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.

Antony Gormley occupies an unusual position as a highly popular sculptor - known chiefly for his Angel of the North (1998), a national landmark in the UK - who is also widely regarded as one of the most intellectually challenging artists working internationally. He is grounded in archaeology and anthropology, and looks to Asian and Buddhist traditions as much as to Western sculptural history, which he believes reached a punctuation point with Rodin. This is the first book to focus on Gormley's thoughts on sculpture, positioning his career and artistic philosophy in relation to its history. The book is structured thematically over four chapters: the first explores Gormley's thoughts on the body, time and space in relation to major works including European Field (1993) and 'Still Standing' (2011), Gormley's rehang of the classical rooms at the Hermitage Museum in St Petersburg. The second chapter, 'Sculptors', was first delivered as a series of five lectures for the BBC; in each, Gormley discusses a sculpture he considers to be of huge creative importance: Epstein's The Rock Drill (1913-15), Brancusi's The Endless Column (1935-38), Giacometti's La Place (1948-49), Joseph Beuys's Plight (1985) and Richard Serra's The Matter of Time (2005). In the third chapter, Gormley outlines the influence of Buddhist and Jain sculpture on his work and ideas, and the fourth showcases the artist's most recent sculptures.

The extraordinary sculptures of Belgian artist Jean-Michel Folon The first half of Belgian artist Jean-Michel Folon's (1934-2005) career was devoted to posters, illustrations, and television animations that brought him international acclaim for their diversity and virtuosity; his illustrations appeared in magazines including The New Yorker, Fortune, and Esquire. In the 1990s, he pivoted to sculpture, focusing on statuary and working with both direct carving and modeling, which he then translated to bronze or stone. This is the first publication to explore the entirety of Folon's sculptural work. Drawing inspiration from the Cyclades, the Etruscans, from African masks and Indian totems, Folon's sculptures are characterized by their frontality and corporality. Distributed for Mercatorfonds Exhibition Schedule: Villers-la-Ville, Brussels (October 24, 2020-February 21, 2021)

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

Over 500 striking color photos display artworks produced by today's leading blacksmiths and metalsmiths. Revealed here are beautiful sculptures, created by long-established and new artists, and destined for individual homes, public parks, and other outdoor venues. Includes works by John Medwedeff, Nathan Blank, Tony Higdon, Erika Strecker, and Zachary Noble. Ornamental vases, bowls, plates, and containers as well as functional gates, rails, furniture, and lighting are also included. Both images and text showcase work that may be traditional or groundbreaking in technique, but always in an artistic context. Artists, collectors, gallery owners, museum curators, and those with a burning passion for metal arts, will discover magnificent sculptures by today's blacksmiths and metalsmiths.

In this book, Rachel Kousser draws on contemporary reception theory to present a new approach to Hellenistic and Roman ideal sculpture. She analyzes the Romans' preference for retrospective, classicizing statuary based on Greek models as opposed to the innovative creations prized by modern scholars. Using a case study of a particular sculptural type, a forceful yet erotic image of Venus, Kousser argues that the Romans self-consciously employed such sculptures to represent their ties to the past in a rapidly evolving world. Kousser presents Hellenistic and Roman ideal sculpture as an example of a highly effective artistic tradition that was, by modern standards, extraordinarily conservative. At the same time, the Romans' flexible and opportunistic use of past forms also had important implications for the future: it constituted the origins of classicism in Western art.

Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian emigre formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculpture into the spaces of learning and leisure for as broad a public as possible. Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice-making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain-is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond.

The first biography of Anne Damer since 1908, The Life of Anne Damer: Portrait of a Regency Artist, by Jonathan Gross, draws on Damer s notebooks and previously unpublished letters to explore the life and legacy of England s first significant female sculptor. Best known for her portraits of dogs and other animals, Damer also created busts of England s most important political heroes, sometimes within days or hours of their historical accomplishments. This in-depth biography traces her life during the American Revolution, the French Revolution, the Peace of Amiens and the Hundred Days. Damer was convinced that art could have significant political influence, sending her bust of Nelson to the King of Tanjore to encourage trade with India. Her art stands at the transition between neoclassicism and romanticism and provides a wealth of insight into 19th century British sculpture. In the last twenty years, there has been a strong revival of interest in Damer s life, particularly in gay and lesbian studies due to her famous relationship with author Mary Berry. This text serves as a deeper investigation of this fascinating and important figure of British art history. The emotional menage a trois of Anne Damer, Mary Berry, and Horace Walpole forms the heart of this new biography. Gross contends that all three individuals, had they led more conventional lives, would never have given the world the literary and artistic gifts they bestowed in the form of Strawberry Hill, Belmour, and Fashionable Friends. The struggles they faced will encourage modern readers to appreciate anew the fluidity of sexual identity and passionate friendship, as well as the restraints put in place by society to control them. Anne Damer s life has much to teach a new generation concerned with the complex relationship between love, art, and politics. The Life of Anne Damer will interest historians of Georgian England, and readers in the fine arts, literature, and history.

Isamu Noguchi's Skyviewing Sculpture was created by invitation for Western Washington University, north of Seattle, in 1969. The 14-foot high sculpture, which sits in the university's central quad, acts as an observatory, encouraging viewers to enter and turn their gaze to the sky. 'Skyviewing' was a leitmotif in Noguchi's art throughout his long career as an artist and landscape architect, from his early work alongside Constantin Brancusi in Paris in 1928 to his death in 1988. Some sculptures act as reflecting telescopes with polished stone that mirror the firmament while others trace the path of the sun with cast shadows or lead the eye up towards the sky. The work at Western invites the viewer in, and guides the eye upwards to observe the sky in all of its variety. Looking Up explores Noguchi's work on the themes of space, and our place in the universe; examines the changing artistic climate during his long career; and places Noguchi in context with a younger generation of artists, including Robert Smithson, Nancy Holt, James Turrell, and Charles Ross. The book includes essays by leading specialists, as well as a plate section and contemporary photos of the creation, transportation and installation of Skyviewing Sculpture .

From Seattle's earliest days as a Gold Rush boomtown to its celebration of the future during the 1962 World's Fair, local artists have created public art installations-statuary, reliefs and other sculpture-that became familiar features of the city's landscape. This comprehensive study of 12 Seattle sculptors and their works examines the motivations of the artists and their benefactors, the development of the city's public art policy, and the political forces behind the pieces that are now part of the city's rich history. Biographical details and historical perspective are provided for such artists as Lorado Taft, Alice Robertson Carr, John Carl Ely, Max P. Nielsen, August Werner and James FitzGerald.

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 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.

Includes new illustrations, bibliography, notes. 380 pages. ISBN 9781861714008. www.crmoon.com

Fragments of history: Rethinking the Ruthwell and Bewcastle monuments is an innovative study of the two premier survivals of pre-Viking Anglo-Saxon stone sculpture. Both monuments are rich in finely carved images and complex inscriptions. Though in some way related, in this book, they have very different histories. This ambitious study draws the reader in through a vivid exposition of the problems left by earlier interpretations, shows him or her how to understand the monuments as social products in relation to a history of which our knowledge is so fragmentary, and concludes with a deeply persuasive discussion of their underlying premises. Orton, Wood and Lees bring their research in art history and antiquarianism, history and archaeology, medieval literature, philosophy and gender studies into a successful and coherent whole, organised around certain key notions, such as place, history and tradition, style, similarity and difference, time, textuality and identity. Theoretically astute, rigorously researched, vivid and readable, Fragments of history is a model of how interdisciplinary research can be conducted, written and published. It will be required reading in a number of disciplines, including art history, Anglo-Saxon studies, medieval language and literature, history and ecclesiastical history, antiquarianism and archaeology. -- .

The ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book for those who like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. It provides information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. The ideal guide for those with a passion for both nature and sculptures.

It was during the Renaissance period that sculptors' models, together with drawings, were first assembled by avid collectors fascinated by the tangible evidence of the creative process of the artist. This fully illustrated collection of essays, by distinguished scholars and experts in the field, focuses on the process of sculptural design in fifteenth- and sixteenth-century Europe. The publication arises from a 2017 conference, and is the third and final Robert H. Smith Renaissance Sculpture volume.

In the spring of 1994, a bronze sculpture of a little girl standing in scenic Bonaventure Cemetery in Savannah, Georgia, became famous when it was featured on the cover of the popular book, Midnight in the Garden of Good and Evil. That demure little girl holding up twin bowls became a national sensation, an object so often sought by tourists, the sculpture had to be removed, first to a private home, then to a museum. This is the story of that sculpture, the "Bird Girl", and the talented Chicago-based artist, Sylvia Shaw Judson, who created it. Additional sculptures by Judson illustrated and discussed here include "Gardener" -- currently residing in the Jacqueline Kennedy Garden at the White House -- and "Monument to the Quaker Martyr Mary Dyer" on the lawn of the Massachusetts State House in Boston. The text includes Judson's history and her works, illustrated with twenty-seven images. This book is essential to all with an appreciation of the arts.

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

This book offers a fresh perspective on Michelangelo's well-known masterpiece, the Vatican Pieta, by tracing the shifting meaning of the work of art over time. Lisa M. Rafanelli chronicles the object history of the Vatican Pieta and the active role played by its many reproductions. The sculpture has been on continuous view for over 500 years, during which time its cultural, theological, and artistic significance has shifted. Equally important is the fact that over its long life it has been relocated numerous times and has also been reproduced in images and objects produced both during Michelangelo's lifetime and long after, described here as artistic progeny: large-scale, unique sculpted variants, smaller-scale statuettes, plaster and bronze casts, and engraved prints. The book will be of interest to scholars working in art history, Renaissance studies, early modern studies, religion, Christianity, and theology.

The clay and plaster statuary groups made by John Rogers (1829-1904) from 1859 until after 1888 were so appealing in late Victorian America that "scarcely a family of reasonable means and taste did not possess one." He portrayed ordinary, everyday, urban and rural people doing ordinary, everyday things. Thereby, he offered an unrivaled transcript of the manners, sports, amusements, social customs, domestic interests, costumes, and even modes of furnishing for the period. He made statues of Civil War soldiers, family groups, literary topics, theater scenes, and historical figures from eight to forty-six inches tall. This book chronicles each Rogers group with a photograph, size, patent or design date, and pertinent anecdotes. It will be useful today as a reference for interpreting life in Victorian America and today's collectors will covet the pictures, personal letters, advertising, and social commentary presented in the text. The Rogers statuary reflects the lives of our common ancestors of the late nineteenth century.

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.

First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

Relegated to the Crypt of the Capitol building for 76 years, the Portrait Monument has stood in the Rotunda since 1997. Often referred to as the Suffrage Statue, it memorializes pioneering feminists Lucretia Mott, Elizabeth Cady Stanton and Susan B. Anthony and is the sole sculptural representation of women in the Rotunda. From its conception by sculptor Adelaide Johnson as three separate busts to its laborious execution and celebrated placement in the Rotunda, the seven ton sculpture has provoked frustration, jubilation and hullabaloo. Drawing on diaries, letters, newspapers and historic photos, this first-ever history of the monument explores the controversy, myths and artistry behind this neoclassical yet unconventional work of art.