In July 1996, Edinburgh College of Art offered a Masterclass with the Italian-Scottish sculptor, Eduardo Paolozzi. He particularly wanted to run this course in his home city. Although born in Leith, the eldest son of Italian immigrants, Paolozzi left Scotland after studying at Edinburgh College of Art to pursue further studies in London and to establish an international reputation as a sculptor. Plans for two previous classes elsewhere had fallen through. The selection process chose 17 students with widely different backgrounds. Plunged into ten days of unconventional tutoring, each found widely differing responses. Paolozzi asked the members of the class to keep a diary of their time with him. Ann Shaw, a former journalist with The Glasgow Herald, documented her days and recorded scenes of chaos and progress. Her unabridged account is illustrated throughout with some of the photographs she took as the appointed 'official' class photographer. Paolozzi is seen as human, vulnerable, gracious and rude, inspiring and shy.

The weight of words, the impact of photographs: Short texts supported by about 530 illustrations mainly in color.

This is a new release of the original 1936 edition.

This final volume in the British Sculptors and Sculpture series addresses the work of the important but neglected British sculptor Francis Derwent Wood RA (1871-1926). A student of Edouard Lanteri at the Royal College of Art, Derwent Wood's early artistic career was distinguished. His reputation grew rapidly and a period as Director of Modelling at the Glasgow School of Art saw him working on public commissions with many of the city's most important architects. Simultaneously, he built his London practice, perfecting the art of the rapidly executed, observationally astute portrait bust, and becoming a well-connected member of the Chelsea set. He exhibited at the Royal Academy every year from 1895 until his death in 1926, becoming a full Academician in 1920. During the First World War he carried out pioneering work in the field of facial prosthetics. He was appointed Professor of Sculpture at the Royal College of Art in 1918, where Henry Moore was amongst his many pupils. Derwent Wood's Machine Gun Corps memorial at Hyde Park Corner in London, completed in the year of his death, is amongst the best-known and most consistently reviled sculptures in Britain. Matthew Withey offers readers a subtle and layered interpretation of the career that led up to this iconic and misunderstood work, together with a comprehensive catalogue of Derwent Wood's diverse body of work.

Square meters of empty toothpaste tubes and bottles of cleaning solution, pencils, balls of wool, or shoes—all of it in neat rows: Waste not, the spectacular installation by Song Dong (*1966) comprising more than ten thousand individual items, traveled around the whole world, inspiriting countless exhibition visitors. The artist’s mother fell into poverty during the Cultural Revolution and compulsively collected everyday objects. The installation arranges everything she accumulated, cataloguing and documenting her life.This is the first volume to provide insight into all of the series of works by the Conceptual artist in which he deals with issues such as consumption, sustainability, memory, or spirituality. Song Dong arranges old doors and windows from demolished buildings to create new living spaces. In Doing Nothing Garden at documenta 12, he transformed a mountain of garbage into an attractive recreation area, or he recreates modern cityscapes out of candy: Eating the City —unhealthy, but yummy. Taking a bite is allowed! Exhibitions: Groninger Museum, Netherlands, 13.6. – 1.11.2015 | Kunsthalle Düsseldorf, 5.12.2015 – 6.3.2016

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

A comprehensive overview of more than two decades of Huma Bhabha's prolific and multidisciplinary output in sculpture, drawing, and photography Huma Bhabha (b. 1962 in Karachi) is known for sculptures depicting the human figure fashioned from materials ranging from clay, brick, and wood to Styrofoam, bronze, found objects, and construction materials. Such works reveal her myriad influences, including horror films, science fiction, ancient artifacts, religious reliquaries, and Neo-Expressionism. This handsome volume surveys over two decades of Bhabha's innovative sculptures, as well as her lesser-known but essential work in drawing, photography, and printmaking, all while considering her singular engagement with the human figure. Illustrated essays investigate the artist's prolific and multidisciplinary output, her historical and cultural reference points, and her frequent themes, such as war, colonialism, displacement, and the memory of home-in the artist's words, these are "eternal concerns" found across all cultures. A conversation between Bhabha and American artist Sterling Ruby offers an intimate point of entry into Bhabha's perspectives and artistic practice. Published in association with the Institute of Contemporary Art/Boston Exhibition Schedule: Institute of Contemporary Art/Boston (03/23/19-05/27/19)

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