Antony Gormley occupies an unusual position as a highly popular sculptor - known chiefly for his Angel of the North (1998), a national landmark in the UK - who is also widely regarded as one of the most intellectually challenging artists working internationally. He is grounded in archaeology and anthropology, and looks to Asian and Buddhist traditions as much as to Western sculptural history, which he believes reached a punctuation point with Rodin. This is the first book to focus on Gormley's thoughts on sculpture, positioning his career and artistic philosophy in relation to its history. The book is structured thematically over four chapters: the first explores Gormley's thoughts on the body, time and space in relation to major works including European Field (1993) and 'Still Standing' (2011), Gormley's rehang of the classical rooms at the Hermitage Museum in St Petersburg. The second chapter, 'Sculptors', was first delivered as a series of five lectures for the BBC; in each, Gormley discusses a sculpture he considers to be of huge creative importance: Epstein's The Rock Drill (1913-15), Brancusi's The Endless Column (1935-38), Giacometti's La Place (1948-49), Joseph Beuys's Plight (1985) and Richard Serra's The Matter of Time (2005). In the third chapter, Gormley outlines the influence of Buddhist and Jain sculpture on his work and ideas, and the fourth showcases the artist's most recent sculptures.

Between the ninth and seventh centuries BC the small kingdom of Assyria in northern Iraq expanded through conquest to dominate the region from Egypt to Iran. The power of the Assyrian kings was reflected in the creation of a series of magnificent palaces in which the walls of principal rooms and courtyards were lined with huge panels of alabaster carved with images of the monarch as priest, victorious warrior and hunter. Together, the sculptures constitute some of the most impressive and eloquent witnesses of the ancient Middle East. This book serves as a superb visual introduction to what are undoubtedly some of the greatest works of art from the ancient world, showcasing a series of specially taken photographs of the British Museum's unrivalled collection of Assyrian sculptures. These stunning images capture the majesty of the Assyrian king, his magnificent court and its protecting divinities, through individual panels or extraordinary, often overlooked details, such as incised embroidery on robes, the contours of flesh and musculature, the turn of a horse's head or the order within the apparent chaos of battle. An introduction sets the sculptures in their cultural and art-historical context. A brief history of Assyria and the royal palaces is followed by an overview of their discovery, reception and understanding. These are the earliest examples of complex narrative art, and their multilayered meanings occupied entire rooms in which the raw emotion and energy of animals and humans was captured with remarkable vitality. Many of these exceptional carvings rank among the greatest achievements in the history of art.

This book concerns the ancient rock-cut monuments carved throughout the Near East, paying particular attention to the fate of these monuments in the centuries after their initial production. As parts of the landscapes in which they were carved, they acquired new meanings in the cultural memory of the people living around them. The volume joins numerous recent studies on the reception of historical texts and artefacts, exploring the peculiar affordances of these long-lasting and often salient monuments. The volume gathers articles by archeologists, art historians, and philologists, covering the entire Near East, from Iran to Lebanon and from Turkey to Egypt. It also analyzes long-lasting textual traditions that aim to explain the origins and meaning of rock-cut monuments and other related carvings.

In this collection of works by more than 25 contemporary ice artists, discover a fascinating art medium defined by its ephemeral nature. Merging creativity and engineering, today's ice artist can create incredibly complex artwork, featured here in more than 150 photos. Ice sculpting's history and impact are described by champion sculptor James Stugart, including events such as the ice festival in Harbin, China. Sculpting firm owner Justin Gordon explains the tools and techniques, and Dick Brickley, former chair of the BP World Ice Arts Championships held in Fairbanks, Alaska, relates the history of this largest international competition. As sculptor Ben Firth says, "Carving ice is a good reminder that no art lasts forever; that, in the end, art is not about creating a permanent object, but about changing people."

Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four British archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporaneous audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture's placement and suggests that the garden can itself be read as a sculptural landscape.

A practical and in-depth look at modelling faces in clay covering essential information from choosing your clay and modelling tools to drying your work and types of natural finishes. This is a practical and in-depth look at modelling faces in clay, using step-by-step pictures, which is ideal for anyone who wants to have a go at working in detail. As the face gives the figure life and personality, it is an important focus once the body has been created. This book examines the various aspects that make up the face in depth, and which need to be considered when modelling, such as the proportions of the head, bone structure, muscles and expressions. From the face of a child to that of an adult, and from sadness to joy, the enormous variety of faces and expressions all require a different approach and convincing details to complete the figure or bust. All these things are covered thoroughly using diagrams, step-by-step images and clear explanations in order to help you create a face for your work and to improve your modelling. The book also covers essential information such as how to get started, choosing your clay and modelling tools, drying your work and types of natural finishes such as wax.

ANDY GOLDSWORTHY: TOUCHING NATURE

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a 'land', 'earth', 'nature' or 'environmental' artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy's art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the 'stone houses' at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Fully illustrated, with a revised text. Bibliography and notes. 312pp. ISBN 9781861714138. www.crmoon.com

Large numbers of Buddhist believers regarded Buddhist statues in surprising ways in late- tenth and early eleventh century Japan. Examination of such questions of functionality contributes to a broader view of Buddhist practice at a time when Buddhism was rapidly spreading among many levels of Japanese society. This book focuses particularly on the function of the following types of images: "secret Buddhas" ("hibutsu"), which are rarely if ever displayed; Buddhas who exchange bodies with sufferers ("migawari" "butsu"); and masks of bodhisattvas used in a ritual called "mukaeko," Primary sources for these topics include collections of popular tales ("setsuwa"), poetry, ritual texts, and temple histories ("engi").

THE ART OF ANDY GOLDSWORTHY

This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. The book has been completely rewritten and brought up to date for this new edition.

Andy Goldsworthy makes land or earth art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth.

Fully illustrated, with a revised text. Bibliography and notes. 348pp. ISBN 9781861714106. www.crmoon.com

EXTRACT FROM THE CHAPTER ON GOLDSWORTHY'S LEAFWORKS

It is the leafworks that are the most colourful of Andy Goldsworthy's sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy presents the viewer with these subtle colours by contrasting one leaf with another. Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cows is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. The Fall colours of course connote nostalgia, decadence, sensuality, Romanticism, time passing, the decay of the year, and so on.

REVIEW ON AMAZON

A happily received gift. It's worth the price for one who wants a scholarly while earthy (sorry, couldn't help it) approach to the work. There's a quirkiness about the writing style that is engaging and honest. I'm glad I have the book and will reread it as I purchase other books on Goldsworthy where the work is shown via great photography.

REVIEW ON AMAZON

This is a chatty informational book. It has stories of many artists that have been associated with Andy Goldsworthy in his long career as a contemporary nature sculptor. If you are looking for a personal history this is a book for you.

REVIEW ON AMAZON

I'm no expert on visual art, nor would I claim to be, but I found this to be a useful book, and the only one I've been able to find about the work of Andy Goldsworthy. The author has taken the time to round up a large amount of varied source material which makes this book well worth seeking out.

This lavishly illustrated book breaks new ground in focusing on some of the many successful professional British women sculptors active during this period. Largely unknown, the few women who have been mentioned in histories of twentieth century British sculpture have been those who adhered to the (masculine) Modernist canon. Organized by theme this book explores and illustrates an unusually large number of and stylistically varied works. The social and cultural contexts in which these women sculptors were working are investigated, revealing how, mostly male, commentators often fixated on their gender at the expense of seriously engaging with their work. A wide variety of sources are used, ranging from contemporary art historical accounts to articles in popular magazines. This book explores contemporary sculptural developments, art school training, exhibiting opportunities, and the writings of influential critics. It also reveals how important photography, film and the written word were in the creation of reputations. Alongside revealing important works and individuals, this book's originality also lies in its scope, covering diverse sculptural genres such as decorative sculpture and utilitarian objects for the home and garden; portraits and statues; architectural sculpture, war memorials and ecclesiastical work.

Ply-split braiding is a technique for making textiles by parting the plies of one cord (the "splittee") with a needle or similar tool, drawing a second cord (the "splitter") through the gap made in the first cord, and repeating the process many times over. With 176 images, including patterns, these techniques illustrate how to make baskets using plain oblique twining, a version of ply-split braiding particularly well-suited for the art of basketry. This guide to the creative process gives you the information needed for shaping the form of a basket, including the rate and location of adding and removing cords. Chapters include creating fenestrations, substituting cords, combining baskets, crossing planes, and harnessing the tension between right triangles when the hypotenuse of one aligns with the leg of another. See how these techniques are rendered in a gallery of beautiful finished work.

Join the home pottery revolution! Whether you have access to a communal studio or not, hand building projects can travel just about anywhere. Take your clay outside or work at the kitchen table, with instruction from best-selling ceramics author Sunshine Cobb. In this book, you'll find all the necessary fundamentals, including a thorough discussion of clay as well as helpful tips for keeping your body and mind in top shape. Then pick the path that's right for you in the chapters that follow. Develop new skills and unlock your own creativity as you explore: Sculptural projects like miniature animals and plants. Functional items like scoops, a citrus reamer, and a coffee pour-over vessel. Mixed media projects including a candlestick holder, mobile, and a soap dish. All along the way, skill-building is front and center, with conversational instructions and tips to help you make pieces you're proud to show off. Gallery work from some of today's top artists are sure to inspire potters of all levels. What will you make first? For beginners and those returning to ceramics, the Essential Ceramics Skills series from Quarry Books offer the fundamentals along with fresh, contemporary, and simple projects that build skills progressively.

In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this happen? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, a writer with an exceptional ability to animate art's philosophical dimensions in a clear, persuasive manner. During this time when craft and the direct manipulation of materials by the artist appear to be in eclipse, Strauss comes to their defense in a spirited cri de coeur.
Featuring over 35 illustrations, the book examines a wide variety of media and individual examples. It explores the works of sculptors Martin Puryear, Ursula von Rydingsvard, and Donald Lipski; painters Leon Golub and Ron Gorchov; and writers Robert Duncan, Robert Kelly, Guy Davenport, John Berger, and Leo Steinberg. In addition, there are essays on Joseph Beuys's 7000 Oaks in Ireland, contemporary Haida carvers Reg Davidson and Jim Hart, Cecilia Vicuna's "memory of the fingers," and the influence of curators Harald Szeemann and Walter Hopps on the staging of contemporary art exhibitions.
Known primarily for his writings on photography and politics, Strauss here focuses on the least mediated arts--painting, sculpture, and writing. His claims are supported by a series of close readings which succeed in recovering the immediacy of the hand and revitalizing contemporary art's connection to the past."