Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. * Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations * Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies * Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context * Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing * Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

In recent decades sculpture has arguably become the dominant art form in the world. In this ground-breaking account of the development of post-War sculpture Andrew Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He explores the use of everyday objects and the importance of sculptural context, discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth Art, landscape sculpture, installation, and Performance Art. The holistic picture of post-War sculpture which emerges establishes for the first time the key events and themes round which future debate will centre.

`Andrew Causey weaves his way adroitly through the labyrinth of post-War sculpture ... No one else has charted the territory so comprehensively.' Professor Stephen Bann, University of Kent at Canterbury

`a clear guide to the various directions of sculpture and the work of sculptors in the years when modern sculpture has begun to stand in its own right as a major art form' Sir Anthony Caro, Sculptor

From casting to sculpture Cast materials become solid, yet they originate as fluid materials that can take on any imaginable form. This simple yet radical paradigm allows for the exploration of volumetric formations through process-oriented casting and experimentation with alternative ways of manufacturing, presenting, and shaping casting molds. Working with hardening bodies fundamentally challenges the notion of formal rigidity; conventional formwork models are reconsidered, and a new aesthetic emerges. Fluid Bodies presents a variety of objects created using alternative casting methods. The book documents experimental artistic research and showcases innovative and surprising sculptures in concrete and plaster. Alternative ways of manufacturing, presenting, and shaping casting molds Concrete and plaster sculptures, parametric designs, and the further development of conventional formwork models and casting processes With numerous large-format photographs

Lynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world. This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries.

This volume is both a companion to the editors' Greek Historical Inscriptions, 404-323 BC, and a successor to the later part of the Selection of Greek Historical Inscriptions to the End of the Fifth Century BC, edited by Russell Meiggs and David M. Lewis and published in 1969. As with the editors' earlier collection, it seeks to make a selection of historically significant inscribed texts accessible to scholars and students of fifth-century Greek history. Since the publication of Meiggs and Lewis' collection, a number of significant new inscriptions and fragments have been unearthed and new interpretations of previously known examples developed. As well as updating the scholarly corpus, this volume aims to broaden the thematic range of inscriptions discussed and to include a greater selection of material from outside Athens, while still adhering to the intention of presenting texts which are important not just as typical of their genre but in their own right. In doing so, it offers an entry point to all aspects of fifth-century history, from political and institutional, to social, economic, and religious, and in order to make the material as accessible as possible for a broad readership concerned with the study of these areas, the Greek texts are presented here alongside both English translations and incisive commentaries, which will be of utility both to the specialist academic and to those less familiar with the areas in question. The inclusion of photographs depicting inscribed stones and bronzes complements discussion of the inscriptions themselves and enables parallel consideration of their nature, appearance, and transmission history, resulting in a work of thoroughly comprehensive, cutting-edge scholarship and an invaluable reference text for the study of fifth-century Greek history.

Surveying some 20 years of Swiss video art, this book includes works by Alexander Hahn, Klara Kuchta, Eric Lanz, Jean Otth, Pipilotti Rist, Alex Silber and Hannes Vogel, it reviews discussion surrounding the exhibiting of video art and the problems associated with long-term conservation.

A thousand and one ideas for making beautiful polymer clay millefiori. In Venetian glassmaking, slender rods of molten glass are shaped, then cut to reveal amazingly detailed patterns: flowers, geometric shapes, dancing colors. These slices are called millefiori, "thousand flowers," because they form a carpet of flowers when placed side by side. Now celebrity author Donna Kato shows crafters exactly how to re-create these intricate, fascinating designs in polymer clay. "The Art of Polymer Clay Millefiori Techniques" reveals the entire process: how to work with the polymer clay, the basics of planning and creating a cane, and using color effectively. Dozens of canes, from simple to simply stunning, are included, and everything is clearly explained and illustrated with full-color photos, the Donna Kato way. Throughout the book, examples of stunning work by such millefiori artists as Kathy Amt, Pier Voulkos, and Kathleen Dustin provide inspiration. There must be a thousand ways to make beautiful millefiori . . . explore them all in "The Art of Polymer Clay Millefiori Techniques."

En todas las areas, las personas con voluntad de cambio y desarrollo social utilizan las formas artisticas y la creatividad para conmover la esfera publica, atraer la atencion, tomar poder sobre los espacios urbanos y generar nuevos lenguajes y voces sociales. El activismo artistico involucra a personalidades creadoras de todas las culturas, se enraiza en ideas politicas esenciales, moviliza ideas de cambio e igualdad social e interesa a las generaciones mas jovenes, en un espiritu que rompe las barreras academicas y las distinciones profesionales. La creatividad activista con frecuencia ha sido percibida como proxima a la categoria del outsider art que engloba el arte producido por no artistas donde el contexto especifico seria la protesta politica y/o la experimentacion social. El artivismo tiene sus raices en las vanguardias artisticas (dada, futurismo, surrealismo, etc.) y el posterior desarrollo y auge en la decada de los anos sesenta y setenta del pasado siglo (performance, happening, body art, land art, video art o arte conceptual), que, muchas veces, nace de una especie de desmaterializacion del objeto artistico. Este libro se centra en practicas de creatividad activista de Espana, Chile, Peru, Reino Unido, Colombia, etc. que tienen que ver con los actuales fenomenos de crisis discursiva, ideologica, politica, economica, financiera. Entender el artivismo, un concepto que, nada mas pronunciarlo, despierta un amplio abanico de sensaciones.

For nearly forty years, John Van Alstine has created abstract sculptures forged from steel and stone. In John Van Alstine: Sculpture, 1971-2018, three notable essayists explore the sculptor's abstract landscapes that reveal the complex synergy between natural forces and man-made elements; by grappling with the challenges of balancing stone and steel, Van Alstine's indoor, outdoor, and site-specific sculptures are measured and calculated, yet simultaneously poetic; their swooping angular lines create expansive spaces beyond the limits of their steel and stone frames to unveil our collective history and imagination, illuminating a deft interplay of natural energies and the human experience. The artist weaves into his works elements of mythology, celestial navigation, implements, human figures, movement, urban forms, and found objects, while using motion, balance, and inertia to incorporate the eternal forces of gravity, tension, and erosion. In an essay on his drawings, Van Alstine details the critical role they play in the initiation and planning of his projects, offering the reader a firsthand perspective on the artist's creative process. Van Alstine's works have been featured in numerous solo and group exhibitions and are found in the permanent collections of the Carnegie Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian's National Museum of American Art, and the Phillips Collection, to name but a few. His works are also found in numerous public and private collections. The Artist Book Foundation is gratified to announce the publication of this lavishly illustrated monograph on an esteemed and prolific contemporary artist.

This is the seventeenth volume in the series the Public Sculpture of Britain, part of the PMSA National Recording Project, which will eventually cover the whole of the country. The introduction considers the ways in which the rural and urban landscapes of Sussex, from market town, rural village and country estate, to city, major seaside resort and new town development, are reflected in the county's public sculptures. The historical period covered ranges from the allegedly pre-historic (the Long Man of Wilmington) to the present day (the most recent entry is Maggi Hambling's The Resurrection Spirit, 2013). There is a high proportion of nineteenth- century sculptures, including significant works by John Flaxman, Michael Rysbrack, Frances Chantrey and John Edward Carew; the 'statuemania' that characterised the last part of this century is well illustrated by Thomas Brock's imposing statue celebrating Queen Victoria's Diamond Jubilee on Hove seafront. The achievements of major twentieth and twenty-first century sculptors are represented by Elisabeth Frink and William Pye among others. Many works from this period are the result of public art initiatives by local councils, often as part of more wide-ranging regeneration schemes for Sussex towns. The patronage of health authorities, influenced by new thinking about the calming and healing qualities of art in public places has also benefitted both local sculptors and those based elsewhere in the country. Each individual work is catalogued, with precise details of location, condition and history, including commissioning, opening ceremonies and re-siting. Most are individually illustrated in black and white. Biographies of local and less well-known sculptors, together with a selected bibliography are included at the end of the volume.

This volume brings together new research by some of the world's leading experts, exploring the artistic production and cultural context of Renaissance sculpture from Ghiberti's Gates of Paradise to the small bronzes of Giambologna and his followers. The essays cover a range of sculptural materials and forms to cast fresh light on the artists, their creative and collaborative processes, and those who commissioned, owned and responded to their work. The papers were originally presented at a conference at the V&A in 2010 as part of the Robert H. Smith Renaissance Sculpture Programme.

Noted sculptor Ian Norbury gives woodcarvers a thorough, how-to guide to bringing out the beauty of a female face from a block of wood. Using hundreds of photographs and drawings, the author provides in-depth instruction on carving two different adult faces - one European and one Afro-Caribbean - and one child's face. Both beginning and advanced woodcarvers and sculptors will find expert guidance on tackling the unique challenges of carving a female face. Included are sections on the anatomy of the female face, taking photographs and producing patterns, step-by-step instructions, and a photographic gallery of finished carvings to provide inspiration.

Netsuke - classic belt decorations for men - are rooted in a historical, mythological and artistic tradition in Japanese culture. Woodcarvers and their pupils, even counterfeiters, continued the work of their role models, in copies or variants of what came before them, and even created major works of art with the smallest of dimensions. Since the opening up of Japan in 1853, the miniature works have gained appreciation, and enthusiasts are found all over the world. Today netsuke are still being created in a great variety of motifs. Netsuke in Comparison presents one hundred netsuke from a private collection. For the very first time, it endeavours to juxtapose them with comparative images from collections and literature in order to locate them within this genre and to convey something of their diversity and expressiveness. Text in English and German.

The work of the artist couple Christo (1935-2020) and Jeanne-Claude (1935-2009) resists categorization. It is a hybrid of art, urban planning, architecture, and engineering, but above all an aesthetic uniquely their own: surreal and ethereal environmental interventions that have graced monuments, public parks, and centers of power alike. This compact book spans the complete career of the couple who were born on the very same day, met in Paris, fell in love, and became a creative team like no other. With rich illustration, it spans Christo and Jeanne-Claude's earliest projects in the 1950s right through to The Floating Piers, installed at Lake Iseo, Italy, in 2016. The book celebrates all of the couple's most famous environmental interventions, such as The Gates in New York's Central Park and the Wrapped Reichstag in Berlin, while also featuring early drawings and family photos unknown to the wider public. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

The beautiful companion volume to Lee Ufan's largest site-specific outdoor sculpture project in the U.S. In fall 2019, the Hirshhorn Museum and Sculpture Garden debuted 10 new specially commissioned outdoor sculptures from celebrated Korean artist Lee Ufan. This book accompanies the expansive installation, which features sculptures from the artist's signature and continuing "Relatum" series and marks the first exhibition of Lee's work in the nation's capital. For the first time in the Hirshhorn Museum's 44-year history, its 4.3-acre outdoor plaza will be devoted entirely to the work of a single artist, and this book is a beautiful commemoration or keepsake of that event. Lee is a founder of the late 1960s artistic movement Mono-ha, or "School of Things," so his artwork represents an encounter between the viewer, the materials, and the site. The sculptures in this installation and book reflect this: all of the sculptures respond to the museum's unique architecture and continue Lee's iconic practice of placing contrasting materials, such as stainless steel plates and boulders, in dialogue with one another to heighten awareness of the world. The book features more than 100 color illustrations, including preliminary sketches, photographs of the artist selecting materials for the work, images of the installation process, shots of installed sculptures, details of installed sculptures, and more. Accompanying these powerful images are a foreword, essays, artist interview, and short captions that highlight how the works are rooted in contemplation and sensation rather than static representation. Lee Ufan: Open Dimension offers readers an intimate look at the work, artistic process, and impact of one of the pioneering figures of postwar art.