William Turnbull (1922-2012) stands as one of Britain's foremost artists in the second half of the twentieth century. Both a sculptor and a painter, he explored the changing contemporary world and its ancient past, actively engaging with the shifting concerns of British, European and American artists. Presenting interpretations of Turnbull's work from an impressive roll-call of over sixty art historians, curators, critics and artists, a picture emerges of an innovative artist who determinedly followed his own path, drawing on influences as diverse as ancient cultures and contemporary music. Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist. With contributions by Oliva Bax, Paul Becker, Andrew Bick, Antonia Bostroem, Mel Brimfield, Bianca Chu, Matthew Collings, Ann Compton, Sam Cornish, Keith Coventry, Elena Crippa, Amanda A. Davidson, Michael Dean, John Dee, Richard Demarco, Edith Devaney, Norman Dilworth, Patrick Elliott, Ann Elliott, Garth Evans, Pat Fisher, Neil Gall, Margaret Garlake, Antony Gormley, Kirstie Gregory, Kelly Grovier, Nigel Hall, Bill Hare, Daniel F. Herrmann, Peter Hide, Ben Highmore, Nick Hornby, Tess Jaray, Julia Kelly, Phillip King, Liliane Lijn, Clare Lilley, Jeff Lowe, Tim Martin, Ian McKeever, Henry Meyric Hughes, Catherine Moriarty, Richard Morphet, Jed Morse, Peter Murray, Matt Price, Peter Randall-Page, Guggi Rowen, Natalie Rudd, Michael Sandle, Dawna Schuld, Sean Scully, Jyrki Siukonen, Chris Stephens, Peter Suchin, Marin R. Sullivan, Mike Tooby, William Tucker, Johnny Turnbull, Alex Turnbull, Michael Uva, Brian Wall, Nigel Walsh, Calvin Winner, Jon Wood, Bill Woodrow, Greville Worthington, Emily Young

Sculpture has been a central aspect of almost every art culture, contemporary or historical. This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual. All of the essays, however, pay strict attention to actual sculptural examples in their discussions. This reflects the overall aim of the volume to not merely "apply" philosophy to sculpture, but rather to test the philosophical approaches taken in tandem with deep analyses of sculptural examples. There is an array of philosophical problems unique to sculpture, namely certain aspects of its three-dimensionality, physicality, temporality, and morality. The authors in this volume respond to a number of challenging philosophical questions related to these characteristics. Furthermore, while the focus of most of the essays is on Western sculptural traditions, there are contributions that features discussion of sculptural examples from non-Western sources. Philosophy of Sculpture is the first full-length book treatment of the philosophical significance of sculpture in English. It is a valuable resource for advanced students and scholars across aesthetics, art history, history, performance studies, and visual studies.

The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight tells the remarkable story of Moses Ezekiel and his rise to international fame as an artist in late nineteenth-century Italy. Sephardic Jew, homosexual, Confederate soldier, Southern apologist, opponent of slavery, patriot, expatriate, mystic, Victorian, dandy, good Samaritan, humanist, royalist, romantic, reactionary, republican, monist, dualist, theosophist, freemason, champion of religious freedom, proto-Zionist, and proverbial Court Jew, Moses Ezekiel was a riddle of a man, a puzzle of seemingly irreconcilable parts. Knighted by three European monarchs, courted by the rich and famous, Moses Ezekiel lived the life of an aristocrat with rarely a penny to his name. Making his home in the capacious ruins of the Baths of Diocletian in Rome, he quickly distinguished himself as the consummate artist and host, winning international fame for his work and consorting with many of the lions and luminaries of the fin-de-siecle world, including Giuseppe Garibaldi, Queen Margherita, Franz Liszt, Richard Wagner, Sarah Bernhardt, Gabriele D'Annunzio, Eleonora Duse, Annie Besant, Clara Schumann, Sir Lawrence Alma-Tadema, Alphonse Daudet, Mark Twain, Emile Zola, Robert E. Lee, Augustus Saint-Gaudens, and Isaac Mayer Wise. In a city besieged with eccentrics, he, a Southern Jewish homosexual sculptor, was outstanding, an enigma to those who knew him, a man at once stubbornly original and deeply emblematic of his times. According to Stanley Chyet in his introduction to Ezekiel's memoirs, "The contemporary European struggle between liberalism and reaction, between modernity and feudalism, between the democratic and the hierarchical is rather amply refracted in Ezekiel's account of his life in Rome." Indeed so many of the contentious cultural, political, artistic, and scientific struggles of the age converged in the figure of this adroit and prepossessing Jew.

This fascinating volume showcases the work of British artist, poet and performer Liz Finch and presents a series of 25 sculptures created between 1975 and 2016. The gentle figures are strangely familiar, built using found and made objects that might otherwise be discarded. Knitted limbs and faces with stitched or collaged features are affixed to torsos made from cardboard boxes that are plastered with papier-mâché and painted. The fragile bodies are then suspended on pieces of frayed string and twisted wire from the shoulders or sometimes by the neck. Finch subverts the ordinary and engages with the uncanny; a strange and anxious feeling created by familiar objects in unfamiliar contexts. Featuring full reproductions of each artwork alongside close details that reveal their composition, the book is threaded with poetic texts by Finch that blur the lines between personal memories, surreal dreams and everyday reality.

Space is a formative factor in the production of sculpture. Phenomenological thought interprets sculptural work in relation to the immersive experience of the viewer, situating it within its environment. But what possibilities lie beyond this unitary position? What is the political potential of a sculptural object? How can its spatial relations and movements be reconfigured beyond its immediate environment? Spatial Politics of the Sculptural investigates the concept of space and its role in the production of the sculptural form from a multidimensional perspective. Engaging with the work of Krauss, Fried, Merleau-Pony, Deleuze and Guattari, and using case studies of urban development in Paris, New York and Seoul it reinterprets and dislocates the sculptural form in terms of the political dynamism of space proposing a new methodology for reading, producing and expanding sculptural practice. Drawing on David Harvey's theory of capital, it scrutinizes the idea of the spatial in the process of urbanization. It examines the interrelationship between capital flow and accumulation, and explores the production and destruction of space in relation to the creation of three-dimensional works of art. In doing so, it expands the idea of the sculptural object in relation to the urban environment.