Lisa Fedon is creating a series of books all under the title of Sculpture Speaks to share her insights in the hope of helping and inspiring others to follow their dreams. Do what you love.

ANDY GOLDSWORTHY: TOUCHING NATURE

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a 'land', 'earth', 'nature' or 'environmental' artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy's art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the 'stone houses' at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

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.

Fully illustrated, with a revised text. Bibliography and notes. 312pp. ISBN 9781861714122. www.crmoon.com

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.

LAND ART: A COMPLETE GUIDE TO LANDSCAPE, ENVIRONMENTAL, EARTHWORKS, NATURE, SCULPTURE AND INSTALLATION ART

A fully illustrated guide to land and environmental art. A newly updated and revised edition of our best-selling book.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Includes new illustrations, bibliography, notes. 380 pages. ISBN 9781861714381. www.crmoon.com

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists. This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive sculptural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

Landings: Birds in the Parkis a traveling public art project started in 2008. Both event and exhibition, it involves the temporary installation of a flock of porcelain birds, which appear one day and are gone the next. The birds have cobalt images and text silk-screened and fired onto them, investigating aspects of humanity, specifically around war and peace. The birds have landed in over sixty locations, including Central Park and the UN Headquarters in NY, many locations in Santa Fe, beaches along the coast of California, the National Mall in Washington D.C., Chartres Cathedral in France, the weapons development site of Peenemunde, Germany, and have migrated as far as the Galapagos Islands.

This book celebrates Nash?s year-long exhibition at the Royal Botanic Gardens, Kew. Stunning colour photography documents the exhibition in its entirety, allowing outdoor works to be appreciated against a changing seasonal background and showcasing new works created during the artist?s six-month Kew residency. Essays from renowned contributors explore different facets of Nash?s art and practice in relation to the Kew exhibition.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

This book will teach you how to execute a patina following step by step instructions, what to expect as you work and many factors that influence the final result. It also cover some history about patinas in antiquity and many other interesting facts about the subject of coloring bronzes.

Paper Crystals are enchanting sculptures made from simple units folded from ordinary paper which lock firmly together without any need for sticky tape or glue. Paper Crystals are enchanting to look at, fascinating to make, and seem to have the ability to focus harmony and peace wherever they are displayed, making them ideal ornaments for your home or workplace and perfect gifts to share with your friends. Everything you need to know is explained in pictures and words in the clearest detail. This fully revised and much expanded Second Edition is a must for the collection of every origami aficionado but will also appeal to those who are interested in partnership art.

LAND ART IN GREAT BRITAIN

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed. The book also considers prehistoric art, stone circles, Romanticism, poetry, religion, women's art, contemporary art, and the impact of the British landscape on British land art.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 9781861714015. 352 pages.

www.crmoon.com

EXTRACT FROM THE CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy's snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and 'shock' for Goldsworthy. In Midsummer Snowballs he wrote that 'even in winter each snowfall is a shock, unpredictable and unexpected.'

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child's joy when it snows (school's cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of 'the effect, the excitement' of the first snowfall. Some of this excitement comes across in Goldsworthy's snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy's earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn't have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

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.

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

Parks, maps, and mapping technologies like the GPS are objects of visual and material culture that rely on the interplay of text, context, image, and space to guide our interpretations of the world around us. LOCATING VISUAL-MATERIAL RHETORICS: THE MAP, THE MILL, AND THE GPS examines in depth, and in several contemporary settings, how visual and material discursive artifacts, when understood as rhetorical, shape our understanding of the unique cultural moments that these artifacts set out to represent. Using three cases that involve an exploration of the corporeal influence of the green spaces and commemorative sculptures at the Lowell Mills National Historical Park in Lowell, Massachusetts; the cartographic texts produced by GPS devices; and two maps involved in a federal court case about marine mammal protection, this book explores and tests the value of what Propen calls "visual-material rhetorics," or a visual rhetoric more expressly attuned to studies of space, the body, and materiality. Grounding all three cases is a theoretical approach that combines Michel Foucault's theory of heterotopias with Carole Blair's theory of material rhetoric. Such an approach brings Foucault's important work on spatiality into conversation with visual-material rhetorics to show how we benefit from conceptualizing rhetorical objects as not merely textual in the traditional sense but also as both visual and material-as spatial. Together, the cases in this book demonstrate how visual-material rhetorics illuminate the contexts that shape our various lived and embodied experiences and how visual-material rhetorics function in the service of advocacy. AMY D. PROPEN is Assistant Professor of Rhetoric and Composition at York College of Pennsylvania. She received her PhD in Rhetoric and Scientific and Technical Communication from the University of Minnesota. Her research on visual rhetoric, critical cartographies, and rhetoric as advocacy has appeared in journals and edited collections, including Technical Communication Quarterly, Written Communication, ACME: An International E-Journal of Critical Geographies, and Rethinking Maps: New Frontiers in Cartographic Theory. She is co-author, with Mary Lay Schuster, of Victim Advocacy in the Courtroom: Persuasive Practices in Domestic Violence and Child Protection Cases.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Constantin Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713384. 180 pages.

This new (5th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

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.

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

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)."