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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
The first book to devote serious attention to questions of scale in
contemporary sculpture, this study considers the phenomenon within
the interlinked cultural and socio-historical framework of the
legacies of postmodern theory and the growth of global capitalism.
In particular, the book traces the impact of postmodern theory on
concepts of measurement and exaggeration, and analyses the
relationship between this philosophy and the sculptural trend that
has developed since the early 1990s. Rachel Wells examines the
arresting international trend of sculpture exploring scale,
including American precedents from the 1970s and 1980s and work by
the 'Young British Artists'. Noting that the emergence of this
sculptural trend coincides with the end of the Cold War, Wells
suggests a similarity between the quantitative ratio of scale and
the growth of global capitalism that has replaced the former status
quo of qualitatively opposed systems. This study also claims the
allegorical nature of scale in contemporary sculpture, outlining
its potential for critique or complicity in a system dominated by
quantitative criteria of value. In a period characterised by
uncertainty and incommensurability, Wells demonstrates that scale
in contemporary sculpture can suggest the possibility of, and even
an unashamed reliance upon, comparison and external difference in
the construction of meaning.
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.
The Millennium Clock first chimed on 1 January 2000 and crowds
still gather round it in the National Museum of Scotland. The
finished clock tower echoes the form of a medieval cathedral,
standing just over ten metres high. It marks the passing of time
but is also a summary of the best and worst of the twentieth
century. The animated construction comprises four sections: The
Crypt, The Nave, The Belfry and The Spire. Each has its own stories
to tell and secrets to reveal. This edition is in a new format and
has 12 superb replacement photographs which give close-ups of some
of the clock's intricate details. The clock tower is a
collaboration between E Bersudsky, A Sandstrom, T Stead and J
Tubbecke.
This book elaborates on the social and cultural phenomenon of
national schools during the nineteenth century, via the less
studied field of sculpture and using Belgium as a case study. The
role, importance of, and emphasis on certain aspects of national
identity evolved throughout the century, while a diverse array of
criteria were indicated by commissioners, art critics, or artists
that supposedly constituted a "national sculpture." By confronting
the role and impact of the four most crucial actors within the
artistic field (politics, education, exhibitions, public
commissions) with a linear timeframe, this book offers a
chronological as well as a thematic approach. Artists covered
include Guillaume Geefs, Eugene Simonis, Charles Van der Stappen,
Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.
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.
Although the integration of sculpture in gardens is part of a long
tradition dating back at least to antiquity, the sculptures
themselves are often overlooked, both in the history of art and in
the history of the garden. This collection of essays considers the
changing relationship between sculpture and gardens over the last
three centuries, focusing on four British archetypes: the Georgian
landscape garden, the Victorian urban park, the outdoor spaces of
twentieth-century modernism and the late-twentieth-century
sculpture park. Through a series of case studies exploring the
contemporaneous audiences of gardens, the book uncovers the social,
political and gendered messages revealed by sculpture's placement
and suggests that the garden can itself be read as a sculptural
landscape.
New and better than ever, Launching the Imagination treats design
as both a verb and a noun - as both a process and a product. Design
is deliberate - a process of exploring multiple solutions and
choosing the most promising option. Through an immersion in 2-D
concepts students are encouraged to develop methods of thinking
visually that will serve them throughout their studies and careers.
Building on strengths of the previous five editions Launching the
Imagination 6e is even more: Concise. Content has been refined so
that maximum content can be communicated as clearly and concisely
as possible. Colorful. In addition to the full color used
throughout the book, the writing is livelier than that in most
textbooks. Analogies expand communication, and every visual example
has been carefully selected for maximum impact. Comprehensive.
Launching the Imagination is the only foundational text with full
sections devoted to critical and creative thinking and to
time-based design. The photo program is global, represents a myriad
of stylistic approaches, and prominently features design and media
arts as well as more traditional art forms. Contemporary. More than
half of the visual examples represent artworks completed since
1970, and over 100 represent works completed since 2000 Compelling.
Interviews with exemplars of creativity have always been an
important feature of this book. Three of the best past profiles
have been revised and a new profile has been added. Now inserted
into the body of the text, each interview deliberately builds on
its chapter content. In Chapter Five, designer Steve Quinn
describes the seven-step sequence he uses in developing websites,
logos, and motion graphics. In Chapter 8, Jim Elniski describes The
Greenhouse Chicago, an innovative home that is both highly energy
efficient and elegant. In Chapter 11, ceramicist David MacDonald
describes his influences and work process. And, in the new profile
in Chapter 6, artist Sara Mast describes an ambitious art and
science collaboration begun in celebration of the ideas of Albert
Einstein. We have also added a new feature called Success Stories.
These short interviews explore connections between foundational
coursework and career success. In Chapter Five, Elizabeth Nelson
discusses her wide-ranging design work at the Shedd Aquarium in
Chicago. Jason Chin's interview in Chapter Seven connects directly
to his self-designed project in the Self Assignment feature earlier
in the chapter. As a freshman at Syracuse University, he completed
this ambitious illustration project as the final project in a
Two-Dimensional Design course. He describes his current work as a
professional illustrator. Almost fifty new images have been added,
representing major contemporary artists and designers including
Wolfgang Buttress, Do Ho Suh, Garo Antresian, Janet Ballweg, Phoebe
Morris, Alain Cornu, and Natalya Zahn.
A Host of Devils provides an in-depth account of the background, origin and development of the spirit figure sculptures which emerged during colonial times among the Makonde people of Mozambique. The creation of such works is shown to connect with a regional system of knowledge and practice, within which spirits function as a format for expression. The book describes the ways in which the sculpture emerged, as well as the author's experience of learning how to carve.
Sculpture Journal provides an international forum for writers and
scholars in the field of post-classical sculpture and public
commemorative monuments in the Western tradition. Sculpture Journal
offers a keen critical overview and a sound historical base, and is
Britain's foremost scholarly journal devoted to sculpture in all
its aspects. Periods covered extend to public and private
commissions for present-day sculptors. While being academic and
traditional, the journal encourages contributions of fresh research
from new names in the field.
Clay-sculpting royalty 'The Shiflett Brothers' offer unique insight
into their practices and the techniques used to create their
stunning fantasy characters. Learning from the biggest and best
creators in any industry is a rare and sought after opportunity. In
this book, clay-sculpting royalty "The Shiflett Brothers" guide us
through their creative journey as well as sharing in-depth insight
into the processes they use to create their dynamic and captivating
fantasy sculpts. Joined by fellow esteemed sculptors Simon Lee,
Aris Kolokontes, and Forest Rogers, the Shifletts bring together a
collection of visually led step-by-step tutorials that are sure to
broaden your creative horizons and add an expansive set of
practical skills to your sculpting arsenal. With studio-quality
photography and a how-to section on creating the Shiflett's very
own tools, this book is a prize possession for any member of the
brothers' huge and loyal fan base and as an exhilarating follow-on
from the popular Beginner's Guide to Sculpting Characters in Clay.
Sculpture Journal provides an international forum for writers and
scholars in the field of post-classical sculpture and public
commemorative monuments in the Western tradition. Sculpture Journal
offers a keen critical overview and a sound historical base and is
Britain's foremost scholarly journal devoted to sculpture in all
its aspects. Periods covered extend to public and private
commissions for present-day sculptors. While being academic and
traditional, the journal encourages contributions of fresh research
from new names in the field.
Ardmore ceramics are found in major collections in several European
countries, the United States and South Africa and have been given
as state gifts to, among others, Bill Clinton, Jacques Chirac,
Queen Elizabeth II and Empress Michiko of JapanGiraffe stretch out
their necks and bat-eared foxes curl their tails to make handles
for jugs, vases and tureens. Inquisitive monkeys peer over the edge
of a planter, teasing the leopards below them. Magical creatures
wear cloaks of flowers, spots and stripes; a turbanned Zulu figure
sits astride a hippo Colorful, imaginative, vibrant, delicate and
dramatic these are just some of the hallmarks of the artworks that
have garnered international accolades for Ardmore Ceramic Art in
rural KwaZulu-Natal. It is here, in South Africa s most successful
ceramics studio set in the verdant Midlands, that exquisitely
handcrafted and highly detailed figurative works and functional
ware are created by more than fifty artists who draw on Zulu
traditions and folklore, history, the natural world, and their own
lives for inspiration.In turn, it is the lives of the sculptors and
painters of Ardmore that fire the vision of the woman behind it
all: Fee Halsted is an artist whose love of teaching and
determination to fight poverty and AIDS have set others on the path
of creative self-discovery and ultimately worldwide
acclaim."Ardmore We Are Because of Others" tells the extraordinary
story of this famous studio from its humble beginnings in a
poverty-stricken corner of South Africa to its fame as a producer
of exceptional and irresistible objets d art prized by collectors,
galleries and museums throughout the world. It is also the story of
the indomitable Fee Halsted who is the driving force behind the
enterprise, and the artists whose inventive spirit and fearless
creativity are at the heart of Ardmore."
The Drosten stone - one of Scotland's premier monuments - came to
light during restoration work at St Vigeans church, near Arbroath,
in the 1870s. A rare example of Pictish writing, the Drosten stone
is just one in an astounding collection of exquisitely preserved
Pictish sculptures discovered in and around the church. The
carvings on these stones revel in Pictish inventiveness, teeming
with lively naturalistic animals and innovative compositions of
monsters and people, as well as both Pictish symbols and everyday
objects. The sculptures' iconography also draws on a deep knowledge
of Christian and classical literature, witness to a highly literate
and cosmopolitan society. This definitive study of St Vigeans'
Pictish stones, generously illustrated with plates of the full
collection, begins in the recent past, when the sculptures began to
emerge as a remarkable historic entity. It then explores the
history of the sculptures, including an analysis of the carvings,
the geology of the stones and attempts to extract meaning and
context for this unique stone collection as part of a powerful
ecclesiastical landscape.
An incisive history revealing Britain's conquest of the Kingdom of
Benin and the plunder of its fabled Bronzes. The Benin Bronzes are
among the British Museum's most prized possessions. Celebrated for
their great beauty, they embody the history, myth and artistry of
the ancient Kingdom of Benin, once West Africa's most powerful, and
today part of Nigeria. But despite the Bronzes' renown, little has
been written about the brutal imperial violence with which they
were plundered. Paddy Docherty's searing new history tells that
story: the 1897 British invasion of Benin. Armed with shocking
details discovered in the archives, Blood and Bronze sets this
assault in its late Victorian context. As British power faced new
commercial and strategic pressures elsewhere, it ruthlessly
expanded in West Africa. Revealing both the extent of African
resistance and previously concealed British outrages, this is a
definitive account of the destruction of Benin. Laying bare the
Empire's true motives and violent means, including the official
coverup of grotesque sexual crimes, Docherty demolishes any moral
argument for Britain retaining the Bronzes, making a passionate
case for their immediate repatriation to Nigeria.
Sculpture Journal provides an international forum for writers and
scholars in the field of post-classical sculpture and public
commemorative monuments in the Western tradition. Sculpture Journal
offers a keen critical overview and a sound historical base, and is
Britain's foremost scholarly journal devoted to sculpture in all
its aspects. Periods covered extend to public and private
commissions for present-day sculptors. While being academic and
traditional, the journal encourages contributions of fresh research
from new names in the field.
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.
Concise catalogue for the eponymous exhibition organised by the
Vatican Museums in collaboration with the Superintendency for
Artistic and Ethno-anthropological Historical Heritage of Latium,
dedicated to ancient sacred goldsmithery in the region. The works
in the exhibition - from diocesan collections and from the churches
of Latium - are mostly on display for the first time and have
emerged as a result of major research and documentation work.
Selected on the basis of the value of the metals, their sculptural
quality, and especially their refinement, the rediscovered
treasures represent six centuries of production, from the Medieval
age to late Rococo.
Through meticulously researched case studies, this book explores
the materiality of terracotta sculpture in early modern Europe.
Chapters present a broad geographical perspective showcasing
examples of modelling, firing, painting, and gilding of clay in
Portugal, Spain, Italy, Germany, and the Netherlands. The volume
considers known artworks by celebrated artists, such as Luca della
Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in
parallel with several lesser-studied terracotta sculptures and
tin-glazed earthenware made by anonymous artisans. This book
challenges arbitrary distinctions into the fine art and the applied
arts, that obscured the image of artistic production in the early
modern world. The centrality of clay in the creative processes of
artists working with two- and three-dimensional artefacts comes to
the fore. The role of terracotta figures in religious practices, as
well as processes of material substitutions or mimesis, confirm the
medium’s significance for European visual and material culture in
general. This book will be of interest to scholars working in art
history, Renaissance studies, and material culture.
Sculpture Journal provides an international forum for writers and
scholars in the field of post-classical sculpture and public
commemorative monuments in the Western tradition. Sculpture Journal
offers a keen critical overview and a sound historical base, and is
Britain's foremost scholarly journal devoted to sculpture in all
its aspects. Periods covered extend to public and private
commissions for present-day sculptors. While being academic and
traditional, the journal encourages contributions of fresh research
from new names in the field.
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