The Seattle Art Museum's Olympic Sculpture Park, where Alexander Calder's The Eagle soars over Puget Sound, Roxy Paine's stainless-steel Split glistens in the rain, and Richard Serra's Wake beckons visitors to walk within its towering forms, stands out as an exemplary civic project: an urban park open and free to all and a dynamic green space filled with great art. The innovative design turned a former industrial site on Elliott Bay into a remarkable place that not only celebrates the inseparable nature of art, urban infrastructure, and landscape but also captures the majestic character of the Pacific Northwest. Using the park as a model of how public-private partnerships can create innovative civic spaces, this informative and visually stunning book will bring the Olympic Sculpture Park to a broader audience beyond the greater Seattle area and will be a vital resource for museum professionals, architects, urban planners, students, and general art lovers.

A nucleus of sculptures cast by Andrea di Alessandri, commonly called from his native city, 'Il Bresciano', or from his products, 'Andrea dai bronzi', has been identified over the centuries. His style has been described as having similarities both with the High Renaissance of Sansovino and the Mannerism of Vittoria, the two successive master sculptors of sixteenth-century Venice, though he cast major bronzes for both. Andrea's signed masterpiece is a Paschal Candlestick in bronze, over two metres high and with sixty or more fascinating figures, made for Sansovino's magnificent lost church of Santo Spirito in 1568 and now in Santa Maria della Salute. The author's identification in 1996 of a pair of magnificent Firedogs with sphinx feet (which in 1568 had been recommended to Prince Francesco de'Medici in Florence), and in 2015 of an elaborate figurative bronze Ewer in Verona, have been the culmination of the process of recognition. Archival research has at last revealed the span of Andrea's life as 1524/25-1573, as well as many significant facts about his family and patronage. So the time is ripe for a comprehensive, well-illustrated, book on Il Bresciano, a 'new' and major bronzista in the great tradition of north Italy.

This book presents a personal collection of ancestor sculpture and protective deities, following the ancient migratory and trade routes of the Austronesian, Southeast Asian Bronze Age, and Hindu-Buddhist peoples. The author, Thomas Murray, has spent a lifetime studying this art through his endeavours as a peripatetic dealer, collector, and field researcher. The objects illustrated come from a swath of widely varied cultures from Nepal eastward to Hawaii, with the overwhelming majority from Indonesia and Southeast Asia. Murray's eye is highly informed and based on an unusually large sampling of objects to which his experience and research have exposed him. The artworks documented represent some of the top examples he has acquired and retained over the course of a long career. They are characterised by sculptural balance and a harmony of line, as well as a rare quality of expressiveness. Each ranks high in terms of aesthetics and desirability within its own particular style as perceived by the art market and by other western aficionados.

In 1962, Ernst Scheidegger published his first book using his own name as an imprint. This book was the German edition of Jean Genet's essay on Alberto Giacometti. The great artist and close personal friend of Ernst Scheidegger has been subject of a number of books published by Verlag Ernst Scheidegger and Verlag Scheidegger & Spiess since. The most successful of them has been "Traces of a Friendship - Alberto Giacometti", first published in 1990 and reprinted several times. To mark the 50th anniversary of Verlag Ernst Scheidegger / Verlag Scheidegger & Spiess present a new, completely revised and expanded edition of this classic. It includes around 40 previously unpublished colour images which have recently been discovered in Ernst Scheidegger's archive. They add an intimate new chapter to this legendary book. In addition to the more accurate dating of some photographs' the essays and captions have been revised and expanded also. Text in English and German.

Isamu Noguchi, Archaic/Modern brings together more than eighty works, from six decades, which reveal how the ancient world shaped this inspirational artist s vision for the future. Monolithic basalt sculptures and floating Akari ceiling lights are juxaposed with works that use stone, water, and light to call to mind elemental structures in civilization across time. Noguchi saw himself as equal parts artist and engineer and this volume devotes special attention to his patented designs, such as Radio Nursethe first baby monitor, and also includes his designs for stage sets, playgrounds, and utilitarian articles, many of which are still being produced today. "

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.

Published to accompany the exhibition of the same name in 2014, Rodin: In Private Hands is a selection of works by Rodin curated by the Bowman Gallery. These pieces range from single figures, couples and groups to isolated torsos, heads and hands--very few have been seen in public before. Richly illustrated with 227 color photographs of rare pieces never before seen in public, and with an introduction by Robert Bowman and a foreword by Professor David Ekserdjian, this book will be a delight to anyone with an appreciation for Rodin, modern sculpture or the human figure. Remarkably few sculptors are household names, but Rodin is unquestionably one of the happy few. He is also by far and away the most celebrated and best loved sculptor of the 19th century. His works have become icons of modern art. The Kiss and The Thinker rank among the most famous images in the world, and are universally recognized even by those who have never set foot in a museum.

Introducing contemporary Belgian artist Carole Solvay to an English-speaking audience for the first time, this book pairs images of her beautiful feather sculptures with literary quotations that have inspired her work This is the first book to explore the oeuvre of contemporary Belgian sculptor Carole Solvay (b. 1954). Using primarily feathers and thin wire, Solvay has over the past 25 years created ethereally beautiful sculptures that seem to defy gravity. This publication illustrates more than 100 of her works alongside short quotations from Solvay's favorite literary works, including by Carson McCullers, Syvia Plath, Mahmoud Darwish, Fernando Pessoa, and Yi Jing, among many more. These writers have inspired Solvay's work, and in pairing particular quotations with her sculptures, this book provides a unique window into her art and practice. Distributed for Mercatorfonds

Joseph de Levis applied his distinctive signature (between 1577 and 1605) to a whole range of fantastic, Mannerist, bronze artefacts, some 45 in all. They range from large church-bells - some still in situ - and miniature table-bells, to mortars, inkstands, perfume-burners, door-knockers, firedogs, statuettes, and even a portrait-bust. Joseph's sons and nephews continued the family business into the seventeenth century, signing a similar range of artefacts in an early Baroque style. This book provides a unique cross-section of the production of a hard-working and resilient renaissance foundry. Frequently inscriptions and coats-of-arms specify his wide-ranging clientele, from civic and church authorities, to guilds and confraternities (all-important in society at the time), nobility, merchants and connoisseur-collectors. Bronzes by the De Levis dynasty are now dispersed among museums in Europe, the USA and Israel, and in Old Master collections, notably that of the late Robert H. Smith, whose foundation purchased in 2002 the eye-catching Ewer from the Salomon de Rothschild Foundation in Paris for GBP276,000.This well illustrated catalogue raisonne is important both art-historically and from the perspective of the Jewish Diaspora in Renaissance Italy.

A beautiful book on the famed Chinati Foundation in Marfa, Texas The Chinati Foundation, a world-famous destination for large-scale contemporary art, was founded by Donald Judd (1928-1994) to preserve and present a select number of permanent installations that were inextricably linked to the surrounding landscape in Marfa, Texas. This handsome publication, first published in 2010 and now available with a new chapter devoted to the permanent installation by Robert Irwin that was inaugurated in 2016 and a new foreword by Jenny Moore, director of the Chinati Foundation, describes how Judd developed his ideas of the role of art and museums from the early 1960s onward, culminating in the creation of Chinati. The individual installations featured here include work by John Chamberlain, Dan Flavin, David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Ingolfur Arnarsson, Carl Andre, Claes Oldenburg and Coosje Van Bruggen, and John Wesley, as well as by Judd himself. The book also features a complete catalogue of the collection and writings by Judd relating to Chinati and Marfa. Published in association with the Chinati Foundation/La Fundacion Chinati

In the mid-eighteenth century, English gentlemen filled their houses with copies and casts of classical statuary while the following generation preferred authentic antique originals. By charting this changing preference within a broader study of material culture, Joan Coutu examines the evolving articulation of the English gentleman. Then and Now consists of four case studies of mid-century collections. Three were amassed by young aristocrats - the Marquis of Rockingham, the Duke of Richmond, and the Earl of Huntingdon - who, consistent with their social standing, were touted as natural political leaders. Their collections evoke the concept of gentlemanly virtue through example, offering archetypes to encourage men toward acts of public virtue. As the aristocrats matured in the politically fractious realm of the 1760s, such virtue could become politicized. A fourth study focuses on Thomas Hollis, who used his collection to proselytize his own unique political ideology. Framed by studies of collecting practices earlier and later in the century, Coutu also explores the fluid temporal relationship with the classical past as the century progressed, firmly situating the discussion within the contemporaneous emerging field of aesthetics. Broadening the focus beyond published texts to include aesthetic conversations among the artists and the aristocracy in Italy and England, Then and Now shows how an aesthetic canon emerged - embodied in the Apollo Belvedere, the Venus de' Medici, and the like - which shaped the Grand Manner of art.

The Making of George Wyllie has been co-written by his elder daughter, Louise Wyllie, and arts journalist Jan Patience. Containing never-beforeseen images and fresh insight into his influences and early life, this book seeks to answer questions about the forces which shaped Wyllie's unique worldview.The voyage begins with Wyllie's Glasgow childhood - a period 'disadvantaged by happiness' - and moves on to time spent serving in the Pacific with the Royal Navy during WWII, where he witnessed first-hand the devastation caused by the world's first atomic bomb being dropped on Hiroshima. After the war, like Robert Burns and Adam Smith before him, Wyllie became an Excisemen. He made 'time for art' in his forties, going on to create memorable public art works such as the life-sized Straw Locomotive, which hung from the Finnieston Crane in Glasgow, and the giant seaworthy Paper Boat, with the letters QM (Question Mark) on her side.By the time of his death at the age of ninety in 2012, this idiosyncratic self-taught artist had laid out his vision of himself as the artist-shaman, arrow in hand, making a last Cosmic Voyage.

The fountains of Dublin are many and varied, from elaborate Victorian masterpieces and modern sculptures to more modest, practical installations. Unfortunately, many of the older fountains have fallen into disuse and lie, long forgotten and derelict, in overlooked corners of the city. This book, beautifully illustrated with modern and archive photographs, documents the remaining fountains of Dublin, with each entry accompanied by a brief, and often colourful, history together with the precise locations and directions, allowing people to start enjoying these forgotten places once more.

Innovative and pioneering, French-American artist Niki de Saint Phalle (1930-2002) created an extensive and complex body of work over her five decade long career. Her work received international recognition as early as 1961 when her work was included in the important exhibition 'The Art and Assemblage' at the Museum of Modern Art in New York. Since then Saint Phalle has been the subject of numerous exhibitions worldwide. Her bright and joyful Nana sculptures have become known as her signature artwork. The artist and her oeuvre however, cannot be solely understood through this one body of work. This catalogue, accompanying the artist's first comprehensive retrospective in Belgium at Beaux-Arts Mons (BAM), explores Saint Phalle's multi-faceted practice, examining how the artist worked across a wide-range of media - painting, assemblage, sculpture, performance, public sculpture and architectural projects, film and theatre. Providing an overview of Saint Phalle's entire career, it seeks to demonstrate how the artist used her boundless imagination and unique vision of the world to transcend the space typically reserved for women to become one of the twentieth century's most important artists. The title - "Here Everything is Possible" - is a statement made by Saint Phalle about her monumental sculpture park: The Tarot Garden in Tuscany, Italy. It should however, be read as a testimony to the artist's attitude to her entire artistic process - one of limitless possibility. This extensive, fully illustrated, catalogue includes new scholarly texts by Catherine Francblin, Alison Gingeras, Denis Laoureux, Camille Morineau, Kyla McDonald and Xavier Roland. The essays are accompanied by interviews with Daniel Abadie and Marcelo Zitelli, who both worked closely with the artist during her lifetime, and an illustrated biography.

Can we reconstruct Roman body language? Was it the same as ours? Does body language express and reinforce gender differences and the relative positions of men and women (dominant/subordinate) in society? Can analysis of the postures and gestures of Roman statues add to our understanding of gender in the Roman world? In this book, Glenys Davies explores these questions. Using studies on body language in modern Western societies, Roman literary sources, as well as her own analysis of statues of Roman men and women in an array of guises - nude, draped, standing, seated and represented together - she offers a nuanced and complex picture of gender relations. Her study shows that gender relations in the notoriously patriarchal society of Ancient Rome were not so different from what we experience today. Her book will be of interest to scholars of the classical world, gender history, art history, and body language in its social context.

This catalogue of the Wyvern sculpture collection, which is not open to the public, comprises outstanding European sculptures of the medieval period, as well as some Late Antique and Byzantine pieces and related works of the post-medieval era. Objects are made from wood, stone (including alabaster and marble) and terracotta. Also included are medieval works of art in metal, mostly consisting of crucifix figures (corpora), and other functional metalware such as aquamanilia (water vessels for the washing of hands) and candlesticks. This sumptuous publication will interest all those concerned with the material culture of the Middle Ages.

A selection of Michael Craig-Martin's paintings, prints and sculptures, with an interview. This book is the result of a collaboration between The Gallery at Windsor, Florida, and the Royal Academy of Arts, London. Born in Ireland, the artist Michael Craig-Martin studied in America. On returning to the UK, he became a key figure in British conceptual art and an influential educator, linked in particular to the YBAs including Damien Hirst and Gary Hume. Craig-Martin's works transform recognisable objects - such as sneakers, headphones, watches and, most recently, Modernist buildings - with bold colour and simplified lines. He cites his 'rationalism' as the root of his practice. Craig-Martin is the latest subject of a three-year curatorial partnership between The Gallery at Windsor, Florida, and the Royal Academy of Arts, London, initiated to celebrate the Academy's 250th anniversary. This lively book reproduces a selection of his paintings, prints and sculptures, with an insightful essay by the art critic Ben Luke and an interview between Tim Marlow and the artist. Published to accompany an exhibition at the Gallery at Windsor, Florida, 26 January - 26 April 2019. Ben Luke is the art critic at the London Evening Standard. Tim Marlow is artistic director at the Royal Academy of Arts, London. Below images, left to right: Sir Michael Craig-Martin CBE RA, Untitled (watch fragment yellow), 2017. Acrylic on aluminium, 90 x 90 cm. Sir Michael Craig-Martin CBE RA, Double Take (iPhone), 2017. Acrylic on aluminium in two panels, 2018, 90 x 180 cm. Sir Michael Craig-Martin CBE RA, Untitled (trainer fragment), 2017. Acrylic on aluminium, 60 x 60 cm. Sir Michael Craig-Martin CBE RA, Untitled (lightbulb blue), 2017. Acrylic on aluminium, 90 x 90 cm. All images courtesy Gagosian. Photos Mike Bruce.

Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.