This volume is an anthology of current groundbreaking research on social practice art. Contributing scholars provide a variety of assessments of recent projects as well as earlier precedents, define approaches to art production, and provide crucial political context. The topics and art projects covered, many of which the authors have experienced firsthand, represent the work of innovative artists whose creative practice is utilized to engage audience members as active participants in effecting social and political change. Chapters are divided into four parts that cover history, specific examples, global perspectives, and critical analysis.

Originally published in 1935, this book presents the content of Alan Wace's inaugural lecture upon taking up the position of Laurence Professor of Classical Archaeology at Cambridge University. This book will be of value to anyone with an interest in ancient Greek art and archaeology.

Originally published in 1936, this book examines the seventh-century Dorian art style known as Dedalism. In the first section, Jenkins outlines the four schools of Dedalic art and attempts an absolute chronology, and applies his conclusions to extant examples of stone sculpture from immediately before and after the Dedalic period. This book will be of value to Classicists and anyone with an interest in ancient art.

Stretching lengths of yarn across interior spaces, American artist Fred Sandback (1943 2003) created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer. Drawing on Sandback's substantial archive, Edward A. Vazquez demonstrates that the artist's work with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback's site-determined practice draws viewers' focus to their connection to space and others sharing it. As Vazquez shows, Sandback's art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.

Originally published in 1885, this book examines the extant works of the Greek sculptor Pheidias, best known as the creator of the Parthenon Marbles and the gold and ivory statue of Zeus at Olympia, which was considered to be one of the seven wonders of the ancient world. Waldstein examines the Parthenon Marbles with particular scrutiny and charts the relationship between Pheidias' school and the development of later Greek art, particularly sepulchral reliefs. Four earlier papers by Waldstein on the topic of Pheidias are also reprinted here. This book will be of value to anyone with an interest in ancient Greek sculpture.

Originally published in 1914, and previously delivered as lectures to students at the Royal Academy Art School in 1913, this book by Charles Waldstein, then director of the Fitzwilliam Museum, provides an introduction to the study of sculpture. The text is richly illustrated with a variety of examples ranging from the earliest Daedalic forms through classical and Hellenistic art to the more modern examples of Meunier and Millet. This book will be of value to anyone seeking an introduction to sculpture or with an interest in art history.

Originally published in 1851, partly with the aim of correcting certain mistakes in painter George Jones's 1849 tribute (also reissued in this series), this work commemorates Norton-born sculptor Sir Francis Chantrey (1781-1841), whose illustrious career began in nearby Sheffield. His most celebrated works include The Sleeping Children in Lichfield Cathedral, his statue of James Watt, and his busts of Sir Walter Scott and John Horne Tooke. An enthusiast for his country's art, Chantrey left a generous bequest to the Royal Academy which allowed for the purchase of numerous works of British art, now held by the Tate. The author John Holland (1794-1872), himself a Sheffield man, wrote with a passion for local history and topography. Here, his delight in the 'absolutely or comparatively trivial' lends a curious local slant to his delineation of the sculptor's background, entry into the profession, later working life and burial back in Norton.

Originally published in 1931, this was the first comprehensive textbook on the development of French medieval sculpture to appear in the English language. Detailed yet accessible, it was designed to 'cater for the intelligent tourist as well as the student'. Numerous photographs are contained throughout, the majority of which were taken by the author during various church visits. Examples are drawn from more genuine and less restored pieces, and where restoration is obvious it is pointed out in the text. This is a beautifully presented book that will be of value to anyone with an interest in medieval France, church architecture and sculpture.

The Baule people of the Ivory Coast are renowned for their refined sculptural work of masks and figures. This book is the first to focus exclusively on an antithetic aspect of Baule culture-rough zoomorphic sculptures representing monkeys. These awe-inspiring bowl-bearing figures evoke invisible powers and serve their communities through the mediation of diviners. Investigating the creation, forms, and usage of the sculptures, the authors shed light on the cultural and ritual contexts in which they operated. Beautifully illustrated with over 55 full-page color images of works in public and private collections, this important publication also includes many unpublished field photographs. Distributed for Mercatorfonds

Originally published in 1927, this book presents an accessible guide to Gothic foliage sculpture, aimed at visitors to ancient English churches. Exploring the development of a specifically English tradition in this area, the text begins with an exploration of pre-Conquest and Anglo-Saxon work before moving chronologically through the medieval period to the Tudor flower. Numerous illustrative figures are also included. This book will be of value to anyone with an interest in church sculpture and the English Gothic tradition.

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.

Award-winning chocolate artist Patrick Roger (Meilleur Ouvrier de France chocolatier 2000) has pursued a parallel body of longer-lasting work, creating sculptures in a variety of materials, including bronze, aluminium, silicone, marble, and concrete. He begins with chocolate as a base, working this malleable material quickly with techniques he has perfected over many years, before casting it. This book, the second volume of his sculpted works (Volume 1 was published in 2018), features 177 new creations that are described in detail and beautifully photographed. Further insight into Roger’s work is found in a notebook of contemporary inspirations and a reproduction of his personal sketchbook. Text in French.

This creative guide to fashioning a hand-carved wooden nativity scene includes 15 patterns for every character present in the traditional Christmas story from the holy family and the three kings to shepherds and barnyard animals. An overview of tools, sharpening techniques, wood selection, and basic carving cuts is provided. The figurines of Joseph, Mary, and baby Jesus are included with step-by-step instructions from the first to the final cut.

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."

First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850 1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 1 covers artists with surnames beginning A to K. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.

First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850 1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 2 covers artists with surnames beginning L to Z. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.

As the United States struggled to recover from the Great Depression, 24 towns in Alabama would directly benefit from some of the $83 million allocated by the Federal Government for public art works under the New Deal. In the words of Harold Lloyd Hopkins, administrator of the Federal Emergency Relief Act, “artists had to eat, too,” and these funds aided people who needed employment during this difficult period in American history. This book examines so of the New Deal art-murals, reliefs, sculpture, frescoes and paintings-of Alabama and offers biographical sketches of the artists who created them. An appendix describes federal art programs and projects of the period (1933-1943).

A new and revised edition of the 2002 popular title, The Barbara Hepworth Sculpture Garden, this exquisitely produced book showcases the garden in St Ives throughout the seasons, with new photography and updated information on the plants from the Head Gardener, Jodi Dickinson. Barbara Hepworth's studio at Trewyn in St Ives is a unique combination of sub-tropical garden and sculpture museum. A haven of peace, it provided Hepworth with a working environment, a showcase for her sculpture, and the opportunity to pursue her love of gardening. The Barbara Hepworth Sculpture Garden is a beautiful record of the plants and sculptures at Trewyn through the seasons, exploring the relationship between Hepworth's sculpture and the natural forms that surround them. With specially commissioned photographs and full descriptions of both plants and sculptures, this is a comprehensive record of Barbra Hepworth's years in St Ives, and a beautiful souvenir of the garden. Texts from art historian and previous curator at Tate, Chris Stephens, along with Miranda Philips contextualises the work of Hepworth and the decisions made to create one of the most famous artists gardens in the world.

Discover the thrill of working with hot metal and creating your own pieces. This book shows you how: with lavish photographs, it captures the excitement of working at the fire and explains the techniques to get you started. Drawing on traditional methods, it encourages you to develop your own style and to design your own tools and creations. Step-by-step instructions to shaping, bending, splitting and drawing down hot metal are given along with advice on traditional methods to fasten metal pieces together. Projects included in this new book are making a hanging basket bracket and a toasting fork.

Zhao Wenbing provides an accessible, illustrated introduction to the sculptural art of China, including the magnificent Terracotta Army, Buddhist sculpture, tomb carvings, architectural sculpture, exchange with foreign cultures and Chinese sculpture today. Chinese Sculpture takes the reader through the unique aesthetic features of sculpture in China, arguing that the evolution of this sculpture parallels the development of Chinese culture through history.

In this volume, Stephanie M. Langin-Hooper investigates the impact of Greek art on the miniature figure sculptures produced in Babylonia after the conquests of Alexander the Great. Figurines in Hellenistic Babylonia were used as agents of social change, by visually expressing and negotiating cultural differences. The scaled-down quality of figurines encouraged both visual and tactile engagement, enabling them to effectively work as non-threatening instruments of cultural blending. Reconstructing the embodied experience of miniaturization in detailed case studies, Langin-Hooper illuminates the dynamic process of combining Greek and Babylonian sculpture forms, social customs, and viewing habits into new, hybrid works of art. Her innovative focus on figurines as instruments of both personal encounter and global cultural shifts has important implications for the study of tiny objects in art history, anthropology, classics, and other disciplines.

Architecture and sculpture in English churches changed and developed markedly between the eleventh and sixteenth centuries, partly due to the invading French influence on the existing Anglo-Saxon buildings. In this 1927 book, the different categories and forms of foliage sculpture and decoration are subdivided roughly chronologically showing how each form developed from a previous one and the possible influences and reasoning behind the changes. Each stage of growth is explored thoroughly using specific examples, all of which are detailed in the photographs in the second half of the book. Examples are taken from churches and cathedrals across England, whose individual architectural growth over centuries is often in parallel with the evolving forms of sculpture, particularly gothic foliage. The increased communication with Europe over the medieval period was mutually influential and with increased proficiency and innovation there was natural development of art and gothic sculpture evolved as a living art.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.