LAND ART: POCKET GUIDE

A fully illustrated pocket guide to land and environmental art.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 971861714039. 280 pages.

www.crmoon.com

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.

In 1907, London students rioted over a statue, one episode in the conflict over vivisection and animal rights. A libel case made London a hotspot. Anti-vivisectionists lost in court but fought a propaganda war. This text provides a rare eyewitness account.

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 9781861714404. www.crmoon.com

Lisa Fedon is creating a series of books all under the title of Sculpture Speaks to share her insights in the hope of helping and inspiring others to follow their dreams. Do what you love.

LAND ART: A COMPLETE GUIDE TO LANDSCAPE, ENVIRONMENTAL, EARTHWORKS, NATURE, SCULPTURE AND INSTALLATION ART

A fully illustrated guide to land and environmental art. A newly updated and revised edition of our best-selling book.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

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.

Includes new illustrations, bibliography, notes. 380 pages. ISBN 9781861714381. www.crmoon.com

This is the official guide to Benjamin Waterhouse Hawkins' sculptures at Crystal Palace, Sydenham, including dinosaurs and other monsters. Owen's guide offers technical descriptions of their biology and geology.

This book celebrates Nash?s year-long exhibition at the Royal Botanic Gardens, Kew. Stunning colour photography documents the exhibition in its entirety, allowing outdoor works to be appreciated against a changing seasonal background and showcasing new works created during the artist?s six-month Kew residency. Essays from renowned contributors explore different facets of Nash?s art and practice in relation to the Kew exhibition.

2nd Edition. To celebrate their 50th wedding anniversary in 1998, Ralyn and Nathan Wolfstein made a gift to establish the Wolfstein Sculpture Park at Scripps Memorial Hospital La Jolla. The vision was to enhance the course of healing for patients, their families, visitors, and staff, by integrating art with a healing environment. The Wolfsteins were so moved by the beauty of the surrounding grounds of the hospital, that they also donated five sculptures that year to begin the sculpture park, a tradition they have continued and encouraged others to join.

The theme of the erotic is ever present in the work of Auguste Rodin, both in his sculptures and in his many drawings. Throughout his career, he depicted sexual desire in all its facets, in every mood from delicate innocence to frank intensity, bearing witness to an endless fascination with the flesh and a love of the female form. Taking a chronological path through Rodin's life, this is an intimate approach to the many faces of sex and sensuality in his body of work and in the society within which his art was forged. The text discusses his relationships with women, his friendships with poets and artists, and the controversy that his sculptures caused in the late 19th and early 20th centuries, when French society was marked by a hypocritical disparity between public morals and private desires. This witty and perceptive book, packed with beautiful images, will shed new light on this intriguing aspect of the artist's world and his skill at capturing the fleeting nature of pleasure in timeless art.

Landings: Birds in the Parkis a traveling public art project started in 2008. Both event and exhibition, it involves the temporary installation of a flock of porcelain birds, which appear one day and are gone the next. The birds have cobalt images and text silk-screened and fired onto them, investigating aspects of humanity, specifically around war and peace. The birds have landed in over sixty locations, including Central Park and the UN Headquarters in NY, many locations in Santa Fe, beaches along the coast of California, the National Mall in Washington D.C., Chartres Cathedral in France, the weapons development site of Peenemunde, Germany, and have migrated as far as the Galapagos Islands.

Based Upon The Collections In The National Museum.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Paper Crystals are enchanting sculptures made from simple units folded from ordinary paper which lock firmly together without any need for sticky tape or glue. Paper Crystals are enchanting to look at, fascinating to make, and seem to have the ability to focus harmony and peace wherever they are displayed, making them ideal ornaments for your home or workplace and perfect gifts to share with your friends. Everything you need to know is explained in pictures and words in the clearest detail. This fully revised and much expanded Second Edition is a must for the collection of every origami aficionado but will also appeal to those who are interested in partnership art.

LAND ART IN GREAT BRITAIN

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed. The book also considers prehistoric art, stone circles, Romanticism, poetry, religion, women's art, contemporary art, and the impact of the British landscape on British land art.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 9781861714015. 352 pages.

www.crmoon.com

EXTRACT FROM THE CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy's snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and 'shock' for Goldsworthy. In Midsummer Snowballs he wrote that 'even in winter each snowfall is a shock, unpredictable and unexpected.'

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child's joy when it snows (school's cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of 'the effect, the excitement' of the first snowfall. Some of this excitement comes across in Goldsworthy's snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy's earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn't have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

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.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Constantin Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713384. 180 pages.

This new (5th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Brancusi's studio in Paris, and the art of his contemporaries.

This book will teach you how to execute a patina following step by step instructions, what to expect as you work and many factors that influence the final result. It also cover some history about patinas in antiquity and many other interesting facts about the subject of coloring bronzes.

An annotated inventory of works by architectural sculptor Walter Gilbert and associates

Parks, maps, and mapping technologies like the GPS are objects of visual and material culture that rely on the interplay of text, context, image, and space to guide our interpretations of the world around us. LOCATING VISUAL-MATERIAL RHETORICS: THE MAP, THE MILL, AND THE GPS examines in depth, and in several contemporary settings, how visual and material discursive artifacts, when understood as rhetorical, shape our understanding of the unique cultural moments that these artifacts set out to represent. Using three cases that involve an exploration of the corporeal influence of the green spaces and commemorative sculptures at the Lowell Mills National Historical Park in Lowell, Massachusetts; the cartographic texts produced by GPS devices; and two maps involved in a federal court case about marine mammal protection, this book explores and tests the value of what Propen calls "visual-material rhetorics," or a visual rhetoric more expressly attuned to studies of space, the body, and materiality. Grounding all three cases is a theoretical approach that combines Michel Foucault's theory of heterotopias with Carole Blair's theory of material rhetoric. Such an approach brings Foucault's important work on spatiality into conversation with visual-material rhetorics to show how we benefit from conceptualizing rhetorical objects as not merely textual in the traditional sense but also as both visual and material-as spatial. Together, the cases in this book demonstrate how visual-material rhetorics illuminate the contexts that shape our various lived and embodied experiences and how visual-material rhetorics function in the service of advocacy. AMY D. PROPEN is Assistant Professor of Rhetoric and Composition at York College of Pennsylvania. She received her PhD in Rhetoric and Scientific and Technical Communication from the University of Minnesota. Her research on visual rhetoric, critical cartographies, and rhetoric as advocacy has appeared in journals and edited collections, including Technical Communication Quarterly, Written Communication, ACME: An International E-Journal of Critical Geographies, and Rethinking Maps: New Frontiers in Cartographic Theory. She is co-author, with Mary Lay Schuster, of Victim Advocacy in the Courtroom: Persuasive Practices in Domestic Violence and Child Protection Cases.

A collection of sculptural works and poems

Contemporary criticism, interviews, scholarly reassessments, and texts by the artist focusing on Claes Oldenburg's sculptures, installations, and multimedia performances between 1960 and 1965. Claes Oldenburg (born in 1929) is largely known today as a pop art sculptor. Oldenburg himself described his formless canvas and vinyl soft sculptures-gigantic hamburgers and ice cream cones, cushiony toilets and typewriters-as "objects that elude definition." This collection of writings revisits not only Oldenburg's soft objects from the early to mid 1960s but also his pioneering installations The Street (1960) and The Store (1961-1962) and his often overlooked multimedia performances. As the artist translated his ideas and beliefs into various media and formats, his work drew on a range of styles and schools, including abstract expressionism, Happenings, pop art, minimalism, and postminimalism. Perhaps because of their refusal to be classified, these artworks are as contemporary today as they were when they were created between 1960 and 1965. This collection serves both as a summation of early critical thinking on Oldenburg's art and a starting point for consideration of the artist as a forerunner of current art trends of stylelessness and intermediality. It includes both contemporary criticism and more recent scholarly reassessments, interviews with the artist, and Oldenburg's own unpublished manifesto on the Ray Gun Theater (the artist's name for his performance series in the back of The Store).