A deep look at a contemporary artist whose work highlights how the rise of technology and corporate capitalism have disrupted our lives and polarized society One of the most thought-provoking artists of his generation, Josh Kline (b. 1979) creates installations, sculptures, videos, and photographs that address the ways new technologies affect how people live and work. Engaging with a range of concerns that impact the entire labor force, from essential workers to the creative class, Kline demonstrates how climate change, automation, disease, and politics have shaped our identities. At a time when so many aspects of life are under threat, Kline takes an unflinching look at how we got here and boldly imagines a more equitable and empathetic future. Kline's art demonstrates the ways technology has widened and reinforced the gap of inequity in America, while also carrying the potential to make a fairer world. "As an artist who's thinking about the consequences of technological innovation," Kline has said, "I think there's an obligation to raise questions about who benefits." His ongoing cycle of installations (Freedom, 2014-16; Unemployment, 2015-16, Civil War, 2016-19; Climate Change, 2019- ) that imagine the next hundred years of society are featured in this book, along with his earlier bodies of work, Creative Labor (2009- ) and Blue Collars (2014- ) and production images and concept sketches for his newest works that are published here for the first time. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (April 19-August 13, 2023)

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 first ever monograph in English on Olga Jevric offers a unique opportunity to discover the work of a remarkable Serbian artist whose long and distinguished career established her as the most significant modernist sculptor from the former Yugoslavia. Despite gaining widespread acclaim from her contemporaries both in Europe and the USA, economic, social and geopolitical upheavals meant that her work has been little seen outside Serbia in the past four decades. As a witness to the Second World War and its aftermath, Jevric sought to give voice to the spiritual roots, cultural foundation and social conditions of the war-torn environment in which her work developed. Through her materials - primarily a mixture of cement, iron oxide, rods and nails - she created distinctive forms that communicate the relationship between matter and void; weight and weightlessness; containment and release. Though many of her works are modest in scale, they have an immensely powerful presence. This collection of texts and images provides a range of perspectives on, and a thorough contextual overview of, Jevric's work from some of the UK's most influential sculptors, alongside prominent art historians from the former Yugoslavia. It was produced in celebration of Jevric's exhibitions at London art platforms PEER (28 June-14 September 2019) and Handel Street Projects (28 June-13 December 2019), along with the acquisition of nine of her sculptures by Tate Modern.

The first true monograph on the work of celebrated French conceptual artist and sculptor Bernar Venet Bernar Venet is one of France's most celebrated living artists. Having emerged from the late 1960s avant-garde scene in New York, Venet developed a personal aesthetic based on an innovative use of mathematics and science, where control, chance, and chaos converge to form a fine equilibrium while investigating their relationship with the environment. Conversant in many media, Venet is mostly known for his monumental outdoor sculptures in major cities worldwide and, in fall 19, his Arc Majeur is due for completion at a site in Belgium - at almost 200 feet in height (60 metres), Venet's sculpture will be taller than New York's Statue of Liberty.

Berlin-based artist Sebastian Kusenberg (b.1958) is well known for his photographic work, but he is also a sculptor, and for the past 15 years has been working on a whimsical series of small wooden figures. Romantic and quietly comical, his LITTLE PEOPLE have been constructed with cuttings and scraps from his larger wooden sculptures, bits of wood which he has not altered, but has used as they are. The book features a text in 8 chapters by the well-known author Sten Nadolny. ...Some people still believe they have an unbroken, linear origin. Nonsense! Our genes don't care about that one bit. You have two parents, four grandparents, sixteen great-grandparents, you are a hodgepodge of large-scale swept-together snippets!... --Sten Nadolny

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

This publication will be the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi (c. 1455-1528), who earned the nickname 'Antico' with his highly refined reductions of Greco-Roman antiquities. His bronzes - many of which were produced at the brilliant court of Isabella d'Este at Mantua - were remarkable for being meticulously cast and finely cleaned and finished, designed for close appreciation in the privacy of a courtly studio. His black patination and exquisite detailing, such as gilded hair and silver-inlaid eyes, are characteristic. Given Antico's importance for the history of sculpture, this book is a much needed resource in the field, presenting new scientific research and the results of technical studies undertaken at the National Gallery of Art, Washington. A series of essays places Antico's life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overview of the artist's career, the catalogue will address key topics from his workmanship and craft to his relationship with the court of Mantua. Eleonora Luciano, associate curator of sculpture at the National Gallery of Art, provides a biography of the artist; Claudia Kryza-Gersch, curator of Italian sculpture at the Kunsthistorisches Museum, Vienna, discusses Antico as a pioneer of Renaissance sculpture; Stephen Campbell, professor and chair of the department of the history of art at John Hopkins University, writes about 'Antico and Humanism at the Court of Mantua'; Davide Gasparotto, curator at the Galleria Nazionale di Parma, considers Antico's portraiture; Denise Allen, curator at the Frick Collection, New York, writes about 'Materials, Workmanship and Meaning' in the artist's work. Two appendices present new scientific work: Dylan Smith and Shelley Sturman, both conservators at the National Gallery of Art, explore the technology of Antico's bronzes, and Richard Stone, conservator emeritus at the Metropolitan Museum of Art, New York, examines Antico's patinas. Exhibition held at National Gallery of Art, Washington.

When is a urinal no longer a urinal? When Marcel Duchamp (1887-1968) declared it to be art. The uproar that greeted the French artist's Fountain (1917), a porcelain urinal installed in a gallery, sent shock waves through the art world establishment that reverberate right through to today. This essential introduction distills all the daring and the scandal of Duchamp's practice into one essential overview not only of a pioneering creative but also of a critical moment in Western culture. From his groundbreaking blend of abstraction, Cubism, and Futurism in Nude Descending a Staircase (1912) to his forays into the now-iconic "readymades" such as Bicycle Wheel (1913) and Bottle Rack (1914) we explore how Duchamp consistently challenged the notion of what art is and, in so doing, opened up a world of conceptual possibilities beyond the "retinal" experience. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

"The rhythm of the body moving through space has been the motivating source of most of my work."-Richard Serra Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra's prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra's life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist's work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration-from Donatello and Brancusi to Japanese gardens and Machu Picchu-revealing a history of sculpture across time and culture through the eyes of one of the medium's most brilliant figures. Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

In Renaissance Florence, certain paintings and sculptures of the Virgin Mary and Christ were believed to have extraordinary efficacy in activating potent sacred intercession. Cults sprung up around these "miraculous images" in the city and surrounding countryside beginning in the late 13th century. In The Miraculous Image in Renaissance Florence, Megan Holmes questions what distinguished these paintings and sculptures from other similar sacred images, looking closely at their material and formal properties, the process of enshrinement, and the foundation legends and miracles associated with specific images. Whereas some of the images presented in this fascinating book are well known, such as Bernardo Daddi's Madonna of Orsanmichele, many others have been little studied until now. Holmes's efforts center on the recovery and contextualization of these revered images, reintegrating them and their related cults into an art-historical account of the period. By challenging prevailing views and offering a reassessment of the Renaissance, this generously illustrated and comprehensive survey makes a significant contribution to the field.

Medieval polychrome wood sculptures are highly complex objects, bearers of histories that begin with their original carving and adornment and continue through long centuries of repainting, deterioration, restoration, and conservation. Abundantly illustrated, this book is the first in English to offer a comprehensive overview of the conservation of medieval painted wood sculpture for conservators, curators, and others charged with their care. Beginning with an illuminating discussion of the history, techniques, and meanings of these works, it continues with their examination and documentation, including chapters on the identification of both the wooden support and the polychromy itself-the paint layers, metal leaf, and other materials used for these sculptures. The volume also covers the many aspects of treatment: the process of determining the best approach; consolidation and adhesion of paint, ground, and support; overpaint removal and surface cleaning; and compensation. Four case studies on artworks in the collection of The Cloisters in New York, a comprehensive bibliography, and a checklist to aid in documentation complement the text.

The outstanding collection of European bronze scupltures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert le Lorrain, and Corneille van Clève. This volume of the contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Antaeus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting groups in the Marino Collection, making the case for Damiano Cappelli - a bronze-casting specialist in the workshop of Tacca - to be considered as a scupltor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá(1583-1637), who was Philip IV's extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Phillippe Malgouyres, Curator of Bronzes, Ivories, and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jeffiner Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificent 15-figure group of bronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extoles Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the 2010 exhibition. Dimitros Zikos of the Museo Nazionale del Bargello in Florence presents the extraordinary collection of bronzes and terracottas of Giuseppe and Ferdinando Borri. Eike Schmidt, James Ford Bell Curator of Decorative Arts and Sculpture at the Minneapolis Institute of Art, discusses the adaption of two-dimensional models in Giovanni Battista Foggini's bronze sculpture.

Late nineteenth-century Britain experienced an explosion of interest in sculpture. Sculptors of the New Sculpture movement engaged in a wide range of experimentation, seeking a new direction and a modern idiom for their art. This book analyzes for the first time the art-theoretical concerns of the late-Victorian sculptors, focusing on their attitudes toward the representation of the human body. Sculpture through close study of works by key figures in the movement: Frederic Leighton, Alfred Gilbert, Hamo Thorneycroft, Edward Onslow Ford, and James Havard Thomas. These artists sought to activate and animate the conventional format of the ideal statue so that it would convincingly and compellingly stand in for both a living body and an ideal image. Complicating the conventions that had characterised much previous sculpture in Britain, they fervently pursued a commitment to the mimetic rendering of the body in three dimensions. In response to the problems and perils of such a commitment, late-Victorian sculptors worked to develop strategies that allowed them to accommodate naturalism and symbolism as well as the materiality of sculpture. Getsy offers an analysis of the conceptual complexity of the New Sculpture and places its concerns within the larger framework of the development of modern sculpture.

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.

Bonalumi is one of the figures who has made the most significant marks on the Italian artistic scene starting from the 1960s. He took part in the cultural debate that developed in those years, contributing decisively, together with Enrico Baj, Piero Manzoni and Enrico Castellani, to the transcending of informal language in the name of a new objectification of the artwork. Starting from 1959, Agostino Bonalumi began to create shaped works using convex canvas obtained through the use of wooden or steel elements positioned behind the canvas itself. This is a stylistic characteristic that was to remain unchanged over the years and that would lead to the artist testing his skills in both the sculptural and the environmental/architectural fields. Through a special selection of works of small dimensions, created by the artist during the entire course of his career, one can look back to his conceptual and project path, from the convex canvases to his sculptural production. The sophisticated results of the artist's research are achieved here also thanks to a more intimate dimension, in which he employs his own methodological approach. The works presented here are neither preparatory models nor sketches of works of larger dimensions: rather, they have come about from the same practice and sometimes share the conformation of the larger works. The small format works were often realised following the larger ones, as if the reduced dimensions enabled the artist to better delineate the project idea lying at the basis of the latter. Text in English and Italian.

This first monograph on Phillip Lai (b.1969, Kuala Lumpur, Malaysia) charts the artist's sculptural development over the course of the last two decades. From a basement soy-sauce factory to the Hepworth Prize for Sculpture, the publication surveys several of the artist's exhibitions across London, Wakefield, Turin, Berlin and Hong Kong. The nine chapters explore an evolving oeuvre that finds form in materials like aluminium, pewter, concrete, resin, rice, cooking pots, textiles and film. It is through these technologies that Lai broaches the material limits of the everyday world, often working with casting processes that see the abstraction and changing stability of materials as they transition from fluid to solid. What comes into focus is a fascination with how objects can relieve or modulate primal human urges to food and water and how, by extension, a material world might be re-envisioned around concerns of depletion and survival. This publication includes an essay by critic and writer Jan Verwoert, with bilingual text in English and Chinese throughout.

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures-including Shiva, referred to in a saintly vision as "the thief who stole my heart"-were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Socrates Sculpture Park is one of the most acclaimed public art spaces in the country. The Park opened in 1986 and has been an outdoor studio to over 500 artists, a venue presenting more than 40 exhibitions of large-scale sculpture, and a vital park attracting a diverse audience to Long Island City's East River waterfront. This handsome book is published to celebrate the 20th anniversary of Socrates Sculpture Park, and it is the first major publication on this unique outdoor museum. Sculptor Mark di Suvero founded the Park with the assistance of fellow artists, community members, and city officials who transformed an abandoned lot into an award-winning urban renewal project. The history, spirit, and nature of this collaborative enterprise is presented through photographs and essays that reveal the beauty, energy, and import of this successful public art space. Distributed for Socrates Sculpture Park

In the year 1260 Nicola Pisano, the sculptor who initiated the revival of classicizing ideals that would later form a major component of Italian Renaissance art, created a remarkable and unusual monument for the Baptistry of Pisa, a hexagonal pulpit supported by seven colorful columns and displaying on its parapet five visually compelling narrative reliefs; several years later he designed a second pulpit, this time for the cathedral of Siena. Toward the end of the century, his son Giovanni received a pulpit commission for the parish church of Sant'Andrea, Pistoia, to be followed a few years later (c. 1302) by another one for the cathedral of Pisa. These four extraordinary monuments, each building upon both older traditions and its own immediate predecessors, yet each a highly innovative and original solution, are the primary subject of this book.

The Venus de Milo is both a great work of art and a popular icon, and from the moment of her discovery in 1820, she has been an object of controversy. In Disarmed, Gregory Curtis gives us the life of this magnificent statue. Unearthed by a farmer digging for marble building blocks on the Aegean island of Melos, at the moment a young officer and amateur archeologist happened by, the ownership of the Venus was fought over by the island's elders and their Turkish overlords. The French pressed their claim and then, outwitting other suitors, brought her to the Louvre, where she became an immediate celebrity. century, caught in the grip of a classical art mania and a burgeoning romantic Hellenism. He sketches a tale of rich historical intrigue, revealing just how far the Louvre was prepared to go to prove it had the greatest classical find of the era. And how two magisterial scholars, one French and one German, battled over the statue's origins and authenticity for decades. This is a marvellously readable and entertaining history of one of the best known artworks in the world.