Why do Japanese artists team up with engineers in order to create so-called "Device Art"? What is a nanoscientist's motivation in approaching the artworld? In the past few years, there has been a remarkable increase in attempts to foster the exchange between art, technology, and science - an exchange taking place in academies, museums, or even in research laboratories. Media art has proven especially important in the dialogue between these cultural fields. This book is a contribution to the current debate on "art & science", interdisciplinarity, and the discourse of innovation. It critically assesses artistic positions that appear as the ongoing attempt to localize art's position within technological and societal change - between now and the future.

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. * Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations * Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies * Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context * Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing * Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

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.

Rachel Whiteread has single-handedly expanded the parameters of contemporary sculpture with her casts of the outer and inner spaces of familiar objects, sometimes in quiet monochrome, sometimes in vivid jewel-like colour. She won the Turner Prize in 1993, the same year as her first large-scale public project, House, a concrete cast of a nineteenth-century terraced house in London's east end. This book, by writer and editor Charlotte Mullins - the first significant survey to examine Whiteread's career to date - has been substantial updated with a new chapter containing 10 major works, including Tate's Turbine Hall installation Embankment and Cabin, Whiteread's first permanent public sculpture in America. Born in London in 1963, Rachel Whiteread is one of Britain's most exciting contemporary artists. Her work is characterised by its use of industrial materials such as plaster, concrete, resin, rubber and metal. With these she casts the surfaces and volume in and around everyday objects and architectural space, creating evocative sculptures that range from the intimate to the monumental.

This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

This volume is a continuation of the first instalment of the editorial project Canova | In Four Tempos, ISBN 9788874399215, born in co-edition with the Pallavicino Foundation in Genoa with the goal of collecting in a refined publication the photographic research of Luigi Spina focused on the plaster models by Antonio Canova almost entirely preserved at the plaster cast gallery in Possagno. This project accompanying the four-year Canovian celebrations (2019-2022) is structured in four publications, each focused on a specific nucleus of plaster models. Its aim is to give new dignity to Antonio Canova's creative process while highlighting the fundamental role of the bronze nails (reperes) that made the metamorphoses from plaster model to marble sculpture possible. The first volume is devoted to the dialogue of Myth and Faith, illustrated by Spina with photographs of Cupid and Psyche, Paolina Borghese Bonaparte, Venus and Mars, the Lying Magdalen, Peace, and the Lamentation of Christ, while this, the second volume, revolves mainly around Myth. The sculptures on which the visual narrative focuses are: Dancer with Finger on Chin, Dedalus and Icarus, Theseus Defeats the Centaur, Naiad, Pius VII Praying, Venus and Adonis, and Sleeping Nymph.

The Erotic Object: Sexuality in Sculpture From Prehistory to the Present

The power and eroticism of sculpture, form, volume and space are sensitively explored in this wide-ranging study, which takes in the history of sculpture from prehistoric times to contemporary art.

Featuring discussions of many famous sculptors, including: Michelangelo Buonarroti, Antonio Canova, Auguste Rodin, Eric Gill, Andy Goldsworthy, Jasper Johns, Constantin Brancusi, Pablo Picasso, Barbara Hepworth and Gianlorenzo Bernini.

Many contemporary artists are studied too, including installation and performance artists (Catherine Elwes, Karen Finley, Ana Mendieta, Carolee Schneemann), and women sculptors such as Alice Aycock, Mary Miss, Rebecca Horn, Nancy Graves, Eva Hesse, Kathe Kollwitz and Judy Chicago.

Regardless of what sculpture depicts, it can be seen as erotic. The surfaces, materials and forms are sensuous: wood, stone, marble, granite, clay, bronze. Touching is pleasure. It is a pleasure that is, perhaps, pre-institutional, pre-industrial and pre-political.

Touching cuts through socialand cultural constructs, such asart, ideology, education and war, and goes back to aprimeval form of being. At same time, touching is a sense of the both personal and societal. John Keats said, 'touch hasa memory'. Sculpture activates this fundamental relation with things. Sculpture renews contact with the simple but utterly crucial experiences such as touch, sight, and smell.

Fully illustrated, with many rare and fascinating illustrations, including prints, paintings and buildings as well as sculptures and statues.

This book has been revised and updated. ISBN 9781861714092. 296 pages. www.crmoon.com

Told in his own words, in response to questions from the writer and art critic Andrew Lambirth, this book chronicles Andrew Logan's life and work through expressive anecdote and factual recollection. Reflections is a look back, but also a look at the present and a look forward: it is about the meaning of Andrew's world and the sculpture he has made to fill it, and about his approach to art, to friendship and to living in London and Wales. The Alternative Miss World, founded by Andrew in 1972, is at the heart of his philosophy, not just the world's greatest drag act (though it is this too), but an exhilarating celebration of the transformative power of the imagination. Andrew's work, which is all about joy and beauty, is inspiring and uplifting. This book, based upon discursive interviews dealing with all periods of his career, explains and contextualises it fully for the first time.

"TITTIPUSSIDAD" documents English artist Sarah Lucas' (born 1962) journey through Mexico. From a visit to a brick factory in Oaxaca to the creation of her bulbous and sexually suggestive sculptures, the odyssey culminates in a final exhibition at the Museo Diego Rivera Anahuacalli.

Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

Rini Tandon's work is characterized by a poetic cross-media approach: her oeuvre comprises works on paper, paintings, and sculptures, as well as photographs and videos. This monograph provides, for the first time, an overview of the oeuvre of the artist, who was born in India and lives in Austria, and who studied under Nasreen Mohamedi at the Faculty of Fine Arts of the University of Baroda. The book takes the reader on a fascinating journey - from Rini Tandon's early work, which already showed an affinity for sculptural expression, through to her post-minimalist geometric sculptures and her interventions in architectural and landscape space. As a result of her engagement with digital modernism she finally produced experimental setups and videos with a scientific slant.

Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing international recognition as an abstract painter. This is the first publication to examine Bowling's art and ideas in relation to sculpture. Lavishly illustrated, it features an extended essay by curator Sam Cornish charting Bowling's interactions with sculpture since the 1960s. The book asks how seeing Bowling's sculpture, and thinking about sculpture more broadly, may extend our understanding of his pictorial language. Considering this relationship also highlights the importance of sculpture to High Modernism, from within which Bowling's mature art emerged. Also included are an in-conversation between Allie Biswas and sculptor Thomas J. Price, and a poem dedicated to Bowling by sculptor and author Barbara Chase-Riboud.

Why did Roman portrait statues, famed for their individuality, repeatedly employ the same body forms? The complex issue of the Roman copying of Greek 'originals' has so far been studied primarily from a formal and aesthetic viewpoint. Jennifer Trimble takes a broader perspective, considering archaeological, social historical and economic factors, and examines how these statues were made, bought and seen. To understand how Roman visual replication worked, Trimble focuses on the 'Large Herculaneum Woman' statue type, a draped female body particularly common in the second century CE and surviving in about two hundred examples, to assess how sameness helped to communicate a woman's social identity. She demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities.

This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

Originally published in 1916, this book discusses, debates and demonstrates the inextricably entwined nature of architecture and sculpture, in terms of their principles, ideals and practices. Providing a detailed overview of the history of the two arts and the harmony which has existed between them throughout the centuries, this book endeavours to disentangle the historic assumption that the two arts exist independently of one another. A broad range of chapters are included, ranging from 'The treatment and placing of sculpture in the historic periods' to 'Decorative sculpture' to 'Large monumental layouts'. Photographs depicting international examples of architecture and sculpture are included throughout. This book explores the necessity for practitioners to understand the requirements and limitations in both fields and will be a valuable resource to students, scholars and researchers of the history of architecture and sculpture.

Swiss artist Meret Oppenheim (1913–1985) is far more than just the creator of the iconic fur teacup. In the course of her career she produced a complex, wide-ranging, and enigmatic body of work that has no parallel in modern art. Like an x-ray beam, this book scans Oppenheim’s artistic oeuvre, bringing its variety, playfulness, and poetry to the fore. Instead of simply answering the riddles posed by these intriguing works, it maps out the paths that will lead us to still more clues. Simon Baur is a leading expert in the life and art of Meret Oppenheim. The nine new essays featured in this volume are at once scholarly and easy to read. In them, Baur shares the many fascinating insights and interpretations that he has gleaned from his decades-long engagement with Oppenheim’s work. The result is an anthology that combines both biographical and thematic aspects and takes us on an exciting journey into the poetic cosmos of a truly great female artist.