The first book to chart Scott Burton's performance art and sculpture of the 1970s. Scott Burton (1939-89) created performance art and sculpture that drew on queer experience and the sexual cultures that flourished in New York City in the 1970s. David J. Getsy argues that Burton looked to body language and queer behavior in public space-most importantly, street cruising-as foundations for rethinking the audiences and possibilities of art. This first book on the artist examines Burton's underacknowledged contributions to performance art and how he made queer life central in them. Extending his performances about cruising, sexual signaling, and power dynamics throughout the decade, Burton also came to create functional sculptures that covertly signaled queerness by hiding in plain sight as furniture waiting to be used. With research drawing from multiple archives and numerous interviews, Getsy charts Burton's deep engagements with postminimalism, performance, feminism, behavioral psychology, design history, and queer culture. A restless and expansive artist, Burton transformed his commitment to gay liberation into a unique practice of performance, sculpture, and public art that aspired to be antielitist, embracing of differences, and open to all. Filled with stories of Burton's life in New York's art communities, Queer Behavior makes a case for Burton as one of the most significant out queer artists to emerge in the wake of the Stonewall uprising and offers rich accounts of queer art and performance art in the 1970s.

Text in English & German. The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. Rob Krier, is an exception. Since the beginning of his career in construction, he has always seen his love of art as a vocation -- one which he nurtures parallel to his work. Fine art should stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders, moving them to thoughtful reflection. In his Pictorial Journal 19541971, Rob Krier describes in compelling words and pictures how he came to have a twin passion for fine art and architecture and told of his grammar school years in Echternach, his studies in Munich and his first taste of professional life with Oswald Mathias Ungers and Frei Otto. In his Pictorial Journal 19541971, which covers the period of Krier's work as a lecturer and assistant to Prof. Johannes Uhl at Stuttgart University, the text is restricted to a minimum. The pictures are less colourful, more composed. The 'daily scribbles' dominate -- mainly sketches and drawings of people and animals, buildings, landscapes, objects and also fantasies. The volume is rounded off with a detailed resume. Born and raised in Luxembourg, Krier moved to Vienna after having studied in Munich and worked for Oswald Mathias Ungers and Frei Otto. After teaching posts in Stuttgart and Lausanne, he was a professor at the Technische Universitat in Vienna from 1976 to 1998 and, in 1986, held a guest professorship at Yale University in New Haven, Mass. Krier has developed urban-design concepts for Stuttgart, Vienna, Berlin, Amiens, Montpellier, Leeds, Gothenburg, Lodz, Amsterdam, Den Haag and many other cities. Projects with which he was first able to translate his vision of a spatial concept, such as Rauchstrasse in Berlin, Breitenfurterstrasse in Vienna or Ritterstrasse with Schinkelplatz in Berlin, repeatedly found their place in international publications.

The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.

Austin artist David Everett was born and raised in Texas, and his work reflects an organic and wholly original Lone Star State ethos. His stunning vision and exquisite craftsmanship evoke nature's essential grace and harmony in beautiful sculptures, bas-relief carvings, woodcuts, and drawings. Steve Davis, former president of the Texas Institute of Letters, writes of Everett, "David has never been one of those artists-as-marketers who relentlessly hype themselves. Instead, he has let the quality of his work speak for itself. And it does more than speak-it sings." Everett's creations inspire a passionate devotion among his many fans and collectors. He appears in high-profile exhibitions across Texas and the Southwest and his work is found in many public, corporate, and private collections.An introduction by prominent novelist Stephen Harrigan sets the perfect tone for an absorbing consideration of Everett's oeuvre in The Art of David Everett: Another World. Author and editor Becky Duval Reese, respected art curator, writer, and retired director of the El Paso Museum of Art, contributes an insightful essay on Everett and his place in Texas art, followed by an absorbing interview with curator, author, and teacher Richard Holland, both offering revealing and satisfying insights into the shaping and development of the artist's unique viewpoint and methods. The heart of the book is the abundant collection of breathtaking, full-color reproductions of Everett's work. Here, the reader gains a vivid view of how Everett's artistic instincts have been nurtured by life experiences and a maturing aesthetic rooted in tradition.

Claes Oldenburg's commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg's profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York's changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg's innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.

This volume brings together the work of leading scholars on two of the most important, yet puzzling, extant ensembles of Hellenistic Age sculpture: the Great Altar at Pergamon, with its Gigantomachy and scenes from the life of Telephos, and the Cave at Sperlonga in Italy, with its epic themes connected especially with the adventures of Odysseus. "From Pergamon to Sperlonga "has three aims: to update the scholarship on two important monuments of ancient art and architecture; to debate questions of iconography, authorship, and date; and to broaden the scope of discussion on these monuments beyond the boundaries of studies done in the past. In addition, the volume brings forward new ideas about how these two monuments are connected and discusses possible means by which stylistic influences were transmitted between them.

This book provides original grounds for integrating the bodily, somatic senses into our understanding of how we make and engage with visual art. Rosalyn Driscoll, a visual artist who spent years making tactile, haptic sculpture, shows how touch can deepen what we know through seeing, and even serve as a genuine alternative to sight. Driscoll explores the basic elements of the somatic senses, investigating the differences between touch and sight, the reciprocal nature of touch, and the centrality of motion and emotion. Awareness of the somatic senses offers rich aesthetic and perceptual possibilities for art making and appreciation, which will be of use for students of fine art, museum studies, art history and sensory studies.

A landmark illustrated history of rural church monuments - the forgotten national treasures of England and Wales Deep in the countryside, away from metropolitan abbeys and cathedrals, thousands of funerary monuments are hidden in parish churches. These artworks - medieval brasses and elegant marble effigies, stone tomb chests and grand mausoleums - are of great historical and cultural significance, but have, due to their relative inaccessibility, faded from accounts of our art history. Over twenty-five years, C. B. Newham FSA has visited and photographed more than eight thousand rural churches, cataloguing the monumental sculptures encountered on his quest. In Country Church Monuments, he presents 365 of the very best, each accompanied by detailed photographs, biographies of both the deceased and their sculptors and a wealth of contextual material. Many of these works commemorate famous historical figures, from scheming Tudor courtier Richard Rich to Victorian prime minister William Ewart Gladstone. But more moving are the countless others - minor aristocrats, small-time industrialists, much-loved mothers, fathers and children - who, if not for their memorials, would wholly be lost to time. As Newham blows the dust off these artworks and breathes life into the stories they tell, a new aesthetic history of rural England and Wales emerges. Country Church Monuments is a poignant record of the art we make at the borders of life and death, of our ceaseless human striving for eternity.

Battling the Buddha of Love is a work of advocacy anthropology that explores the controversial plans and practices of the Maitreya Project, a transnational Buddhist organization, as it sought to build the "world's tallest statue" as a multi-million-dollar "gift" to India. Hoping to forcibly acquire 750 acres of occupied land for the statue park in the Kushinagar area of Uttar Pradesh, the Buddhist statue planners ran into obstacle after obstacle, including a full-scale grassroots resistance movement of Indian farmers working to "Save the Land." Falcone sheds light on the aspirations, values, and practices of both the Buddhists who worked to construct the statue, as well as the Indian farmer-activists who tirelessly protested against the Maitreya Project. Because the majority of the supporters of the Maitreya Project statue are converts to Tibetan Buddhism, individuals Falcone terms "non-heritage" practitioners, she focuses on the spectacular collision of cultural values between small agriculturalists in rural India and transnational Buddhists hailing from Portland to Pretoria. She asks how could a transnational Buddhist organization committed to compassionate practice blithely create so much suffering for impoverished rural Indians. Falcone depicts the cultural logics at work on both sides of the controversy, and through her examination of these logics she reveals the divergent, competing visions of Kushinagar's potential futures. Battling the Buddha of Love traces power, faith, and hope through the axes of globalization, transnational religion, and rural grassroots activism in South Asia, showing the unintended local consequences of an international spiritual development project.

Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum In Race ExpertsLinda Kim examines the complicated and ambivalent role played by sculptor Malvina Hoffman in the Races of Mankind series created for the Chicago Field Museum in 1930. Although Hoffman had training in fine arts and was a protege of Auguste Rodin and Ivan Mestrovic, she had no background in anthropology or museum exhibits. Nonetheless, the Field Museum commissioned her to make a series of life-size sculptures for the museum's new racial exhibition, which became the largest exhibit on race ever installed in a museum and one of the largest sculptural commissions ever undertaken by a single artist. Hoffman's Races of Mankind exhibit was realized as a series of 104 bronzes of racial types from around the world, a unique visual mediation between anthropological expertise and lay ideas about race in interwar America. Kim explores how the exhibition compelled the artist to incorporate into her artistic model of race not only racial science but also popular ideas that ordinary Americans brought to the museum. Kim situates the Races of Mankind exhibit at the juncture of these different forms of expertise and examines how the sculptures represented the messy resolutions between them. Race Experts is a compelling story of ideological contradiction and accommodation within the racial practices of American museums, artists, and audiences.

The work of the Norwegian artist Bard Breivik unfolds over more than 1,000 pages in a stunning presentation of a career in sculpture and Conceptual art encompassing more than forty years. Thematically arranged source material, including interviews, sketches, anecdotes and reviews, elucidate the phenomenon that is Bard Breivik. The sheer volume of his oeuvre is also reflected in his choice of materials: he switches as if by sleight of hand between sand and snow, wood, rock and steel. In a series that has continued to evolve since 1986, he has persisted in working on vertically arranged forms 120 cm in length, which have been designed with the means of differing cultural traditions, thus retaining their uniqueness. Volume I: I'd Love the Key to the Master Lock Volume II: The Life and Art of Bard Breivik

This book showcases and puts into historical context a host of sculpted works created in the 1920s and 1930s in the decorative vernacular defined loosely today as `Art Deco'. Whether designed as free-standing statuary for the domestic market or commissioned for some form of architectural placement, as a frieze on a building's facade or as a public monument or pool fountain, the works shown demonstrate a sometimes bewilderingly broad range of styles and stylistic influences: from the chevrons, sunbursts, maidens, fountains, floral abstractions and ubiquitous biche (doe) of the Parisian geometric style to the crisp, angular patterns of the zig-zag, jazz-age, streamlined aesthetic of the 1930s. Alastair Duncan organizes his subject into three main categories: the first features work by avant-garde sculptors (Csaky, Janniot, Pompon, etc), often as pieces uniques or small editions; the second shows commercial sculpture, comprising mainly large-edition statuary, commissioned as decorative works for the burgeoning 1920s domestic market; while a final, third category covers architectural and monumental sculpture from West and Eastern Europe, Scandinavia, North America, Brazil and beyond. With artists' biographies and details of manufacturers, a full glossary and a thematic index, this volume is the essential and authoritative guide for all those interested in the Art Deco style, from the amateur collector of animalier sculpture to professional historians of the period.

A man in a darkened workshop, surrounded and obscured by dust clouds. A pair of larger-than-life hands, holding a mallet, ready to strike. Spectacles that play with the idea of turning lies into truth and cynics into believers. A cinder block, precariously suspended above a fragile glass, held in place by a single line of tension. Welcome to John Greer: retroActive.Sculptor, conceptual artist, and unconventional art maker John Greer has been telling stories through his work for more than fifty years. Drawing on his present and past experiences, his travels and exploits, and his anxieties and fears, his work offers poignant meditations on the human environment, all the while challenging the viewer's perspective with humour, intelligence, and a trail of narrative.RetroActive offers a comprehensive view of Greer's work and his commitment to the discourse of sculpture. Stunningly designed by Susanne Schaal and featuring the photographs of Raoul Manuel Schnell, the book contains more than three hundred representations of Greer and his work - in situ, in galleries, in process - bringing into focus Greer's significant contributions to the world of art and ideas. Also included in the book are essays by Ray Cronin, Andria Minicucci, Dennis Reid, Ron Shuebrook, David Diviney, Sarah Fillmore, and Vanessa Paschakarnis.John Greer taught at the Nova Scotia College of Art and Design for almost three decades, where his thinking and teaching helped shape contemporary sculpture in Canada. His work has been included in more than fifty solo and sixty group exhibitions and is held in public and private collections around the globe. In 2009 Greer was the recipient of the Governor General's Award in Visual and Media Arts, Canada's highest distinction in the field of art and culture.

"The rhythm of the body moving through space has been the motivating source of most of my work."-Richard Serra Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra's prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra's life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist's work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration-from Donatello and Brancusi to Japanese gardens and Machu Picchu-revealing a history of sculpture across time and culture through the eyes of one of the medium's most brilliant figures. Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and torturous scenes that showcase what hell may be like. Over the next few decades, Anderson found himself transfixed by this unusual amalgamation of objects, returning several times to see attractions like the largest metal-cast Buddha figure in the world and the Palace of a Hundred Spires. The concrete statuary and perverse art in Luang Phor's personal museum of hell included, side by side, an upright human skeleton in a glass cabinet and a life-size replica of Michelangelo's gigantic nude "David", wearing fashionable red underpants from the top of which poked part of a swollen, un-Florentine penis, alongside dozens of statues of evildoers being ferociously punished in their afterlife. In "The Fate of Rural Hell", Anderson unravels the intrigue of this strange setting, endeavoring to discover what compels so many Thai visitors to travel to this popular spectacle and what order, if any, inspired its creation. At the same time, he notes in Wat Phai Rong Wua the unexpected effects of the gradual advance of capitalism into the far reaches of rural Asia. Both a one-of-a-kind travelogue and a penetrating look at the community that sustains this unlikely tourist destination, "The Fate of Rural Hell" is sure to intrigue and inspire conversation as much as Wat Phai Rong Wua itself.

In the Gilded Age, when most sculptors aspired to produce monu ments, Bessie Potter Vonnoh (1872-1955) made significant contributions to small bronze sculpture and garden statuary designed for the embellishment of the home. Her work commanded admiration for her fluid and suggestive modeling, graceful lines, and sculptural form. In 1904 Bessie Potter Vonnoh won the gold medal for sculpture at the St. Louis World's Fair for bronzes of contemporary American women and children that delighted all who saw them.
Although Vonnoh's work is represented today in museums throughout the United States, Bessie Potter Vonnoh: Sculptor of Women provides for the first time an intimate and engaging encounter with one of the most widely respected sculptors of her day.
Julie Aronson explores how, by concentrating on sculpture for domestic settings that expertly combined naturalism with elegance, Vonnoh negotiated a male-dominated field to create a pathway to professional success and made high-quality sculpture accessible to a wider audience.
In an essay that examines Vonnoh's relationship with her foundries and scrutinizes bronze castings, Janis Conner demystifies baffling issues of authenticity and quality in turn-of-the-century bronzes.
This copiously illustrated book, indispensable for all sculpture enthusiasts, accompanies the first exhibition since 1930 dedicated to the art of Bessie Potter Vonnoh.

Future Bodies from a Recent Past brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of bodies and technology. With 120 works by 59 artists-primarily from Europe, the USA and Japan-the exhibition is dedicated to the major technological changes since the post-war period and examines their influence on our notions of bodies. With contributions on topics such as the influence of changing production technologies, materialities, and concepts of the body, but also interdisciplinary considerations of body-technology relations, a multi-perspective history of contemporary sculpture will be outlined. German Edition! Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January 2023