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.

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

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.

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").

This study of the monument of Godfrey of Bouillon offers new insights to the political uses of public monuments devoted to figures from the past, modern uses and appropriations of the Middle Ages, and the role of historical culture in the creation of national identity. On 15 August 1848, a bronze equestrian statue of the crusading hero Godfrey of Bouillon (d.1100) was unveiled in the Place Royale in Brussels, Belgium's capital. Conceived and largely funded by the national government, its creation was a major element in a programme of political and cultural consolidation put into place after the Belgian Revolution (1830-1831) and the consequent establishment of the nation's independence. From the outset, the monument was designed to transmit ideas about history and nationhood, and functioned as a focal point in discussions of politics, language, religion and identity. This book sheds new light on a range of dynamics in nineteenth-century Belgium, using the statue as a prism; it investigates responses to it both home and abroad, and traces broader national interest in the commemoration of Godfrey, adopted as a national hero despite being born almost 800 years before the emergence of the state. Above all, it reveals that Belgian politics and culture in this period were profoundly shaped by a sustained interest in the Middle Ages, and by efforts to shape a historical narrative that traced Belgian nationhood back to that era, and beyond.

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.

Having met the elusive Maggi Hambling, This book is pure Maggi at her best.The book details the first ideas for the scallop to its placing on Aldeburgh beach .The book also tells us how Maggi became an artist. Anyone from Suffolk will relate to Maggi's work.First published in hardback 2010.

This is a book about classical sculptures in the early modern period, centuries after the decline and fall of Rome, when they began to be excavated, restored, and collected by British visitors in Italy in the second half of the eighteenth century. Viccy Coltman contrasts the precarious and competitive culture of eighteenth-century collecting, which integrated sculpture into the domestic interior back home in Britain, with the study and publication of individual specimens by classical archaeologists like Adolf Michaelis a century later. Her study is comprehensively illustrated with over 100 photographs.

One of the difficulties about how our minds work is that we often cannot quite clearly see or know what is inside us. Art therapists have a longstanding tradition of prescribing image-making to prompt expression of feelings, often by asking people to draw, paint, or sculpt "how you feel." It is one of the fundamental approaches in the field that distinguishes art therapy from verbal techniques that ask people to simply talk about their emotions. Author Erica Jong once wrote that imagery is a form of emotional shorthand. This could be interpreted to mean that while we may use paragraphs of prose to describe an emotional experience, images allow us to communicate simply and directly. At its core, art therapy embraces the paradigm that creating images cuts to the chase when it comes to expressing feelings. The point is not to draw well. But to draw with authenticity. This is specifically a book for people who can't draw.

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."

This book tells the story of the Del Riccio family in Florence in the early modern period, investigating the cultural mediations fostered by the family between Florence, Rome, and Naples, as well as shedding light on the intellectual and social exchanges between different regions of Italy and on the creation of foreign nations within the main Italian cities. These social and cultural dimensions are further explored through the study of the obsessive persistence of the family's relationship with Michelangelo Buonarroti, exhibited both publicly, in the Florentine and Neapolitan family chapels, and privately in their homes. The main achievement of this study is to move the focus from the ruling power, the Medici family and the immediate members of their court, to a Florentine middle-class family and its social mobility: this shift from the conventional narrative to a distributed microhistory is fundamental to better assess the use of images and artworks in early modern Florence and abroad. The aesthetic and stylistic choices in the use of art and art display made by the Del Riccio reveal a deep awareness of the substantial differences in taste and meaning between different cities of the Italian peninsula. The book will be of interest to scholars working in art history, visual culture, and Renaissance studies.

LAND ART IN THE U.S.A.

A study of land art in America, featuring all of the well-known land artists from the 'golden age' of land art - the 1960s - to the present day.

This book explores all of the major American land, environmental and earthwork artists of the past 40 years, as well as European land artists working in North America. The book includes chapters on James Turrell and his vast volcano site Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Robert Morris's environments and observatories Walter de Maria's Romantic Lightning Field and Earth Room Dennis Oppenheim's concentric snow circles Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre. And Europeans such as: Hans Haacke's Conceptual art Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures and Christo's wrapped buildings and islands.

EXTRACT FROM THE CHAPTER ON ROBERT SMITHSON

Robert Smithson is the key land artist, the premier artist in the world of land art. And he's been a big favourite with art critics since the early Seventies. Smithson was the chief mouthpiece of American earth/ site aesthetics, and is probably the most important artist among all land artists.

For Robert Smithson, Carl Andre, Walter de Maria, Michael Heizer, Dennis Oppenheim and Tony Smith were 'the more compelling artists today, concerned with 'Place' or 'Site''. Smithson was impressed by Tony Smith's vision of the mysterious aspects of a dark unfinished road and called Smith 'the agent of endlessness'. Smith's aesthetic became part of Smithson's view of art as a complete 'site', not simply an aesthetic of sculptural objects. Smithson was not inspired by ancient religious sculpture, by burial mounds, for example, so much as by decayed industrial sites. He visited some in the mid-1960s that were 'in some way disrupted or pulverized'. He said he was looking for a 'denaturalization rather than built up scenic beauty'.

Robert Smithson said he was concerned, like many land (and contemporary artists with the thing in itself, not its image, its effect, its critical significance: 'I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation'. Smithson's theory of the 'non-site' was based on 'absence, a very ponderous, weighty absence'. Smithson proposed a theory of a dialectic between absence and presence, in which the 'non-site' and 'site' are both interacting. In the 'non-site' work, presence and absence are there simultaneously. 'The land or ground from the Site is placed in the art (Non-Site) rather than the art is placed on the ground. The Non-Site is a container within another container - the room'.

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming 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 newly revised text for this edition. Bibliography and notes. ISBN 9781861714060. 328 pages.

www.crmoon.com