|
Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
|
Sarah Sze: Fallen Sky
(Hardcover)
Sarah Sze; Edited by Nora R Lawrence; Foreword by John P. Stern; Text written by Susan Choi, Angie Cruz, …
|
R1,104
Discovery Miles 11 040
|
Ships in 12 - 17 working days
|
|
The expression 'the Zola of Sculpture' was coined in the circles of
the Royal Academy in the 1880s as a term of abuse. Rodin: 'The Zola
of Sculpture' reveals how the appraisal of Rodin in British culture
was shaped by controversies around the literary models of Zola and
Baudelaire, in a period when negative notions about French culture
were being progressively transformed into positive expressions of
modern sculpture. Embedded within this collaborative book is the
editor's proposition that Rodin came to play an important role in
the cultural politics of the Entente Cordiale at a critical
juncture of European history. Encompassing new scholarship in
several disciplines, drawn from both sides of the Channel, Rodin:
'The Zola of Sculpture' offers the first in-depth account of
Rodin's career in Britain in the period 1880-1914 and weaves this
historical trajectory into a complex investigation of the
interactions between French and British cultures. The authors
examine the cultural agencies in which conceptions of Rodin's
practice played a defining role, dealing in turn with artists'
professional associations, art criticism, private and public
collectors and the education of women sculptors.
Pierre Culot (1938-2011) was a Belgian ceramist and sculptor who
was trained by Antoine de Vinck and English master potter Bernard
Leach. He is one of the ceramists of the 1950s who transformed
their craft into an art form. In his work, Pierre Culot
passionately expresses his desire to be in the world, to be on
earth and to be in nature the sole generator of life and beauty.
The clay that he molds into slabs, scratches and enamels becomes
containers for daily use with majestic presence. Over his career
Culot aimed at mastery of his practice, shaping his pieces in terms
of size and in surface effect, by combining the raw earth in each
item with luxuriant enamels that had unique variations. All
of Culot’s life he remained faithful to his initial experience as
a potter, evolving his ceramic works from basic forms (bowls,
plates, jugs) to more daring shapes (cruciform vases, gourds,
compound pots, inkwells), and even into the landscape space by
sculpting garden walls. This book offers a complete overview of his
unique and multi-faceted career in pottery, sculpture and
landscaping. Distributed for Mercatorfonds
First opened in 1873, the Victoria and Albert Museum's Cast Courts
were purpose built to house copies of architecture and sculpture
from around the world. They contain some of the Museum's largest
objects, including casts of Trajan's Column (shown in two halves)
and the twelfth century Portico de la Gloria from the cathedral at
Santiago de Compostela. Among the Museum's most popular galleries,
the Cast Courts are an extraordinary expression of Victorian taste,
ambition and public spirit. Published to celebrate the opening of
the refurbished Cast Courts at the V&A, this book presents a
fresh perspective on the Museum's diverse collection of
reproductions including plaster casts, electrotypes and
photographs.
A reassessment of self-taught artist William Edmondson, exploring
the enduring relevance of his work This richly illustrated volume
reintroduces readers to American sculptor William Edmondson
(1874–1951) more than 80 years after his historic solo exhibition
at the Museum of Modern Art. Edmondson began carving at the onset
of the Depression in Tennessee. Initially creating tombstones for
his community, over time he expanded his practice to include
biblical subjects, the natural world, and recognizable figures
including nurses and preachers. This book features new essays that
explore Edmondson’s life in the South and his reception on the
East Coast in the 1930s. Reading the artist through lenses of
African American experience, the authors draw parallels between
then and now, highlighting the complex relationship between Black
cultural production and the American museum. Countering existing
narratives that have viewed Edmondson as a passive actor in an
unfolding drama—a self-taught sculptor “discovered” by White
patrons and institutions—this book considers how the artist’s
identity and position within history influenced his life and work.
Distributed for the Barnes Foundation Exhibition Schedule:
The Barnes Foundation, Philadelphia (June 25–September 10, 2023)
This title was first published 2003. In the twentieth century,
Britain was rich in artistic achievement, especially in sculpture.
Just some of those working in this field were Jacob Epstein, Henri
Gaudier-Brzeska, Henry Moore, Barbara Hepworth, Anthony Caro,
Richard Long, Mona Hatoum and Anish Kapoor. The work of these and
other known and less well-known artists has an astonishing variety
and expressive power, a range and strength that has placed Britain
at the hub of the artistic world. Alan Windsor has compiled a
concise biographical dictionary of sculpture in Britain in book
form. Richly informative and easy-to-use, this guide is an
art-lover's and expert's essential reference. Written by scholars,
the entries are cross-referenced and each concise biographical
outline provides the relevant facts about the artist's life, a
brief characterization of the artist's work, and, where
appropriate, major bibliographical references.
This book elaborates on the social and cultural phenomenon of
national schools during the nineteenth century, via the less
studied field of sculpture and using Belgium as a case study. The
role, importance of, and emphasis on certain aspects of national
identity evolved throughout the century, while a diverse array of
criteria were indicated by commissioners, art critics, or artists
that supposedly constituted a "national sculpture." By confronting
the role and impact of the four most crucial actors within the
artistic field (politics, education, exhibitions, public
commissions) with a linear timeframe, this book offers a
chronological as well as a thematic approach. Artists covered
include Guillaume Geefs, Eugene Simonis, Charles Van der Stappen,
Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.
Nancy Holt: Inside/Outside takes a journey through the artist's key
experiments in visual art presenting works never seen before,
commissioning new critical thinking, and amplifying knowledge of an
artist whose ideas are fundamental to how we define art today. Over
the course of fifty years, Nancy Holt's rich output spanned
concrete poetry, audio, film and video, photography, drawings,
room-sized installations, earthworks, and public sculpture. Nancy
Holt: Inside/Outside details her unique and significant
contributions, situating an important female voice within the
narratives of land art and conceptual art. Initiating her art
practice in 1966 with concrete poetry, she soon expanded her ideas
into other media and the landscape. Through each of the mediums she
worked in, Holt explored how we understand our place in the world
by investigating perception and site within and outside of
traditional museum contexts. In the mid-1970s Holt completed her
most influential earthwork, Sun Tunnels, an artwork central to the
definition of land art. Rigorous documentation of Holt's work, as
well as contributions by key scholars, previously unseen photoworks
and drawings, and a revealing, never-before-published
"self-interview" by the artist bring her work into far fuller
context. Developed in close consultation with Holt/Smithson
Foundation, an artist endowed organization dedicated to preserving
and extending the work of Nancy Holt and her husband Robert
Smithson, this expansive publication will serve as a major
contribution to the critical ongoing research into the art of our
time. This new book is published to coincide with an exhibition
anchored at Bildmuseet in Umea, Sweden, and traveling to MACBA
Museu d'Art Contemporani de Barcelona and further internationally.
Richly illustrated, Early Gothic Column-Figure Sculpture in France
is a comprehensive investigation of church portal sculpture
installed between the 1130s and the 1170s. At more than twenty
great churches, beginning at the Royal Abbey of Saint-Denis and
extending around Paris from Provins in the east, south to Bourges
and Dijon, and west to Chartres and Angers, larger than life-size
statues of human figures were arranged along portal jambs, many
carved as if wearing the dress of the highest ranks of French
society. This study takes a close look at twelfth-century human
figure sculpture, describing represented clothing, defining the
language of textiles and dress that would have been legible in the
twelfth-century, and investigating rationale and significance. The
concepts conveyed through these extraordinary visual documents and
the possible motivations of the patrons of portal programs with
column-figures are examined through contemporaneous historical,
textual, and visual evidence in various media. Appendices include
analysis of sculpture production, and the transportation and
fabrication in limestone from Paris. Janet Snyder's new study
considers how patrons used sculpture to express and shape perceived
reality, employing images of textiles and clothing that had
political, economic, and social significances.
This book examines a famous series of sculptures by the German
artist Franz Xaver Messerschmidt (1736-1783) known as his
"Character Heads." These are busts of human heads, highly
unconventional for their time, representing strange, often
inexplicable facial expressions. Scholars have struggled to explain
these works of art. Some have said that Messerschmidt was insane,
while others suggested that he tried to illustrate some sort of
intellectual system. Michael Yonan argues that these sculptures are
simultaneously explorations of art's power and also critiques of
the aesthetic limits that would be placed on that power.
In this wide-ranging, thought-provoking and sometimes provocative
new book, leading sculptor Antony Gormley, informed and energised
by a lifetime of making, and art critic and historian Martin
Gayford, explore sculpture as a transnational art form with its own
compelling history. The authors' lively conversations and
explorations make unexpected connections across time and media.
Sculpture has been practised by every culture throughout the world
and stretches back into our distant past. The first surviving
shaped stones may even predate the advent of language. Evidently,
the desire to carve, mould, bend, chip away, weld, suspend, balance
- to transform a vast array of materials and light into new shapes
and forms - runs deep in our psyche and is a fundamental part of
our human journey and need for expression. With more than 300
spectacular illustrations, Shaping the World juxtaposes a rich
variety of works - from the famous Lowenmensch or Lion Man, c.
35,000 BCE to Michelangelo's luminous Pieta in Rome, the Terracotta
Warriors in China to Rodin's The Kiss, Marcel Duchamp's
ready-mades, Olafur Eliasson's extraordinary Weather Project and
Kara Walker's Fons Americanus, and Tomas Saraceno's ongoing
Aerocene project, as well as examples of Gormley's own work. Antony
Gormley and Martin Gayford take into account materials and
techniques, and consider overarching themes such as light,
mortality and our changing world. Above all, they discuss their
view of sculpture as a form of physical thinking capable of
altering the way people feel, and they invite us to look at
sculpture we encounter - and more broadly the world around us - in
a completely different way.
This is the first full-length, English-language study of
eleventh-century figural sculpture produced in Dalmatia and
Croatia. Challenging the dependency on stylistic analysis in
previous scholarship, Magdalena Skoblar contextualises the visual
presence of these relief carvings in their local communities,
focusing on five critical sites. Alongside an examination of
architectural setting and iconography, this book also investigates
archaeological and textual evidence to establish the historical
situation within which these sculptures were produced and received.
Croatia and Dalmatia in the eleventh century were a borderland
between Byzantium and the Latin west where the balance of power was
constantly changing. These sculptures speak of the fragmented and
hybrid nature of the Adriatic and the Mediterranean as a whole,
where well-connected trade routes and porous boundaries informed
artistic production. Moreover, in contrast to elsewhere in Europe
where contemporary figural sculpture was spurred on by monastic
communities, this book argues that the patronage of such artworks
in Dalmatia and Croatia was driven by members of the local secular
elites. For the first time, these sculptures are being introduced
to Anglophone scholarship, and this book contributes to a fuller
understanding of the profound changes in medieval attitudes towards
sculpture after the year 1000.
The first book to devote serious attention to questions of scale in
contemporary sculpture, this study considers the phenomenon within
the interlinked cultural and socio-historical framework of the
legacies of postmodern theory and the growth of global capitalism.
In particular, the book traces the impact of postmodern theory on
concepts of measurement and exaggeration, and analyses the
relationship between this philosophy and the sculptural trend that
has developed since the early 1990s. Rachel Wells examines the
arresting international trend of sculpture exploring scale,
including American precedents from the 1970s and 1980s and work by
the 'Young British Artists'. Noting that the emergence of this
sculptural trend coincides with the end of the Cold War, Wells
suggests a similarity between the quantitative ratio of scale and
the growth of global capitalism that has replaced the former status
quo of qualitatively opposed systems. This study also claims the
allegorical nature of scale in contemporary sculpture, outlining
its potential for critique or complicity in a system dominated by
quantitative criteria of value. In a period characterised by
uncertainty and incommensurability, Wells demonstrates that scale
in contemporary sculpture can suggest the possibility of, and even
an unashamed reliance upon, comparison and external difference in
the construction of meaning.
Histories of sculpture within the Nordic region are under-studied
and the region's influence upon and translation of influences from
elsewhere in Europe remain insufficiently traced. This volume
brings to light individual histories of sculptural mobility from
the early modern period onwards. Examining the movement of
sculptures, sculptors, practices, skills, styles and motifs across
borders, through studios and public architectures, within popular
and print culture and via texts, the essays collected here consider
the extent to which the sculptural artwork is changed by its
physical movement and its transfigurations in other media. How does
the meaning and form of these objects performatively respond to the
pressure of their relocations and rematerialisations? Conversely,
how do sculptures impact their new contexts of display? The
contributing authors engage with a wide variety of objects and
media in their essays. Each focuses on the contextualisation of
sculpture in an original and timely way, exploring how mobility
acts as a filter offering new perspectives on iconography,
memorialisation, collecting, iconoclasm and exhibiting. From the
stave churches of early Norway to the decoration of International
Style monoliths of the twentieth century, from Italian quarries to
Baroque palaces, from fountains to figurines, from text to
performance, these wide-ranging and fascinating case studies
contribute to the rich history of the Nordic region's sculptural
production.
The world that shaped Europe's first national sculptor-celebrities,
from Schadow to David d'Angers, from Flaxman to Gibson, from Canova
to Thorvaldsen, was the city of Rome. Until around 1800, the Holy
See effectively served as Europe's cultural capital, and Roman
sculptors found themselves at the intersection of the Italian
marble trade, Grand Tour expenditure, the cult of the classical
male nude, and the Enlightenment republic of letters. Two sets of
visitors to Rome, the David circle and the British traveler, have
tended to dominate Rome's image as an open artistic hub, while the
lively community of sculptors of mixed origins has not been awarded
similar attention. Rome, Travel and the Sculpture Capital,
c.1770-1825 is the first study to piece together the labyrinthine
sculptors' world of Rome between 1770 and 1825. The volume sheds
new light on the links connecting Neo-classicism, sculpture
collecting, Enlightenment aesthetics, studio culture, and queer
studies. The collection offers ideal introductory reading on
sculpture and Rome around 1800, but its combination of provocative
perspectives is sure to appeal to a readership interested in
understanding a modernized Europe's overwhelmingly transnational
desire for Neo-classical, Roman sculpture.
First published in 1935, this book was intended to provide
westerners with a more definite and comprehensive understanding of
Chinese Art and its achievements. Newly available opportunities to
study authentic examples, such as the Royal Academy exhibition that
provided the impetus for this volume, allowed for greater
opportunities to conduct in-depth examination than had previously
been possible. Following an introduction giving an overview of
Chinese art and its history in the west, six chapters cover
painting and calligraphy, sculpture and lacquer, 'the potter's
art', bronzes and cloisonne enamel, jades, and textiles -
supplemented by a chronology of Chinese epochs, a selected
bibliography and 25 images.
Bringing together established and emerging specialists in
seventeenth-century Italian sculpture, Material Bernini is the
first sustained examination of the conspicuous materiality of
Bernini's work in sculpture, architecture, and paint. The various
essays demonstrate that material Bernini has always been tied
(whether theologically, geologically, politically, or in terms of
art theory) to his immaterial twin. Here immaterial Bernini and the
historiography that sustains him is finally confronted by material
Bernini. Central to the volume are Bernini's works in clay, a
fragmentary record of a large body of preparatory works by a
sculptor who denied any direct relation between sketches of any
kind and final works. Read together, the essays call into question
why those works in which Bernini's bodily relation to the material
of his art is most evident, his clay studies, have been configured
as a point of unmediated access to the artist's mind, to his
immaterial ideas. This insight reveals a set of values and
assumptions that have profoundly shaped Bernini studies from their
inception, and opens up new and compelling avenues of inquiry
within a field that has long remained remarkably self-enclosed.
A new and revised edition of the 2002 popular title, The Barbara
Hepworth Sculpture Garden, this exquisitely produced book showcases
the garden in St Ives throughout the seasons, with new photography
and updated information on the plants from the Head Gardener, Jodi
Dickinson. Barbara Hepworth's studio at Trewyn in St Ives is a
unique combination of sub-tropical garden and sculpture museum. A
haven of peace, it provided Hepworth with a working environment, a
showcase for her sculpture, and the opportunity to pursue her love
of gardening. The Barbara Hepworth Sculpture Garden is a beautiful
record of the plants and sculptures at Trewyn through the seasons,
exploring the relationship between Hepworth's sculpture and the
natural forms that surround them. With specially commissioned
photographs and full descriptions of both plants and sculptures,
this is a comprehensive record of Barbra Hepworth's years in St
Ives, and a beautiful souvenir of the garden. Texts from art
historian and previous curator at Tate, Chris Stephens, along with
Miranda Philips contextualises the work of Hepworth and the
decisions made to create one of the most famous artists gardens in
the world.
The British School of Sculpture, c. 1760-1832 represents the first
edited collection exploring one of the most significant moments in
British art history, returning to centre stage a wide range of
sculpture considered for the first time by some of the most
important scholars in the field. Following a historical and
historiographical introduction by the editors, situating British
sculpture in relation to key events and developments in the period,
and the broader scholarship on British art more generally in the
period and beyond, the book contains nine wide-ranging case studies
that consider the place of antique and modern sculpture in British
country houses in the period, monuments to heroes of commerce and
the Napoleonic Wars, the key debates fought around ideal sculpture
at the Royal Academy, the reception of British sculpture across
Europe, the reception of Hindu sculpture deriving from India in
Britain, and the relationship of sculpture to emerging industrial
markets, both at home and abroad. Challenging characterisations of
the period as 'neoclassical', the volume reveals British sculpture
to be a much more eclectic and various field of endeavour, both in
service of the state and challenging it, and open to sources
ranging from the newly arrived Parthenon Frieze to contemporary
print culture.
Sculptural Materiality in the Age of Conceptualism is structured
around four distinct but interrelated projects initially realized
in Italy between 1966 and 1972: Yayoi Kusama's Narcissus Garden,
Michelangelo Pistoletto's Newspaper Sphere (Sfera di giornali),
Robert Smithson's Asphalt Rundown, and Joseph Beuys's Arena. These
works all utilized non-traditional materials, collaborative
patronage models, and alternative modes of display to create a
spatially and temporally dispersed arena of matter and action, with
photography serving as a connective, material thread within the
sculpture it reflects. While created by major artists of the
postwar period, these particular projects have yet to receive
substantive art historical analysis, especially from a sculptural
perspective. Here, they anchor a transnational narrative in which
sculpture emerged as a node, a center of transaction comprising
multiple material phenomenon, including objects, images, and
actors. When seen as entangled, polymorphous entities, these works
suggest that the charge of sculpture in the late postwar period
came from its concurrent existence as both three-dimensional
phenomena and photographic image, in the interchanges among the
materials that continue to activate and alter the constitution of
sculpture within the contemporary sphere.
This book is the companion to Public Sculpture of Edinburgh, volume
1, 'The Old Town and South Edinburgh', extending the coverage to
the First New Town and its environs, and beyond that to the former
independent burgh of Leith. It provides a comprehensive and
detailed account of the entire spectrum of public sculptures to be
found in these parts of the city, including free-standing
commemorative monuments, architectural carvings, and contemporary
site-specific interventions. Based on extensive new research, the
text is structured as a catalogue raisonne, with each entry
comprising a detailed description of the work, an account of how it
came to be commissioned, and an analysis of its cultural
significance. There are also separate appendices dealing with
important works that have been lost or destroyed, minor works and
sculptural coats of arms. The study of public sculpture is now
recognised as offering a range of new insights into the development
of the urban realm. Those insights are brought together here to
provide a comprehensive resource for historians, architects, urban
planners and conservators, and a narrative history that will be of
interest to all who care about Edinburgh, and wish to celebrate its
status as a UNESCO World Heritage Site.
By taking simple ways of looking at sculpture, this book uncovers
unexpected affinities between works of very different periods and
types. From sundials to mirrors, from graves to way-markers, from
fountains to contemporary art, a wide range of illustrated examples
expands the definitions of sculpture and proposes that we
understand this art as something more fundamental to the way we
experience and construct our rites of passage. Penelope Curtis
argues that there are some basic functions shared by many kinds of
three-dimensional objects, be they more or less obviously
sculptural. Even contemporary sculpture, with no apparent purpose,
makes use of this deeply embedded vocabulary. Together, the
qualities of vertical, horizontal, closed and open are consolidated
in the ensemble, which places the viewer at its heart, on the
threshold of sculpture and on the threshold of change. This book
elides the usual notions of figurative and abstract to think
instead about how sculpture works. Published in association with
the Paul Mellon Centre for Studies in British Art
Swiss artist Meret Oppenheim (1913–1985) is far more than just
the creator of the iconic fur teacup. In the course of her career
she produced a complex, wide-ranging, and enigmatic body of work
that has no parallel in modern art. Like an x-ray beam, this book
scans Oppenheim’s artistic oeuvre, bringing its variety,
playfulness, and poetry to the fore. Instead of simply answering
the riddles posed by these intriguing works, it maps out the paths
that will lead us to still more clues. Simon Baur is a leading
expert in the life and art of Meret Oppenheim. The nine new essays
featured in this volume are at once scholarly and easy to read. In
them, Baur shares the many fascinating insights and interpretations
that he has gleaned from his decades-long engagement with
Oppenheim’s work. The result is an anthology that combines both
biographical and thematic aspects and takes us on an exciting
journey into the poetic cosmos of a truly great female artist.
|
|