes that are massive yet lightweight, the sculptures of British artist Anthony Cragg firmly take hold of the space without seeming static. They are dynamic objects that bear trace of the process that created them: starting from in many cases figurative drawings to encountering the artist s chosen material, guided by inner force. Cragg s sculptures reveal the infinite possibilities of form. They seem to obey the laws of nature that govern living organisms, evolving from one another and growing upon themselves. This new book features new work by Anthony Cragg shown in a recent exhibition at Museo Nivola in Orani, Sardinia. Illustrated in color throughout, it offers also an essay exploring Cragg s art by British scholar and curator Mark Gisbourne. Text in English and Italian.

In Brave Birds, cut-paper artist and writer Maude White presents an entirely new collection of sixty-five stunning cut-paper birds. As a source of inspiration, each bird is paired with an original message of kindness and strength associated with its particular traits to encourage bravery and perseverance. Inside, you'll find birds for experiencing Joy, Creativity, Patience, Kindness, Resilience, Communication, Strength, Awareness, Action, and Transformation, and each composition, beautifully photographed by Laura Glazer, reflects thousands of intricate cuts, lending an astounding level of texture to these delicate and ethereal creatures. Appealing to any bird lover or collector of bird art, Brave Birds is a beautiful resource for those wishing to practice a life of kindness and empathy.

Statues are among the most familiar remnants of classical art. Yet their prominence in ancient society is often ignored. In the Roman world statues were ubiquitous. Whether they were displayed as public honours or memorials, collected as works of art, dedicated to deities, venerated as gods, or violated as symbols of a defeated political regime, they were recognized individually and collectively as objects of enormous significance.
By analysing ancient texts and images, Statues in Roman Society unravels the web of associations which surrounded Roman statues. Addressing all categories of statuary together for the first time, it illuminates them in ancient terms, explaining expectations of what statues were or ought to be and describing the Romans' uneasy relationship with 'the other population' in their midst.

The Messerschmitt Me 262 Schwalbe ("Swallow") was the world's first operational jet-powered fighter aircraft. Design work started even before World War II began, but engine problems meant the aircraft did not reach operational status until mid-1944. Compared with Allied fighters of its day, including the jet-powered Gloster Meteor, it was much faster and better armed. In combat, it proved supremely difficult to counter due to its speed and the design was pressed into a variety of roles, including light bomber, reconnaissance and even experimental night fighter versions. The Me 262 is considered to have been the most advanced German aviation design in operational use during World War II. The Allies countered its potential effectiveness in the air by relentlessly attacking the aircraft on the ground, or while they were taking off or landing. This book provides a complete modelling guide with numerous profiles, line drawings and photographs. This book is written entirely in German.

Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons. The naked emperor might wield the thunderbolt of Jupiter, while Roman women assumed the guide of the nude love-goddess, Venus. When faced with these strange images, modern viewers are usually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'. This book offers a new approach. Comprehensively illustrated with black and white photographs of its subjects, it investigates how this tradition arose, and how the nudity of these portraits was meant to be understood by contemporary viewers. And, since the Romans also employed a range of costumes for their statues (toga, armour, Greek philosopher's cloak), it asks, `What could the nude images express that other costumes could not?' It is Christopher Hallett's claim that - looked at in this way - these `Roman nudes' turn out to be documents of the first importance for the cultural historian.

Aimed at modellers of all abilities, this lavishly illustrated book presents a step-by-step guide to figure painting and modelling using traditional techniques. From the multipart hard-plastic 28mm miniature to the metal and resin models common in all other scales, this book provides wargamers, collectors and gamers with a wealth of information to achieve the best results. It demonstrates a variety of modelling and painting techniques at different scales; it provides step-by-step guidance on building, converting and painting models; it covers working in plastic, resin and white metal; it explains dry brushing techniques, the three-colour method, multilayering and shading with washes and, finally, it considers basing techniques and maintaining the compatibility of miniatures between different gaming systems.

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, Heidegger Among the Sculptors makes a singular contribution to the philosophy of sculpture.

The beginning of the 20th century saw literary scholars from Russia positing a new definition for the nature of literature. Within the framework of Russian Formalism, the term 'literariness' was coined. The driving force behind this theoretical inquiry was the desire to identify literature-and art in general-as a way of revitalizing human perception, which had been numbed by the automatization of everyday life. The transformative power of 'literariness' is made manifest in many media artworks by renowned artists such as Chantal Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge, Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner. The authors use literariness as a tool to analyze the aesthetics of spoken or written language within experimental film, video performance, moving image installations, and other media-based art forms. This volume uses as its foundation the Russian Formalist school of literary theory, with the goal of extending these theories to include contemporary concepts in film and media studies, such as Neoformalism, intermediality, remediation, and postdrama.

Emmanuel Cooper's classic guide to making glazes is now available in a thoroughly revised new edition. Cooper provides potters with an introductory section on glaze materials, coloring, mixing, and the application of glazes, as well as information on health and safety issues. This essential guide also features over 400 recipes ranging from opaque, matte, and transparent glazes to crystalline and black iron glazes, organized according to their varying temperature ranges.

In 1977, Max Neuhaus turned a triangle of pedestrian space between 45th and 46th Streets in Times Square into an island of harmonic sound. The rich textures of that sound continue today, emanating from beneath the sidewalk grating, to anonymously reach an individual's ears as if one has stumbled upon a secret. Known as Times Square, the celebrated installation was restored in 2002 with support from Dia Art Foundation, which further commissioned a site-specific piece, Time Piece Beacon, from Neuhaus in 2006 for its museum in Beacon, New York. This stunning book-the only volume in print dedicated solely to the work of Neuhaus-takes these two projects as a point of departure from which to consider the singular impact this artist has had in establishing sound as a medium in contemporary art. An interview with Neuhaus is complemented with essays by multidisciplinary scholars who investigate and situate his work within a historical context. Distributed for Dia Art Foundation

The Afterlives of Greek Sculpture is the first comprehensive, historical account of the afterlives of ancient Greek monumental sculptures. Whereas scholars have traditionally focused on the creation of these works, Rachel Kousser instead draws on archaeological and textual sources to analyze the later histories of these sculptures, reconstructing the processes of damage and reparation that characterized the lives of Greek images. Using an approach informed by anthropology and iconoclasm studies, Kousser describes how damage to sculptures took place within a broader cultural context. She also tracks the development of an anti-iconoclastic discourse in Hellenic society from the Persian wars to the death of Cleopatra. Her study offers a fresh perspective on the role of the image in ancient Greece. It also sheds new light on the creation of Hellenic cultural identity and the formation of collective memory in the Classical and Hellenistic eras.

Step-by-step color photographs and descriptive detail make this book indispensable for beginners looking to create beautiful and functional scented candles on their very first try, and for experienced crafters who want to sharpen their skills. Precise instructions eliminate the guesswork that too often creeps into how-to books and help you avoid common mistakes. Gleaned from the expertise of master candle makers, this guide presents everything a novice needs to know to get started crafting traditional tapers and molded candles, container and rolled beeswax candles, and interesting variations on each. Includes guidelines for buying tools and materials, preparing the work space, and working safely and effectively, as well as suggested shopping lists and information on scents and dyes. New edition includes a gallery of candle-making projects.

Transform miraculous beeswax into environmentally friendly household cleaners, personal care products, candles and crafts Features over 100 step-by-step recipes, this book presents easy-to-follow recipes that utilize the amazing flexibility of beeswax for crafting safe, highly effective home products. From lotions and salves to candles and cleaners, The Beeswax Workshop shows you how to make organic alternatives to chemically-laden store bought items. You will love stocking first aid kits with natural sunburn salve and antimicrobial ointment; making beeswax-based beauty products like lip balm, blush, perfume, shampoo, and hair pomade; and even waterproofing gardening tools and camping equipment. The Beeswax Workshop provides you with a wonderful collection of new and creative ways to use sustainable beeswax.

Honorable mention for the 2009 AAM Museum Publications Design Competition San Antonio-based artist Dario Robleto is well known for his astonishing hand-crafted objects: works that reflect his intense investigatioin of such wide-ranging topics as science, music, popular culture, philosophy, war, and American history. Utilizing a lengthy roster of bizarre and disparate materials--including melted and pulverized vinyl records, artifacts gleaned from battlefields, rare herbs and minerals, and even prehistoric fossils and human bones--Robleto excavates conceptually-loaded elements from the past. He then seamlessly combines and refashions these potent details into poetic works that speak volumes about histoy and nostalgia, as well as concerns about the present condition of our world and its future. The resulting works are much more than just the sum of their constituent parts or factual interpretations of particular events and personalities; rather, they are sincere and emotional mediations on love, loss, spirituality, and ultimately, healing. Alloy of Love chronicles a decade of Robleto's works with formal "portraits" and details of his sculptures and collages, along with song lyrics and poems associated with each work. Ian Berry is assiciate director and Malloy Curator of the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College. The other contributors include Elizabeth Dunbar, Michael Duncan, Jennifer Michael Hecht, Robin Held, Ginny Kollak, and Therese Recio.

The ethnographic literature of the 20th century focused mainly on the sculptural traditions of the numerous ethnic groups that populated Southern Nigeria while the more northern areas remained largely terra incognita. In 2013 Jan Strybol published a study on the sculpture of Northern Nigeria. He pointed out that in many parts of this region there are people who still had, at least until recently, their own sculptural tradition. In this study the author restricted himself to what is referred to as the Middle Belt and especially to the part between the Bauchi Plateau, the Gongola River and the Katsina Ala River. In 1974 Roy Sieber pointed out that, with a few exceptions, the people who were members of the Niger-Congo language family laid the foundations for the great African sculptural traditions south of the Sahara. However, the largest group of iconophile peoples in the Central Middle Belt of Nigeria is to be found in the Chadic branch of the Afro-Asiatic language family. In this book of objects from private collections the author shows the great variety of the sculptures of the Middle Belt. This study mainly deals with wooden figures but also contains four wooden masks and three bronzes. Text in English and French.

For nearly seven decades the ebullient art of Joan Miro (1893-1983), Spanish painter, sculptor, ceramist and mythmaker, has intrigued and enchanted art lovers worldwide. This collection of his writings presents a portrait of the artist in his own words. Miro's notebooks, letters, and interviews reveal the work and life of a brilliant artist revered for his uncanny expression of the subconscious. "Joan Miro" centres on Paris during the vibrant era between the wars, when Miro became the intimate of almost everyone in that scene - boxing with young Hemingway, working with Max Ernst on the Ballets Russes, drinking, painting and arguing with Picasso, Braque, Dubuffet, Matisse, Breton and many others. Miro engagingly recounts all of this, as well as stories of his exile during World War II. Miro's virtuosity encompassed drawing, painting, sculpture, ceramics, poetry, stage sets, costumes, murals and tapestries; he vividly describes the creation of these artworks in these pages.