Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture

In Puritan New England, with its abiding concern for things not of this world and its distrust of forms and ceremonies, one art flourished: the symbolic art of mortuary monument stonecarvers. This carefully researched, beautifully illustrated work was the first to consider this art in depth as a meaningful aesthetic-spiritual expression. It is reissued for today's readers, with a new preface outlining changes in the field since the book appeared in 1966.

This pioneering book chronicles the transformation of public art in eighteenth-century France. As royal and ecclesiastical authority waned under the rule of Louis XV, there emerged nascent democratic institutions, a new metaphysics, and a radical political consciousness--a paradigm shift that profoundly marked the forms that commemorative sculpture and architecture took. As a French Catholic heritage gave way to more civic-minded and secular views of posterity, how was the monument reinterpreted? How did works by Clodion, Jean-Antoine Houdon, Augustin Pajou, Marie-Joseph Peyre, and Jacques Germain Soufflot, among others, speak to the aesthetic philosophies of Denis Diderot, Jean-Jacques Rousseau, and Voltaire? Analyzing an extraordinary range of artistic projects--from unrealized plans for a Bourbon memorial to the sculptural program for the Pantheon--Erika Naginski appraises how the Enlightenment art of res publica intersected with historical forces, social movements, and continental philosophies that brought Western culture to the cusp of modernity.

Jacobo Castellano, (Jaen, 1976), is one of the most complex and solid contemporary Spanish artists. He uses engraving to create a body of work based on the emotions and sensations that are hidden in his personal memory. In his work he uses elements such as curtains, wire, small piggy banks, coffins or those rhombuses that were placed on the top of the TV screen. These elements are superimposed creating structures that seem to be on the verge of collapse and that seem to want to hide something or point to a place to hide and protect themselves from imminent collapse. The work of Jacobo Castellano follows a defined line in which the recovery of remembrances stored in his memory leads to a deep reflection on essential issues such as identity, or life and death. Numerous collections of contemporary art have their production, like ARTIUM. Basque Center-Museum of Contemporary Art; CAAC. Andalusian Center for Contemporary Art; CGAC. Galician Center of Contemporary Art; Montenmedio Contemporary Art Foundation; or the Rafael Boti Provincial Plastic Arts Foundation, among others. Contents: Rincones polvorientos de la vida / Life's Dusty Corners, by Javier Hontoria El juego sin fin (notas de un coleccionista / The Endless Game (Notes of a Collector) by Luis Caballero Martinez Conversation with Joao Mourao and Luis Silva Text in English and Spanish.

"Marialuisa Tadei succeeds in giving the mystery of life abstract form, implying that it trascends the nature in which it ordinarily manifests itself suggesting that it is unwordly - beyond space and time - like God's creative wisdom." - Donald Kuspit Tadei's sculptures encourage the awareness of a vital and universal spirituality, leaving the mind free to find its sense of immortality. This monograph dedicated to the artist showcases her works, characterised by her bold use of colour and materials, including mosaic, glass, bronze and feathers, and by the lyrical and spiritual qualities of her artistic language.

Le Corbusier and Sardinian-born sculptor Costatino Nivola met in 1946 in New York. The Franco-Swiss architect had been living there in exile since 1939 and was working with a team around Oscar Niemeyer on the project for the United Nations headquarters. Their meeting marked the beginning of a life-long friendship between the two, with Le Corbusier sharing Nivola's Greenwich Village studio while working on the United Nations project and, in 1950, creating two murals in the kitchen of Nivola s East Hampton home. The artist put together a collection of some 300 drawings, six paintings, and six sculptures by his architect friend which today are held in various places across Europe and America. This book tells the story of the collection and explores its significance, thus contributing to the understanding of the evolution of Le Corbusier's visual art and its impact on the reception of his work in America. Text in Italian.