This book teaches new techniques that anyone can use to create fabulous masks easily and quickly. Make one of the 12 popular mask styles in the book with detailed instructions and over 300 step-by-step photos - or use these easy new methods to create your own unique designs. Jonni shows you exactly how to sculpt the features of your masks so they truly represent the character and expression you're looking for. Then capture that look permanently with just two layers of super-strong, fast-setting paper mache, using the recipes included in the book. Your finished masks can look like they were made from fur or feathers, antique gold, ancient bone, rusted iron, glazed porcelain, and even carved and highly polished African wood. The innovative methods in this book are easy, the materials cost just pennies per mask, and your new creations will be even more fun to make than they are to wear. This book takes the art of paper mache masks to a whole new level.

The "Body Casting Manual" is a complete and easy to follow life casting instruction manual explaining in details how to make a realistic, life size and very elegant plaster sculpture of someone's torso (or any other body part.) A rewarding project The manual focuses on a simple yet wonderfully rewarding project taking you through all the necessary steps to make a casting of a female torso. We have selected affordable and easy to source products and illustrated a method that is both proven and easy to implement, ensuring that you complete your sculpture to satisfaction with a minimum of fuss. The resulting sculpture will be an amazingly faithful reproduction of someone's body, a durable and elegant memento. The manual also explains some other methods and techniques to cast other body parts such as hands, face, hair, pregnant belly, clothing and how to use some other casting materials. What does the manual cover? Overview of the process. What tools and materials to buy, how much to buy and where to buy it from. Step by step directions. Finishing, hanging. Safety tips Troubleshooting. Pictures and illustrations. Other projects (hands, face, pregnant belly etc...). Using other materials than plaster. Measurements are expressed in both metric and US customary units. Most importantly, the manual tells you exactly where to buy some of the special materials needed, saving you much time and effort and includes a comprehensive list of supplies stores (USA, Canada, UK, Australia, NZ, South Africa, France and more...) Support. An online discussion board allows readers to ask technical questions and point of clarification and to share and contribute their own experience with others. An online video clip illustrating the entire step by step body casting procedure is recommended viewing.

Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in "Emilio Vedova Scultore" originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications.
This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the ... Cosiddetti Carnevali... (... So-called Carnivals...). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space.
This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.

CURING "BURABURA" is a unique collection of true stories, creative insights, poems, and photos of scripture sculptures that help unravel the truth behind the world around us. Each page takes people deeper into understanding the "amazing" grace and intensity of living in relationship with God Almighty. Many people have been thrown into spiritual shock and confusion (burabura) by drastic cultural change and disastrous circumstances that cannot be reconciled with the whimpy, overly-affectionate, non-judging "God" concepts being paraded around today. The author speaks the truth in love and exposes bogus philosophy and theology while exalting the true and "Great Shepherd" of our souls. What People are Saying About: Curing "Burabura""A convincing and creative personal account of what is needed to heal America's spiritual apprehensions and aimlessness.""The great true-life stories help underscore the deep truths in this book.""God help us all to have ears to hear what is being said to us in this book. We all need to learn to think more outside the box when it comes to some of our beliefs.""Bravo Millson openly shares what many church leaders are afraid to say to this nation full of people with selfish and hard idolatrous hearts."Jim and his wife Kathy raised their three sons in the western foothills of Washington's North Cascades. Their home sits soundly atop bedrock between a picturesque waterfall out one living room window, and a view of 10,750 foot glaciated Mt. Baker out the other. Jim is a keen observer of the culture around him. His in-depth travels, education and community involvement have given him a fascinating perspective into our world. WARNING: The Devil will distract you any way he can to keep you from reading this book. Pray for grace to overcome this obstacle.

ANDY GOLDSWORTHY IN CLOSE-UP

This book about the art of British sculptor and land artist Andy Goldsworthy considers each of his recurring motifs and forms and explores them in detail, with illustrations facing the text on each page. Includes many works in the U.S.A., and this edition has been completely updated.

EXTRACT FROM THE INTRODUCTION

One of the problems Andy Goldsworthy's art addresses head on is the age-old relation between the 'real world' and art, between objects as they are in the everyday world, and objects as they are represented in art. Goldsworthy makes the viewer look again at nature: not just at the beauty of it, but at the multitudinous variety of forms in nature. His sculpture is a poetry of natural forms, in which notions of 'representation' are sidestepped, because he uses things 'as themselves' (the use of photography, though, brings in the politics of representation). The snowball in Snowballs in Summer (1989 and 2000) is not plastic masquerading as a snowball, but a real snowball. Similarly, the twigs and stalks and needles and pebbles folded into the snowballs are real.

What's amazing is the actuality of nature: the variety of forms, the way the branches twist, for instance. Andy Goldsworthy would have the viewer look closely at nature again. By using 'real' objects, Goldsworthy aims to demolish notions of representation and mediation. Instead of a picture of snow, one has in Goldsworthy's art snow itself; rather than paint pebbles, or sculpt them in bronze, Goldsworthy uses real pebbles. Of course, there are problems with using objects as objects - Marcel Duchamp with his readymades confronted this problem. The issue is partly one of context: for, placed in a museum, so obviously as items to be studied, the natural forms become art. The snowballs may not be on pedestals, but they are perceived as art objects. The leaf sculptures are more obviously works of art, set on shelves, or photographed against paper backdrops, as bottles of perfume or Swiss watches are photographed for ads. If one is looking at a Goldsworthy sculpture in a book or a gallery, one is a already anchored in a gallery/ art/ aesthetic mode of viewing. If Goldsworthy's sculptures are in a gallery, one sees them as art (and a particular kind of Western, bourgeois art, the sort of art that is exhibited in Western, bourgeois galleries). Carl Andre explored the relation between real and represented objects with his controversial pile of bricks. The sculpture was 'controversial' because the general public (whoever they are) perceived, via the media, that Andre had simply stuck some bricks into a gallery. Or rather, that (in Britain) tax-payer's money had been used to purchase Andre's bricks. A pile of bricks on a building site is... a pile of bricks. A pile of bricks in an art gallery is... sculpture. Context is everything here.

A comprehensive survey of the work of the legendary Swiss artist, this book illustrates and examines more than 100 of his sculptures, paintings, drawings, and prints This lavishly illustrated retrospective traces the early and midcareer development of the preeminent Swiss artist Alberto Giacometti (1901-1966), examining the emergence of his distinct figural style through works including a series of walking men, elongated standing women, and numerous busts. Rare paintings and drawings from his formative period show the significance of landscape in Giacometti's work, while also revealing the influence of the postimpressionist painters that surrounded his father, the artist Giovanni Giacometti. Other areas of inquiry on which Alberto Giacometti casts new light are his studio practice-amply illustrated with photographs-his obsessive focus on depicting the human head, his collaborations with poets and writers, and his development of the walking man sculpture, thanks to numerous drawings, many of which have never been shown. Original essays by modern art and Giacometti specialists shed new light on era-defining sculptural masterpieces, including the Walking Man, the Nose, and the Chariot, or on key aspects of his work, such as the significance of surrealism, his drawing practice, or the question of space. Distributed for the Cleveland Museum of Art Exhibition Schedule: Cleveland Museum of Art (March 12-June 12, 2022) Seattle Art Museum (July 14-October 9, 2022) Museum of Fine Arts, Houston (November 13, 2022-February 12, 2023) The Nelson-Atkins Museum of Art, Kansas City (March 19-June 18, 2023)

First published in 2009, this lively art book will be re-released in 2015 alongside a new edition of the biography - as the art and life of Len Lye continue to fascinate readers in New Zealand and around the world. ""Kinetic art is the first new category of art since prehistory"", ex-pat New Zealand artist Len Lye boldly claimed in an essay in 1964. In Art that Moves: The Work of Len Lye, Roger Horrocks - author of a best-selling biography of Lye - explores what Lye meant by this, and how his own work in sculpture and film bore it out. ""My book is about an important artist and a big idea, Len Lye's idea that movement could become the basis for new forms of art. . . He believed that only a few of the possibilities of movement had so far been tapped. This book aims to explore what the world of art - and the world in general - may have looked like through the eyes of an artist whose passionate interest was 'the mystery of motion."" - Roger Horrocks. The well-illustrated book also includes a DVD containing a short documentary by Shirley and Roger Horrocks alongside brilliant footage from Lye's films and of his sculptures in motion. In this book Len Lye's art moves again - alert and alive.

ANDY GOLDSWORTHY IN AMERICA

This study looks at the contemporary British artist, Andy Goldsworthy, and his work in the United States of America. Goldsworthy's presence in America grew steadily with a series of exhibitions beginning in the late Nineties with the Storm King Wall and show. This was followed by: Cornell University in 2000; the Three Cairns show and installations in 2002-03; Austin Museum in 2003; the Garden of Stone and Stone Houses in New York City in 2003-04; and Roof in Washington in 2005.

There are a number of essential sites to visit for Andy Goldsworthy's art in America: (1) the slate mounds in Washington's National Gallery of Art; (2) Garden of Stones in New York's Museum of Jewish Heritage; (3) the cracked stones at the de Young Museum in San Francisco; (4) the Storm King Wall in New York; and (5) Three Cairns in Des Moines, Iowa.

Fully illustrated, including images of the American landscape, and Goldsworthy's contemporaries.

Includes photographs taken by the author of Andy Goldsworthy's works in America, including in Washington, DC, San Francisco, New York State and Iowa.

Bibliography and notes.

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. EXTRACT

Andy Goldsworthy works with the natural world, and within nature. He uses natural materials in natural shapes and forms set in natural contexts. Goldsworthy takes his cue from nature: as Jan Dibbets put it in 1969: 'I realized that if you want to use nature, you have to derive the appropriate structure from nature too'. Nature may be the starting-point but, as we'll see, the end-point - art - is entirely cultural and not something you'll ever find in the natural world.

Andy Goldsworthy seems to be a particularly gentle and sensitive artist, compared to many sculptors and land artists: he stitches together leaves to form lines (which're often placed in water, or over branches), or makes circular slabs of snow, or entwines twigs in an arc. He creates a delicate spiral of chestnut leaves, called Autumn Horn (1986); he pins bright yellow dandelions on willowherb stalks in a circle, on bluebells (1987); he makes lines and cairns of pebbles; a horizontal line of red sumach leaves was pinned to a willow (at Storm King in 1998); he rubs red stones to stain rockpools; he pins leaves to tree trunks; he fashions a zigzag line of hogweed stalks along a fallen elm tree (2002); he makes hollow, circular structures, recalling igloos, from slate, leaves, driftwood and bracken; he creates long wavy ridges in Arizonan and Australian desert sand; he throws sand and sticks in the air and photographs the moment.

This work focuses on contemporary Zimbabwean Stone Sculpture - widely known until the early 1990s as Shona Sculpture - from the perspective of a critical anthropological analysis of cultural identity and representation. The analysis frames the inception of this art movement within the colonial socio-historical circumstances of its genesis, where discourse about the producers of this art form (Shona discourse) was created. Drawing from the social context of inequality and racial (spatial) segregation, and from the concepts of the primitive in art and anthropology, the author aims to show how Shona discourse entails a primitivist construction of the Other (i.e., the sculptors' cultural identity) that is directly linked to modernist primitivism. Shona discourse, as a temporalising discourse, situates the producers of so-called Shona sculpture in an extra-ordinary time, the time of primitive myth, magic and cosmology, constituting in this sense a good example of allochronic discourse. Originating within the colonial politics and ideology of the 1960s, and contested by younger generations of sculptors from the 1990s onwards, this discourse was, paradoxically, appropriated by the cultural politics of indigenisation during the early period of the post-independence Zimbabwean State as part of its national identity and heritage.

Sculpture Off the Pedestal is a behind-the-scenes look at the creative process of 25 leading sculptors from the Renaissance to the present through their own words or those who knew them. Aiming to avoid dry-as-dust art histories, Sculpture Off the Pedestal puts old and modern master sculptors by the reader's side, emptying their heads about their work and their ways of thinking. The book is intended not only for the art student or art lover, but also for the untutored and those who think of art as a remote subject. Most art histories focus on painting. Chronicling the lives of sculptors in and out of their studios fills a gap.

If you've always wanted to create life-like animal sculptures, but you think it's "too hard" or "too expensive," you're in for a very pleasant surprise.

This book contains step-by-step instructions and over 250 photos to guide you through the enjoyable process of making your first animal sculptures with the all-new paper mache clay recipe. Make your clay in just 5 minutes, using inexpensive ingredients. There's no tedious layers of torn paper and paste, and no mess.

Plus, the patterns included in each chapter help make your sculptures perfectly proportioned from the very start.

Creating life-like animal sculptures has never been so easy, or so much fun!

The Million Dollar Machine (MDM) is a life skills enrichment program for all children in Grades K-6. This award-winning teaching system enables educators, mentors and parents to give their children the knowledge and motivation they need to achieve their personal best in life. With this easy-to-use lesson collection, children will immediately begin benefiting from these classroom-proven activities that shape a wide variety of essential personal, social, cognitive and environmental skills. MDM's health and decision-making skills also protect children from drug use and other risky behaviors; a key benefit that earned this program a Presidential Award at the White House. This new edition includes the entire nationally tested lesson collection, validated by 5 scientific studies, with more than 600 integrated activities and discussion topics, 80 interactive parent/child worksheets, vocabulary and complete use guidelines. Teachers, mentors and parents praise the age-appropriate MDM lessons because they are effective, economical and easy to use in the classroom and at home. Children love MDM because it makes learning fun!

1918. The volume is comprised of a series of photos of sculptures by Rodin, poet and philosopher, sublime genius, and master sculptor. Rodin is considered to be one of France's greatest artists. No other modern artist has been so controversial, yet had such extravagant epithets and honors, nor had such international impact. A substantial introduction is provided by Louis Weinberg.

1931. From the Johns Hopkins University Studies in Archaeology No. 13 edited by David M. Robinson. This study is an attempt to gather into a single collection the sculptured portraits of Greek statesmen from the earliest stages of Greek history down to Roman times, to bring together the theories expressed before the publication of Bernoulli's standard work Griechische Ikonographie, as well as the numerous identifications proposed since that time; and finally to revise some of the prevailing theories in portraiture. The Contents are divided into the following Sections: Hellenic Statesmen; Alexander the Great; and Hellenistic Statesmen.

Documenting the work of twelve contemporary sculptors from Texas, "Material Culture" was published to accompany the exhibition of the same name at TCU in 2008. Both representational and abstract, the works in the exhibition were made from readymade and commonplace materials with an emphasis on craft, process, and the use of the hand. Providing a survey of the ongoing embrace of object making in Texas, the essays in this book examine formal, conceptual, cultural, and social issues from American and international perspectives. The authors do not argue for a regional sensibility, given the irrelevance of regionalism in our global society, but for the strength of an art that celebrates material culture in an increasingly dematerialized world. Artists represented include Helen Altman, Richie Budd, Margarita Cabrera, Bill Davenport, Jonathan Durham, Lily Hanson, Joseph Havel, Jessica Halonen, Katrina Moorhead, Chris Sauter, Polly Lanning Sparrow, and Brad Tucker. Multiple color photographs document the works as they appeared in the exhibition. Each artist is also represented by an extensive biography and bibliography.

Probably most comprehensive book on creating almost anything using a combination of metal or plastic mesh and concrete, commonly known as Ferrocement process. The reader/user will spend a modicum of money to become a proficient amature sculptor.

Puget Sound's rich abundance of life - from mammals to birds - can be attributed to the fact that the region is far more than just a body of water. Edged by an extraordinary range of habitats, this region is visited and occupied year-round by species that are finely tuned to exploit the resources here that are necessary for their survival. Birds are among the most obvious occupants of these communities, and witnessing their dynamic lives has been a source of inspiration for artist and naturalist Tony Angell. For nearly fifty years Angell has used Puget Sound's natural diversity as his artist's palette. In this book, he describes the living systems within the Sound and shares his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the fledging flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Angell goes on to explain the methods he uses in his art. The shapes, movements, patterns, and even temperatures and smells that he experiences in the field are all brought to bear on his work. His drawings bring clarity to his visual and emotional memories, and his sculptures allow him to approach a memory from many directions and retain that memory in his hands. In all of his work, he lets the passion and excitement of his discoveries drive his artistic expression. Angell augments his descriptions of the wildlife of the Puget Sound region and his working methods with two appendices listing guides and references to this and other regions by other artists and naturalists. These resources not only put wildlife viewers in touch with the times and places to view particular species, but also speak to the patience and willingness to be delighted that are necessary to increasing the understanding of our wild neighbors. See Tony Angell on YouTube: http://www.youtube.com/watch?v=jCemt7hVK_4

Based Upon The Collections In The National Museum.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

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.

ADAPTATION is a project about the impact of design in people's daily lives and the 'redesign' of public spaces by the people who use them. We have invited artists who approach design and everyday life in various ways: Adams, APA (Akay, Kidpele and Made), Brett Bloom and Bonnie Fortune, Marjolijn Dijkman, Brad Downey, Ulrika Erdes, Dominic Hislop and Leopold Kessler. Their work ranges from examinations of the human use and construction of space in photographic documentation and research to interventions in specific locations in the city. Those interventions and investigations show how design structures public life. They suggest alternative ways to experience and use the city. With simplicity and ingenuity, they reveal design as a central force in shaping our daily lives. Presented by Peacock Visual Arts for Six Cities Design Festival. The Six Cities Design Festival is a project developed and managed by The Lighthouse, Scotland's National Centre for Architecture, Design and the City, and is funded by the Scottish Executive. You can also download a pdf of this publication at www.peacockvisualarts.com/adaptation.

ALISON WILDING

Alison Wilding is one of the best sculptors around. She deserves a much wider recognition that she receives at present. Wilding was born in Blackburn, Lancashire, in 1948. She went through the typical British art school education Ravensbourne College of Art (1967-70) and the Royal College of Art (1970-73). Her one-woman shows have included Kelttles Yard Gallery, Cambridge (1982), the Serpentine Gallery, London (1985), Hirschl & Adler, New York (1989), Bare at Newlyn Art Gallery (1993), and a major show (Immersion and Exposure) at both the Tate Gallery, Liverpool and the Henry Moore Trust studio in Halifax (1991). She has shown new work most years since the early 1980s at her galleries.

Theres something in Alison Wildings sculpture which fascinates art lovers. Its difficult to say exactly what this quality of Wildings sculpture is. Something magical, perhaps, or mysterious, or erotic. These are the sorts of terms art critics employ when they are at a loss for words. Artists such as Mark Rothko famously get this treatment (Rothkos canvases are called transcendent, sublime, spiritual). John McEwen writes of Alison Wilding:

She is pleased when her work conveys a sense of the magical, and certainly it has a powerful sense of mystery. Mysteriousness does not lend itself to description, analysis or explanation; as she herself put it to me in conversation, her pieces do not demand to be talked about. That suggests that they do not demand to be written about either, I said. They dont mind, she said.

Penelope Curtis writes of Wilding: Even the smallest of her often small sculptures has tremendous and commanding presence; there is a sense of levitation in her works.

Fully illustrated with many examples of Wildings work, and that of her contemporaries.