The first book to chart Scott Burton's performance art and sculpture of the 1970s. Scott Burton (1939-89) created performance art and sculpture that drew on queer experience and the sexual cultures that flourished in New York City in the 1970s. David J. Getsy argues that Burton looked to body language and queer behavior in public space-most importantly, street cruising-as foundations for rethinking the audiences and possibilities of art. This first book on the artist examines Burton's underacknowledged contributions to performance art and how he made queer life central in them. Extending his performances about cruising, sexual signaling, and power dynamics throughout the decade, Burton also came to create functional sculptures that covertly signaled queerness by hiding in plain sight as furniture waiting to be used. With research drawing from multiple archives and numerous interviews, Getsy charts Burton's deep engagements with postminimalism, performance, feminism, behavioral psychology, design history, and queer culture. A restless and expansive artist, Burton transformed his commitment to gay liberation into a unique practice of performance, sculpture, and public art that aspired to be antielitist, embracing of differences, and open to all. Filled with stories of Burton's life in New York's art communities, Queer Behavior makes a case for Burton as one of the most significant out queer artists to emerge in the wake of the Stonewall uprising and offers rich accounts of queer art and performance art in the 1970s.

Rodin & Dance: The Essence of Movement is the first serious study of Rodin's late sculptural series known as the Dance Movements. Exploring the artist's fascination with dance and bodies in extreme acrobatic poses, the exhibition and accompanying catalogue give an account of Rodin's passion for new forms of dance - from south-asian dances to the music hall and the avant garde - which began appearing on the French stage around 1900. Rodin made hundreds of drawings and watercolours of dancers. From about 1911 he also gave sculptural expression to this fascination with dancers' bodies and movements in creating the Dance Movements, a series of small clay figure studies (each approx. 30 cm in height) that stretch and twist in unsettling ways. These leaping, turning figures in terracotta and plaster were found in the artist's studio after his death and were not exhibited during Rodin's lifetime or known beyond his close circle. Presented alongside the associated drawings and photographs of some of the dancers, they show a new side to Rodin's art, in which he pushed the boundaries of sculpture, expressing themes of flight and gravity. This exhibition catalogue aims to become the authoritative reference for Rodin's Dance Movements, comprising essays from leading scholars in the field of sculpture. It includes an introductory essay on the history of the bronze casting of the Dance Movements and the critical fortune of the series, an essay on the dancers Rodin admired, and an extensive technical essay. The Catalogue will comprise detailed entries on the works in the exhibition and new technical information on the drawings. Contributors include Alexandra Gerstein, Curator of Sculpture and Decorative Arts, The Courtauld Institute of Art; Antoinette Le Normand-Romain, Director, Institut National d'Histoire de l'Art, Paris; Juliet Bellow, Associate Professor of Art History, American University in Washington, DC and currently Resident Fellow, the Center for Ballet and the Arts, New York University; Francois Blanchetiere, Curator of Sculpture at the Musee Rodin; Agnes Cascio and Juliette Levy, distinguished sculpture conservators; Sophie Biass-Fabiani, Curator of Works on Paper at the Musee Rodin; and Kate Edmonson, Conservator of Works on Paper at The Courtauld Gallery.

The ancient and wonderful art of direct stone sculpture is brought to life in this comprehensive new book by the noted sculptor, Milt Liebson. After a brief, informative historical overview of stone sculpture, he leads the reader through the hands-on experience of sculpting in stone. This is an invaluable book for artists and would-be artists in stone. The types of stone used in sculpture are covered, as well as the basic tools for hand sculpting and the techniques for their use. For the advanced sculptor there is detailed information on power tools and their use, the methods of lamination and repair, the business side of stone sculpture, and other helpful information gleaned from years of experience. Detailed photographs take readers from rough stone to the polished and mounted piece. Already a standard reference, **Direct Stone Sculpture now includes 47 new pictures, updated stone-working techniques, and a gallery of students' work.

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work This richly illustrated volume reintroduces readers to American sculptor William Edmondson (1874–1951) more than 80 years after his historic solo exhibition at the Museum of Modern Art. Edmondson began carving at the onset of the Depression in Tennessee. Initially creating tombstones for his community, over time he expanded his practice to include biblical subjects, the natural world, and recognizable figures including nurses and preachers. This book features new essays that explore Edmondson’s life in the South and his reception on the East Coast in the 1930s. Reading the artist through lenses of African American experience, the authors draw parallels between then and now, highlighting the complex relationship between Black cultural production and the American museum. Countering existing narratives that have viewed Edmondson as a passive actor in an unfolding drama—a self-taught sculptor “discovered� by White patrons and institutions—this book considers how the artist’s identity and position within history influenced his life and work. Distributed for the Barnes Foundation  Exhibition Schedule: The Barnes Foundation, Philadelphia (June 25–September 10, 2023)  

An exploration of the art and writing of Louise Bourgeois through the lens of her relationship with Freudian psychoanalysis From 1952 to 1985, Louise Bourgeois (1911-2010) underwent extensive Freudian analysis that probed her family history, marriage, motherhood, and artistic ambition-and generated inspiration for her artwork. Examining the impact of psychoanalysis on Bourgeois's work, this volume offers insight into her creative process. Philip Larratt-Smith, Bourgeois's literary archivist, provides an overview of the artist's life and work and the ways in which the psychoanalytic process informed her artistic practice. An essay by Juliet Mitchell offers a cutting-edge feminist psychoanalyst's viewpoint on the artist's long and complex relationship with therapy. In addition, a short text written by Bourgeois (first published in 1991) addresses Freud's own relationship to art and artists. Featuring excerpts from Bourgeois's copious diaries, rarely seen notebook pages, and archival family photographs, Louise Bourgeois, Freud's Daughter opens exciting new avenues for understanding an innovative, influential, and groundbreaking artist whose wide-ranging work includes not only renowned large-scale sculptures but also a plethora of paintings and prints. Published in association with the Jewish Museum, New York Exhibition Schedule: Jewish Museum, New York (May 21-September 26, 2021)

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.

An examination of women as mothers in medieval French sculpture. What can medieval sculptural representations of women tell us about medieval women's experiences of motherhood? Presumably the work of male sculptors, working for clerical patrons, these sculptures are unlikely to have been shaped by women's maternal experiences during their production. Once produced, however, their beholders would have included women who were mothers and potential mothers, thus opening a space between the sculptures' intended meanings and other meanings liable to be produced by these women as they brought their own interests and concerns to these works of art. Building on theories of reception and response, this book focuses on interactions between women asbeholders and a range of sculptures made in France in the twelfth through sixteenth centuries, aiming to provide insight into women's experiences of motherhood; particular sculptures considered include the Annunciation and Visitation from Reims cathedral, the femme-aux-serpents from Moissac, the transi of Jeanne de Bourbon-Vendome, the Eve from Autun, and a number of French Gothic Virgin and Child sculptures. Marian Bleeke is Associate Professor of Art History and Chair of the Department of Art and Design at Cleveland State University.

This tapestry of primary sources is an essential primer on sculpture and its makers. Modern Sculpture presents a selection of manifestos, documents, statements, articles, and interviews from more than ninety sculptors, including a diverse selection of contemporary sculptors. With this book, editor Douglas Dreishpoon defers to artists, whose varied points of view illuminate sculpture's transformation-from object to action, concept to phenomenon-over the course of more than a century. Chapters arranged in chronological sequences highlight dominant stylistic, philosophical, and thematic threads uniting kindred groups. The result is an artist-centric history of sculpture as a medium of consequence and character.

A study of two exhibitions that took place five years apart in the same building in Brussels city-centre Full House explores two exhibitions that took place five years apart in the same building in Brussels and featured over 300 contemporary art works from the renowned collection of Frederic de Goldschmidt. The first show, Not Really Really, was organized in 2016 in a building that had only been vacated a few months before by a mental health clinic. The works were mostly sculptures made with everyday objects and played with the ambiguity of what the last occupants could have left and what the artists purposefully created. The building then underwent a long renovation, with photos included illustrating this process. The second show, Inaspettatamente (Unexpectedly), then engaged with themes such as order and disorder, time, classification, the artist's process or his/her position in world conflicts using the prism of the famous Arte Povera artist Alighiero Boetti. Curatorial texts and images of the works both in context and in studio allow the reader to discover and appreciate both exhibitions. Distributed for Mercatorfonds Exhibition Schedule: Cloud Seven , Quai du commerce 7 (November 11, 2021-January 30, 2022)

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

Little is known about Walter Leblanc (1932-1986), one of the key representatives of kinetic and optical art in the mid-20th century. This comprehensive monograph, the first on this artist for an international audience, includes unpublished materials, which provide insight not only into the art of LeBlanc, but also into the ZERO artist movement to which he was connected and with which he was in close dialogue beginning in the 1950s. Walter Leblanc is based on extensive studies of the artist's work: with about 150 images of his paintings and sculptures, comparative works, historical photos and documents, it includes a selection of Leblanc's writings, an iconographic mapping of selected works in museums around the world, and a bio-bibliographical appendix. Demonstrating the wealth of his creative output, the book reaffirms the enduring role Leblanc played in the development of modern and contemporary art on a global scale. Distributed for Mercatorfonds

This is the first monograph on Arne Quinze (b.1971), an internationally known Belgian contemporary artist, painter and sculptor. He is best known for his monumental outdoor sculptures, which can be found all over the world. This book gathers his large-scale work, and includes other mediums he works in, including paintings, smaller sculptures, and light installations. With 500 images, an elaborate essay by Xavier Roland, the director of the Musee des Beaux-Arts in Mons (Belgium), and a revealing and exclusive interview by Herve Mikaeloff, this beautifully illustrated publication marks the opening of a retrospective of his work at the Musee des Beaux-Arts in Mons (Belgium) in May 2021.

Fresh ideas and techniques for the rapidly evolving area of three-dimensional textiles. Leading textile artist Ann Goddard takes three-dimensional textiles to a new level in this practical book. Drawing inspiration from natural landscapes, organic material and a concern for the environment, Ann's work combines textile and non/textile elements with construction. Linen, loose fibres, paper and yarn are complemented by seemingly unlikely materials including concrete, wood, lead and bark. Fragile is juxtaposed with hard, natural with man-made, beauty with imperfection. The techniques range from stitching, wrapping, couching, and knotting to sawing, drilling, and casting. In this book, previously separate art media are combined to create eclectic works; boundaries are crossed, expectations challenged and categorisation rejected. Mixed Media Textile Art in Three Dimensions takes a linear look at the creative process from themes, research and experimentation through to preparing elements, conveying meaning and constructing three-dimensional forms, encouraging you to broaden your horizons in textile work. Brimming with beautiful artwork from the author and featuring the work of some inspiring and exciting artists creating three-dimensional constructions.

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

Memory Work demonstrates the evolution of the pioneering minimalist sculptor Anne Truitt. An artist determined to make her way through a new aesthetic in the 1960s, Truitt was tireless in her pursuit of a strong cultural voice. At the heart of her practice was the key theme of memory, which enabled her not only to express personal experience but also to address how perception was changing for a contemporary viewership. She gravitated toward the idea that an object in one's focus could unleash a powerful return to the past through memory, which in turn brings a fresh, even critical, attention to the present moment. In addition to the artist's own popular published writings, which detail the unique challenges facing female artists, Memory Work draws on unpublished manuscripts, private recordings, and never-before-seen working drawings to validate Truitt's original ideas about the link between perception and mnemonic reference in contemporary art. De Baca offers an insider's view of the artist's unstinting efforts to realize her artistic vision, as well as the cultural, political, and historical resonances her oeuvre has for us today.

Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgments are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project. It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterises the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions.

The first biography of sculptor Chana Orloff. In Sculpting a Life, the first book-length biography of sculptor Chana Orloff (1888-1968), author Paula Birnbaum tells the story of a fiercely determined and ambitious woman who fled antisemitism in Ukraine, emigrated to Palestine with her family, then travelled to Paris to work in haute couture before becoming an internationally recognized artist. Against the backdrop of revolution, world wars, a global pandemic and forced migrations, her sculptures embody themes of gender, displacement, exile, and belonging. A major figure in the School of Paris, Orloff contributed to the canon of modern art alongside Picasso, Modigliani and Chagall. Stories from her unpublished memoir enrich this life story of courage, perseverance, and extraordinary artistic accomplishments that take us through the aftermath of the Holocaust when Orloff lived between Paris and Tel Aviv. This biography brings new perspectives and understandings to Orloff's multiple identities as a cosmopolitan emigre, woman, and Jew, and is a much-needed intervention into the narrative of modern art.

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

"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.

The human figure in sculpture is a powerful form, capable of great expression and depth. Sculpting the figure in any medium is a rewarding practice, but one that presents special challenges for the maker. Tanya Russell, founder and principal of the Art Academy in London, details the whole creative process for sculpting the figure, from the fundamental conceptual and practical considerations through to the finished and presented work. She covers essential tools and equipment, methods for building armatures, and the processes for creating not only realistic, but also abstract and expressive figures, in a variety of styles and materials. Techniques are supported by practical exercises with step-by-step instructions and images. The book is filled with the inspiring works of contemporary sculptors, all of whom are tutors, students, or alumni of the Art Academy. Modelling and Sculpting the Figure is an essential companion for beginners and established artists alike.

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).

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.

This inspiring and beautifully illustrated book chronicles the lives of seventeen pioneering women sculptors who dared to speak their truths about inequality and injustice and overcame obstacles of gender and race in the last hundred and fifty years. The works that these talented artists cast, carved, and moulded mirror both their internal worlds and the society surrounding them. There is no better way to inspire young women to fulfil their destiny with courage than to give them these brilliantly brief and cogent portraits of great women who shaped the world of sculpting and through that, our culture, and our world. Ausherman puts the spotlight on women artists simply by celebrating them insightfully, and so well. With many helpful references for additional in-depth readings and beautiful photographs taken by Steven Taylor, this book is a gem for anyone who loves reading how immensely skilful and creative people pursue their passions through the art of sculpture.

This volume tackles a pressing issue in Roman art history: that many sculptures conventionally used in our scholarship and teaching lack adequate information about their find locations. Questions of context are complex, and any theoretical and methodological reframing of Roman sculpture demands academic transparency. This volume is dedicated to privileging content and context over traditions of style and aesthetics. Through case studies, the chapters illustrate multivariate ways to contextualize ancient objects. The authors encourage Roman art historians to look beyond conventional interpretations; to reclaim from the study of Greek sculpture the Roman originals that are too often relegated to discussions of "copies" and "models"; to consider the multiple, dynamic, and shifting contexts that one sculpture could experience over the centuries of its display; and to recognize that post-antique receptions can also offer insight into interpretations of ancient viewers. The collected topics were originally presented in three conference sessions: "Grounding Roman Sculpture" (Archaeological Institute of America, 2019); "Ancient Sculpture in Context" (College Art Association, 2017); and "Ancient Sculpture in Context II: Reception" (College Art Association, 2019).