Jeffrey Rubinoff is one of the great sculptors in steel of the second half of the twentieth century. In the 1970s and '80s he exhibited widely in the United States and Canada alongside Anthony Caro, Mark di Suvero and George Rickey, among others. However, in the early 1990s Rubinoff withdrew from the art world altogether and concentrated on creating an extraordinary sculpture park on Hornby Island. This book is the first major account of his remarkable career. The Art of Jeffrey Rubinoff considers Rubinoff's life, work and ideas from a variety of perspectives. Barry Phipps describes Rubinoff's working methods; James Purdon examines the meanings that derive from Rubinoff's use of steel; Joan Pachner focuses on the formative influence of the abstract Expressionist sculptor David Smith on his work; Maria Tippett examines Rubinoff through the lens of the broader arts scene in postwar Canada; and Aaron Rosen attempts to understand Rubinoff's values and ambitions in light of his Jewish heritage. Other contributing scholars include Alistair Rider, Mark E. Breeze, Tom Stammers, Alexander Massouras, David Lawless and Peter Clarke. The book's foreword is written by the distinguished Yale historian Jay Winter. Drawing on interviews and correspondence with Rubinoff himself, as well as uncatalogued archives and unpublished documents in the artist's possession, The Art of Jeffrey Rubinoff makes available for the very first time a significant quantity of primary material, both textual and visual, for scholars and students of the future.

Calder by Matter offers an intimate and wholly unique window into the life and work of Alexander Calder, as seen through the lens of his friend and acclaimed photographer Herbert Matter. Given unprecedented access to Calder s work and life during the course of their friendship, Herbert Matter captured Calder s sculptures, the artist at work in his studio, and at home with his family in Roxbury, Connecticut. Calder by Matter includes original essays by esteemed art critic and Calder biographer Jed Perl, Calder Foundation President and Calder grandson Alexander S. C. Rower, and Matter student and colleague John T. Hill. This unique collection of over 300 images, many of which are published here for the first time, offers a new perspective on Calder s oeuvre, life, and creative process."

The Forgings, the groundbreaking series of industrially forged steel sculptures that the artist produced in 1955 and 1956, are brought together in one book for the first time, alongside complementary sketchbook drawings of the sculptures. This catalogue, documenting an exhibition at Gagosian Gallery, New York, is the first time that all ten Forgings have been on view together since 1956. The sculptures are accompanied by a series of works on paper leading up to The Forgings, as well as sketchbook drawings of the completed sculptures. With the The Forgings, David Smith translated the spontaneity of a brushed line drawing into sculptural form, manipulating thin steel bars to achieve expressive vertical abstractions. The Forgings were unprecedented as works created solely through an industrial machined process, but were perhaps even more radical as pre-Minimalist forms intended to provoke discrete responses in each viewer.

The 607 paintings and one sculpture documented in Volume 4 of The Andy Warhol Catalogue Raisonne were produced during a period of less than three years, from late 1974 through early 1977. In September 1974, Warhol changed studios, moving across Union Square from the sixth floor of 33 Union Square West to the third floor of 860 West Broadway. Like Volumes 2 and 3, Volume 4 is identified with a new studio, where Warhol continued to work for a decade, until he moved into his last studio at 22 East 33rd Street on December 3, 1984. Volume 4 may be seen as the first in a series of books associated with one studio that will document an enormously productive ten-year period in Warhol's oeuvre from the mid seventies to the mid eighties.

Dialectical Materialism: Aspects of British Sculpture Since the 1960s charts a network of relations linking the work of six sculptors: Anthony Caro, Barry Flanagan, Richard Long, William Turnbull, Rachel Whiteread and Alison Wilding. Since the 1960s, successive artists and art-critical frameworks have sought to undermine or dispense with traditional media and the boundaries between painting and sculpture, the core disciplines of modern Western art. The artists studied here are united by their commitment to sculpture as a distinct practice, but also to broadening, challenging and redefining the basis of that practice. In his essay, art historian Jonathan Vernon argues that each of these sculptors has engaged in a realignment of sculptural and material space - in removing sculpture from the disembodied, 'disinterested' spaces of mid-century modernism and returning it to a shared world inhabited by other objects, ourselves and our material interests. From the conflicts that inhere in this space, we may discern the outlines of a new idea of British sculpture since the 1960s - an idea by turns narrative, dramatic and dysfunctional.

As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time. Apart from his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects- the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that"a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for 'an Epstein' and his kind of 'content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture.

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject--a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida--he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, "Heidegger Among the Sculptors" makes a singular contribution to the philosophy of sculpture.

Pioneering investigation of the popular "double tomb" effigies in the Middle Ages. 2022 Historians of British Art Book Award for Exemplary Scholarship on the Period before 1600 2021 International Center of Medieval Art Annual Book Prize Medieval tombs often depict husband and wife lying side-by-side, and hand in hand, immortalised in elegantly carved stone: what Philip Larkin's poem An Arundel Tomb later described as their "stone fidelity". This first full account of the "double tomb" places its rich tradition into dialogue with powerful discourses of gender, marriage, politics and emotion during the Middle Ages. As well as offering new interpretations of some of the most famous medieval tombs, such as those found in Westminster Abbey and Canterbury Cathedral, it draws attention to a host of lesser-known memorials from throughout Europe, providing an innovative vantage point from which to reconsider the material culture of medieval marriage. Setting these twin effigies alongside wedding rings and dresses as the agents of matrimonial ritual and embodied symbolism, the author presents the "double tomb" as far more than mere romantic sentiment. Rather, it reveals the careful artifice beneath their seductive emotional surfaces: the artistic, religious, political and legal agendas underlying the medieval rhetoric of married love. Published with the generous financial assistance of the Henry Moore Foundation.

A COMPREHENSIVE GUIDE TO SCULPTING THE HUMAN FIGURE IN CLAY
In "Sculpting the Figure in Clay, "acclaimed portrait bust sculptor and author Peter Rubino teaches a master class in the essentials of figurative sculpture. In this intensive, all-inclusive guide, he introduces students to a natural, straightforward geometry that will help them become masters at forming figures in clay. Rubino's unique approach utilizes a geometric system consisting of blocks, simple shapes, and guidelines that instruct students in a new and instinctive sculptural style. With these easy-to-follow instructions and informative concepts, students will see figures as the basic shapes beneath the form as well as learn vital approaches such as BLT: Bend, Lean, and Turn, to create evocative expression, and the Three Ps: Position, Proportion, and Planes, for accurate representation. This unparalleled resource is the definitive guide to figurative sculpture.
TOPICS INCLUDE:
- The Fundamentals of the Clay Torso
- Observing the Model
- Essential Materials and Tools
- Sculpting the Female Torso from the Live Model
- Sculpting the Reclining Figure from the Live Model
- Sculpting the Hand, Foot, and Lower Arm
- Plus Many Photographic Reference Poses for continued Study

This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.

This catalogue documents an exhibition at the Baur Foundation that brings together work by the French painter Pierre Soulages (b.1919) and the Japanese master bamboo artist Tanabe Chikuunsai IV (b. 1973). Soulages, still working at 102 years old, has painted almost exclusively in black since 1979 and is known as the "master of luminous blacks". Tanabe Chikuunsai IV is a renowned bamboo artist, known for his twisting organic sculptures and room-sized installations made from tiger or black bamboo. The aim of this exhibition is to explore how their work resonates, despite different approaches, in the dark and light effects of their materials. Text in French and English. Published to accompany an exhibition at the Baur Foundation in Switzerland, a museum of Far Eastern Art, from November 2021-March 2022.

Latinx artist Tamara Kostianovsky began using her discarded clothes as artistic material shortly after immigrating to the United States, addressing cultural and physical displacement, assimilation and identity, and the brutal history of Latin America. Today, these emotionally charged materials coalesce in a post-colonial vision for an ecological future. Tamara Kostianovsky creates sculptures from textiles that address the relationship between landscapes, the body, and violence. This volume highlights distinct bodies of her work including sculptures of butchered carcasses, slayed birds, and severed trees. Built with layers of texture, colour, and emotion, these works dive head-first into the tension between beauty and horror, confronting histories of systemic violence and transforming them into utopian environments.

A comprehensive study of modern sculpture developments in Great Britain, this beautiful and important new book showcases 95 leading sculptors from the second half of the 20th century. Chronologically arranged to show the influences that touched each of the artists lives, it concentrates on the most influential, award-winning, and highly valued works from the growing field of popular sculpture available today. The artists themselves selected most of the pieces to represent their own work and are liberally quoted with personal statements to interpret their work for the readers. 780 color and black and white photographs display the wide range of materials, themes, styles, and settings that convey each individual sculptors own classical, figurative, abstract, or visionary work. \nA history of the Royal Society of British Sculpture (RBS), by the organizations current president, sets forth the purpose and results of this prestigious group today. Essays on the St Ives group of the 1940s and figurative sculpture of the 1950s put the growing sculpture movement in Britain into perspective. From them sprang several generations of influential sculptors whose work challenges current sculptors to push the bounds of artistic expression. They must create, and they do, in countless original ways. The growing popularity of sculpture parks in Britain is currently influencing new sculpture parks all over the world. The exciting images and wealth of specific information contained here will continue to shape the art market for generations to come.

The book is made up of 10 classical sculptures from the Hermitage Museum (mostly Roman and one or two Greek), removed from their plinths and repositioned to share a raised floor with the viewer; and 17 highly abstracted body-forms by Antony Gormley. The idea is to juxtapose ancient, idealized statues with Gormley's more disinterested sculptures and see whether, in Gormley's work, the abstract language of Euclidean geometry can make a shelter for feeling, and whether, in the case of the classical works, demounting and putting the viewer on the same level as their original makers can re-establish them as made things. The interaction of the public, captured in documentary photographs, is key to a project that aims to show how classical marbles, Gormley's own sculptures and the living human visitors inhabit the same space and can converse with each other. All Gormley's body works are the residue of an action or event of a real body that is absent translated into an abstract architectural language (which in the Hermitage is in acute contrast to the ornate interiors). His work takes the body as a `found object', something already made, as a reflexive object that engages the viewer less as a representation than an acknowledgement of its opposite: the `lost subject'.

Leo Steinberg was one of the most original and daring art historians of the twentieth century, known for taking interpretative risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures that ranged from old masters to contemporary art, he combined scholarly erudition with an eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His works, sometimes provocative and controversial, remain vital and influential reading. For half a century, Steinberg delved into Michelangelo's work, revealing the symbolic structures underlying the artist's highly charged idiom. This volume of essays and unpublished lectures explicates many of Michelangelo's most celebrated sculptures, applying principles gleaned from long, hard looking. Almost everything Steinberg wrote included passages of old-fashioned formal analysis, but here put to the service of interpretation. He understood that Michelangelo's rendering of figures as well as their gestures and interrelations conveys an emblematic significance masquerading under the guise of naturalism. Michelangelo pushed Renaissance naturalism into the furthest reaches of metaphor, using the language of the body and its actions to express fundamental Christian tenets once expressible only by poets and preachers--or, as Steinberg put it, in Michelangelo's art, "anatomy becomes theology." Michelangelo's Sculpture is the first in a series of volumes of Steinberg's selected writings and unpublished lectures, edited by his longtime associate Sheila Schwartz. The volume also includes a book review debunking psychoanalytic interpretation of the master's work, a lighthearted look at Michelangelo and the medical profession and, finally, the shortest piece Steinberg ever published.

The volume offers a historical-critical study on the entire career of Marco Tirelli (Rome,1956). His production - surprising and enigmatic - includes works on paper, works on canvas or wood, sculptures, installations, whose subjects always appear poised between recognisability and abstraction: the figures and scenes represented are made up of a densification of microscopic particles of colours that from a distance seem well defined, but which, when viewed from a short distance, break down. A subtle, intellectual painting, therefore, the result of an introspective investigation carried out with dedication. The same tension between illusion and reality, between light and shadow, also characterises the sculptures and installations, as documented in these pages. The volume includes a historical-critical essay by Antonella Soldaini, a conversation with the artist, a biographical note and a documentary summary. Text in English and Italian.

This book investigates the important antiquities collection formed by Henry Blundell of Ince Blundell Hall outside Liverpool in the late eighteenth century. Consisting of more than 500 ancient marbles-the UK's largest collection of Roman sculptures after that of the British Museum-the collection was assembled primarily in Italy during Blundell's various "Grand Tour" visits. As ancient statues were the pre-eminent souvenir of the Grand Tour, Blundell had strong competition from other collectors, both British nobility and European aristocrats, monarchs, and the Pope. His statues represent a typical cross-section of sculptures that would have decorated ancient Roman houses, villas, public spaces, and even tombs, although their precise origins are largely unknown. Most are likely to have come from Rome and at least one was found at Hadrian's Villa at Tivoli. Although most of the works are likely to have been broken when found, in keeping with the taste of the period they were almost all restored. Because of their extensive reworking, the statues are today not simply archaeological specimens but rather, artistic palimpsests that are as much a product of the 18th century as of antiquity. Through them we can learn what antiquarians and collectors of the 18th century-a key period in the development of scientific archaeology as a discipline-thought about antiquity. Steeped in the work of such writers as Alexander Pope, an educated Englishman like Blundell sought a visual expression of a lost past. Restoration played a major role in creating that visual expression, and I pay close attention to the aims and methods by which the Ince restorations advanced an 18th century vision of the "classical." The image of antiquity formed at this time has continued to exert a profound effect on how we see these pieces today. The book will be the first to examine the ideal sculpture of Ince Blundell Hall in nearly a century. In so doing it aims to rehabilitate the reputations of a collector and collection that have largely been ignored by both art-lovers and scholars in post-war Britain.

Carole A. Feuerman is celebrated as one of America's major hyper-realistic sculptors, alongside Duane Hanson and John De Andrea. Born 1945, she was educated in New York and Philadelphia and began as an illustrator before turning to sculpture in the 1970s, which soon earned her much recognition and early success. A pioneer of hyper-realism in sculpture, her work has been displayed in many group shows and solo exhibitions at private galleries and public museums, as well as at the major art fairs, in America, Europe, and Asia. Over five decades, Feuerman has created visual manifestations of stories telling of strength, survival, and balance. She works in marble, bronze, vinyl, painted resins, and stainless steel. Her work is marked by her thorough understanding of materials' characteristics and her ability to control them in the studio. Her subject matter is the human figure, most often a woman in an introspective moment of exuberant self-consciousness shaded by erotic lassitude. Feuerman's works represent a state of female mind rather that an alluring body meant to attract the male gaze. They suggest that women look at themselves differently from men looking at them, that a woman is more innately creative than a man. Many of Feuerman's figures have a fragmented quality, recalling those by Auguste Rodin, and the aesthetics of Surrealism. This is the most comprehensive survey of Feuerman's work in sculpture to date. Lavishly illustrated in colour throughout, it demonstrates the variety of materials and media she uses and highlights the specific qualities of her figures.

A compelling look at Doris Salcedo's works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself Colombian sculptor and installation artist Doris Salcedo (b. 1958) creates works that address political violence and oppression. This pioneering book, which focuses on Salcedo's works from 2001 to the present, examines the development and evolution of her approach. These sculptures have pushed toward new extremes, incorporating organic materials-rose petals, grass, soil-in order to blur the line between the permanent and the ephemeral. This insightful text illuminates the artist's practice: exhaustive personal interviews and deep research joined with painstaking acts of making that both challenge limits and set new directions in materiality. Mary Schneider Enriquez convincingly argues for viewing Salcedo's oeuvre not just through a particular theoretical lens, such as violence studies or trauma and memory studies, but for the profound way the artist engages with and expands the traditions of sculpture as a medium.

Luisa Lambri's art revolves around the human condition and its relationship with space, touching on areas such as the politics of representation, architecture, the history of abstract photography, modernism, feminism, identity and memory. The title of the exhibition presented at PAC, in Milan, is a tribute to Carla Lonzi who, in 1969, published "Autoritratto", a collection of interviews with avant-garde artists that revealed their private sides. In the same way, Lambri constructs personal and intimate readings of the subjects of her photographs and encourages a dialogue between the observer, the work of art and the space. Light, time and movement play an important role in her work, where slight differences reflect the artist's movement within the space. Lambri uses architecture to create her images, rather than images to document architecture, revealing negligible details of modernist architecture or iconic minimalist sculptures. At PAC, her works relate to the unique qualities of the architecture designed by Ignazio Gardella, for which the exhibition was specifically developed. Text in English and Italian.

Greg Tricker is a stone carver and painter. His profound and simple style of painting is deeply rooted in a mystical tradition of art. Qualities of myth, an innocence of spirit akin to the folk art tradition and a powerfully theatrical element feature in his work.

Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021. Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks. Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby's practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously." The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group. Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.