Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call 'shared sculptures', highlighting the important equality of authorship and responsibility at stake for both these artists. Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: 'Only the Lonely' (1993), 'monuments' (1999), 'Lead Astray' (2004), 'On the Rocks' (2008) and 'Don't Start' (2016). Their recent body of work, 'We Thought About It A Lot' (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists' latest two-person exhibition, 'We Thought About It A Lot, and other shared drawings' at Ikon, Birmingham, in autumn 2021. Bill Woodrow (b.1948) has exhibited internationally, representing Britain at biennales in Sydney (1982), Paris (1982, 1985) and Sao Paulo (1983). He was shortlisted for the Turner Prize in 1986 and participated in Documenta 8 in 1987. He was elected a Royal Academician in 2002 and had a major retrospective at the Royal Academy of Arts in 2013. Richard Deacon (b.1949) has exhibited internationally throughout his career. He was awarded the Turner Prize in 1987, elected to the Royal Academy in 1998 and to the Akademie der Kunste in Berlin in 2010. A large exhibition of his work was shown at Tate Britain in 2014, the same year as a selected edition of his writings was published. Dr Jon Wood (b.1970) is a writer and curator, specialising in modern and contemporary sculpture. Recent publications and exhibitions include: 'Sean Scully' (2020), 'Contemporary Sculpture: Artists' Writings and Interviews' (2020), 'Tony Cragg at the Boboli Gardens' (2019) and 'Sculpture and Film' (2018). He is a trustee of the Gabo Trust.

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.

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

Arnaldo Coen (1940) is one of the most prominent Mexican artists. As a result of his restless, transgressive and irreverent creativity, his work has never ceased to be fresh. He has made important individual exhibits in the Museum of Modern Art and in the National Hall of the Palace of Fine Arts. His work has been exhibited in Asia, Europe, Africa, and Latin America, featuring in important collections and exhibitions in different cultural venues such as the Museum of Modern Art, Tlatelolco Cultural Center, Museum of Contemporary Art, Isidro Fabela Cultural Center, Museum of Mexican Art in Chicago and the Bank of Mexico, to name a few. This award winning artist has also been the focus of several recognised art critics such as Octavio Paz, Raquel Tibol, Carlos Monsivais, Juan Garcia Ponce, Salvador Elizondo, Teresa del Conde, Sigrunn Paas, Josephine Siller. Arnaldo Coen is the first monograph covering the artist's pictorial and sculptural works from the 1960s to date, with some 300 images complementing this contemporary, provocative and irreverent compendium of Coen's legacy.

Camiel Van Breedam ( DegreesBoom 29/06/1936) made his first artworks in 1956: reliefs and small zinc sculptures. Later followed by assemblages, collages, objects, sculptures, environments - exhibited in many places in Belgium and abroad. Influences and inspiration come among others from: his father's plumber workshop, the region of the river Rupel and the brickyards, Paul Klee, ethnic art, Indians, Joseph Cornell, the Russian avant-garde, Chaim Soutine, Oskar Schlemmer, Bauhaus, De Stijl, dreams, nightmares and RED. His social involvement provides the red thread and the binding element.

In the 1970s, in the region of the Landes, between Bayonne and Peyrehorade, on the banks of the Adour River, the photographer Jeannette Leroy and the art dealer Paul Haim created a sculpture garden around a modest farm, La Petite Escalere. With the help of the faithful gardener Gilbert Carty, amidst canals, bridges, paths made of railway ties, and many trees and flowers, they installed about 50 works, some of them monumental, by artists such as Rodin, Maillol, Niki de Saint Phalle, Zao Wou-Ki, Francoise Lacampagne, Cardenas, Mark Di Suvero, Leger, Matta, Zigor... Paul positioned the sculptures, and to help them vanish into the natural environment Jeannette would plant a shrub, a rosebush, dahlias, an oak, a maple, a gingko, a Caucasian walnut... "I don't want this garden to become ridiculous!" she said. Paul Haim has evoked the bewitching beauty of La Petite Escalere better than anyone else: "The nonchalant visitor will pass from the shade of Les Barthes to the brightness of the Moura, from the freshness of the fountains to the suffocating heat of the forest. Coming around a bush, he allows himselfto be surprised by an unusual presence. Immutable. ... Far from the agitations of the world, sinking into nothing-ness, watching the clouds go by, contemplating the places of joy." Text in English and French.

Chihuly at Kew: Reflections on nature is a celebration of the work of iconic artist Dale Chihuly, who once again is exhibiting his luminous artworks in Kew's spectacular landscape, featuring pieces never seen before in the UK. The book showcases these utterly unique artworks across one of London's most spectacular landscapes, in a perfect marriage of art, science, and nature. Stunning photography depicts the dazzling art installations situated across the Gardens, set within the landscape as well as in glasshouses and in the Shirley Sherwood Gallery of Botanical Art. Highlights include the Drawings and Rotolo series, some of the most technically challenging work that Chihuly has ever created, as well as Seaforms, undulating forms that conjure underwater life. A specially designed sculpture suspended from the ceiling of the newly restored Temperate House provides one of the moss stunning features of the exhibition and book. An introductory essay by Tim Richardson accompanies the artworks, along with artist's chronology and biography.

Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings. Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.

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.

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.

Latest production of Cuban artist, Adrian Fernandez, concerned with the impact of material culture, history and memory on contemporary man. Interested in the symbols that represent ideologies and that construct collective identities, he searches in his photography for the memory of the historical past and its impact on his cultural present. His work is organised in series that sometimes interconnect and complement each other. Each new series is a consequence of the previous one, with similar concerns and interests, from black and white photography with a documentary perspective, to studio photography, to the use of digital media and colour photography. His sculptural work is developed in installations, in which he uses assemblage and welding of metal and carbon steel. Text in English and Spanish.

Volumes that are massive yet lightweight, the sculptures of British artist Anthony Cragg firmly take hold of the space without seeming static. They are dynamic objects that bear trace of the process that created them: starting from in many cases figurative drawings to encountering the artist s chosen material, guided by inner force. Cragg s sculptures reveal the infinite possibilities of form. They seem to obey the laws of nature that govern living organisms, evolving from one another and growing upon themselves. This new book features new work by Anthony Cragg shown in a recent exhibition at Museo Nivola in Orani, Sardinia. Illustrated in color throughout, it offers also an essay exploring Cragg s art by British scholar and curator Mark Gisbourne. Text in English and Italian.

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.

Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons. The naked emperor might wield the thunderbolt of Jupiter, while Roman women assumed the guide of the nude love-goddess, Venus. When faced with these strange images, modern viewers are usually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'. This book offers a new approach. Comprehensively illustrated with black and white photographs of its subjects, it investigates how this tradition arose, and how the nudity of these portraits was meant to be understood by contemporary viewers. And, since the Romans also employed a range of costumes for their statues (toga, armour, Greek philosopher's cloak), it asks, `What could the nude images express that other costumes could not?' It is Christopher Hallett's claim that - looked at in this way - these `Roman nudes' turn out to be documents of the first importance for the cultural historian.

Statues are among the most familiar remnants of classical art. Yet their prominence in ancient society is often ignored. In the Roman world statues were ubiquitous. Whether they were displayed as public honours or memorials, collected as works of art, dedicated to deities, venerated as gods, or violated as symbols of a defeated political regime, they were recognized individually and collectively as objects of enormous significance.
By analysing ancient texts and images, Statues in Roman Society unravels the web of associations which surrounded Roman statues. Addressing all categories of statuary together for the first time, it illuminates them in ancient terms, explaining expectations of what statues were or ought to be and describing the Romans' uneasy relationship with 'the other population' in their midst.

Louise Nevelson (1899-1988) was, with Calder, Noguchi and David Smith, one of the great American sculptors of the 20th century. She created extraordinary work, from room-size installations composed of boxes to gnarled and majestic steel structures. Her life story is no less interesting. She was born in czarist Russia, but her family emigrated to the States and she grew up in Maine. Nevelson endured a repressive marriage to a New York millionaire, whom she escaped to pursue the life of an artist. She gained recognition as an abstract sculptor at the age of 59, and spent the next 30 years taking the art world by storm, becoming a colourful New York personality and minor celebrity. Laurie Wilson, who knew Nevelson personally, draws extensively on her own research in this crisp new biography. She conducted interviews not just with Nevelson but with her siblings, son, and gallery owner Arne Glimcher. Wilson has also had complete access to Glimcher's archives, Nevelson's personal assistant, Diana Mackown, and Lippincott studios, where much of Nevelson's work was cast, among others