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both contemporary criticism and more recent scholarly reassessments, interviews with the artist, and Oldenburg's own unpublished manifesto on the Ray Gun Theater (the artist's name for his performance series in the back of The Store).

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Venus: To The Venus Of Melos Auguste Rodin, Dorothy Dudley Dorothy Dudley B.W. Huebsch, 1912 Venus de Milo; Venus de Milo (Sculpture); Venus of Melos

Have you ever wanted to draw or paint the human head? If you have tried it you probably have already discovered that faces are just about the most difficult thing there is to do. Proportions and perspective have to be right. You want to get a likeness with the right expression. The slightest pencil mark or brush stroke can make an amazing difference. How do you reach this high level of skill ? Working from life is the best way. Photos are fine for reference, but you need to develop a feel for the three dimensional form. So, find a friend or family member who is willing and able to sit perfectly still for hours at a time and get started practicing Can't think of anyone? Ok, hire a professional model. You'd soon go broke unless you are part of the 1%. The traditional path to portrait success starts with working from plaster casts for obvious reasons. Even better is to begin with a planar head...the human head broken up into planes which simplifies the task of converting a 3D object to a 2D surface. Planar heads are available commercially and can be ordered online. However, you would be well advised to make your own for two reasons: 1) cost and 2) feel. Of the two 'feel' is the most important. The experience of forming and building a three dimensional human head with your own hands is invaluable. By making your own model, shaping it with your own fingers, you will internalize the forms. They will become fixed in your mind never to be forgotten. The purpose of this book is to provide you with an easy and inexpensive way to make your own model of a life-sized human head. Useful for teachers, students, artists, photographers, sculptors, crafters, jewelers, decorators and others. How I did it and why. An in depth search on the internet for a 3D digital planar head came up with nothing. I decided to make one myself using Google Sketchup. I used only the basic tools found in the free version building it one line and one plane at a time. Organic modeling plugins are available, but they would result in a great many tiny planes. The idea was to model a useable head with the minimum number of planes. I divided the head into sections and unfolded them with the free unfold plugin. After going through the process I thought I could make a better head which resulted in Planar Head Two found in Part 5.

The diary of artist Michael Tieman in text and photos of the building of the sculpture "Courage." A sculpture standing in tribute to those who have, who are and who will battle Cancer.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Bulletin ... Societe pour la conservation des monuments historiques d'Alsace Berger-Levrault., 1893 History; Europe; France; Alsace (France); History / Europe / France; Travel / Europe / France; Travel / Museums, Tours, Points of Interest

How to cast bronze? This complete tutorial will show you a simple, safe and easy way to cast a small, fist size sculpture in bronze at little cost and little effort. The method described in this manual is called the thin ceramic shell, lost wax technique. This is the same technique implemented by modern art foundries; it has simply been adapted to make it possible in the backyard and is the easiest way for the home founder to make a small sculpture to a high degree of quality at little cost and with easily found tools and materials. This manual focuses on a simple yet rewarding 5 days project that will allow the home enthusiast to cast a small piece safely, quickly, cheaply and to a high standard of quality. The manual will introduce you to the basics of wax working, sprueing a wax model, mixing and applying a ceramic slurry, making your own crucible and making an efficient yet affordable furnace, melting and pouring the metal and finally chasing and fettling the bronze before applying a simple patina. The second part of the manual discusses more advanced casting techniques and gives further advice and guidance on how to set up a small scale home foundry. The tools and materials necessary are easy to find. An appendix lists many stores where specialised materials can be purchased in different countries.

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

The genesis of this volume was a conference co-organized at the University of York, U.K., in 2007 entitled New Voices on Early Medieval Sculpture. Opinions voiced at this conference demonstrated quite clearly that the study of early medieval sculpture in Britain and Ireland is changing. New technologies and evidence (including that which contextualizes sculptural production and patronage), coupled with increased methodological awareness, is generating compelling new interpretations of the role(s) of public art in memorial contexts. 1) Approaching pre-Conquest stone sculpture: historiography and theory (Michael F. Reed); 2) Another perspective on the origins and symbolic interpretations of animals in Early Medieval sculpture in Northern England and French Burgundy (Nicole M. Kleinsmith); 3) Putting memory in its place: sculpture, cemetery topography and commemoration (Zoe L. Devlin); 4) A cross-head from St Mary Castlegate, York, and its affiliations (Victoria Whitworth); 5) Commemoration at York: the significance of Minster 42, 'Costaun's' grave-cover (Heather Rawlin-Cushing); 6) Aspects of the Anglo-Saxon tradition in architectural sculpture and articulation: the 'overlap' and beyond (Malcolm Thurlby); 7) Laser scanning of the inscribed Hiberno-Romanesque arch at Monaincha, Co. Tipperary, Ireland (Orla Murphy)."

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

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.

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.

Based Upon The Collections In The National Museum.

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.

This book is about Art, Sculptures, Inventions, and how much time goes into each and every process to complete it, from ideas in the head, to working models or prototype. It's "Art Unseen" period. The art contained in these pages took years to complete it is one man's life work "Sebastian Thomas Vaina" he could have been famous but he was not. He was a humble man who was kind and loving to everyone. He was a Master Carpenter who could do anything with wood. Here is his chance for his dream to come true for what he has done.

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.

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.

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.

Tina Haase works with trivial things. She hoards, stratifies, compresses, and frees things from their one-dimensional view. Sculptures, wall objects, drawings, installations, films, and performances are created with irony and humor, in which things question our self-evidence through astonishing redistribution.