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.

This book demonstrates that copper-alloy casting was widespread in southern Nigeria and has been practiced for at least a millennium. Philip M. Peek's research provides a critical context for the better-known casting traditions of Igbo-Ukwu, Ife, and Benin. Both the necessary ores and casting skills were widely available, contrary to previous scholarly assumptions. The majority of the Lower Niger Bronzes, which we know number in the thousands, are of subjects not found elsewhere, such as leopard skull replicas, grotesque bell heads, ritual objects, and humanoid figures. Important puzzle pieces are now in place to permit a more complete reconstruction of southern Nigerian history. The book will be of interest to scholars working in art history, African studies, African history, and anthropology.

A fresh and engaging look at the controversial work of Jeff Koons, with insightful analyses and illustrations of all of his iconic pieces alongside preparatory works and historical photographs Examining the breadth and depth of thirty-five years of work by Jeff Koons (b. 1955), one of the most influential and controversial artists of the 20th century, this highly anticipated volume features all of his most famous pieces. In an engaging overview essay, Scott Rothkopf carefully examines the evolution of Koons' work and his development over the past thirty-five years, offering a fresh scholarly perspective on the artist's multi-faceted career. In addition, short essays by a wide range of interdisciplinary contributors-from academics to novelists-probe provocative topics such as celebrity and media, markets and money, and technology and fabrication. Also included are preparatory sketches and plans for sculptures and paintings as well as installation photographs that shed light on Koons' artistic process and trace the development of his work throughout his landmark career. Koons has risen to international fame making art that reimagines and recontextualizes images and objects from popular culture such as vacuum cleaners, basketballs, and balloon animals. Created with painstaking attention to detail by a team of fabricators, these objects raise questions about taste and popular culture, and position Koons as one of the most lauded and criticized artists working today. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art (06/27/14-10/19/14) Centre Pompidou (11/26/14-04/27/15) Guggenheim Museum, Bilbao (06/05/15-09/27/15)

The groundbreaking sculptor's most comprehensive monograph to date

Jean-Michel Othoniel is an artist who creates sculptures that explore themes of fragility, transformation, and ephemerality. Using the repetition of such modular elements as bricks or beads, his work deploys various strategies that hint at loss and despair – cracks in his objects' perfect surfaces, negative spaces and, early in his career, transient materials such as sulfur. The most authoritative study of the artist's work to date, it includes intimate gallery pieces as well as monumental public commissions around the world.

Principally known as the main protagonist of the Constructivist movement in the 1920s, Russian artist Naum Gabo (1890 - 1977) created some of the most inspirational sculptures of the twentieth-century. His constructions, ranging from the early figurative Head No.2, to his large public kinetic sculpture commissions, embodied the modernist preoccupations of art in relation to science, architecture and philosophy, and made him one of the leading figures of the Russian avant-garde. After studying engineering in Munich, Gabo moved back to Russia in 1917, and there developed the theories and practice of Constructivism, a term he coined with his brother in their 'Realistic Manifesto' of 1920 which promoted art as a part of man's everyday existence without the confinement of artistic terms and convention. Gabo traveled extensively to the hubs of modernism in Europe, spending time with the de Stijl and teaching at the Bauhaus, and in Paris in the wake of Nazi occupation to join Mondrian's Abstraction-Creation group. Upon the outbreak of World War II, he moved to Cornwall, where his influence on the St Ives group can be seen in the work of BarbaraHepworth and Peter Lanyon, amongst others. He later emigrated to the United States. Gabo's work is most admired for its rigorous enquiries into ways of representing mass, volume and space. His sensitive and imaginative use of materials, ranging from fishing line, to Perspex, to wood, created a rhythm and balance within his sculptures evoking intense emotional responses. A new dedicated monograph on this truly original artist is long overdue, and this accessible and comprehensive book is the ideal guide to Gabo's life and work. Containing over 140 colour illustrations, including photographs from private archives and the artist's family collections, "Naum Gabo" will introduce a new audience to the achievements of one of the twentieth-century's most unsung artistic masters.

This volume investigates the artistic development during the Qing Dynasty, the last of imperial Chinese dynasties, and shows the importance of opera and playwriting during this time period. Further analysis is dedicated to the development of scroll painting and the revival of calligraphy and seal carving. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

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)

Chinese Buddhist wooden sculptures of Water-moon Guanyin, a Bodhisattva sitting in a leisurely reclining pose on a rocky throne, are housed in Western collections and are thus removed from their original context(s). Not only are most of them of unknown origin, but also do lack a precise date. Tracing their sources is moreover difficult because of the scant information provided by art dealers in previous periods. Thus, only preliminary investigations into their stylistic development and technical features have been made so far. Moreover, until recently none of the Chinese temples that provided their original context, i.e. their precise/exact/specific position within those temple compounds and their respective place in the Buddhist pantheon, have been examined at all. In her study, Petra H Roesch investigates these very aspects, including questions about the religious position and function of the sculptures of this special Bodhisattva. She also looks at the technical construction, the collecting of Chinese Buddhist sculptures in general and those sculptures made of wood in particular. She uses a combination of stylistic, iconographical, buddhological, as well as technical methodologies in her investigation of the Water-moon Guanyin images and sheds light on the Buddhist temples in Shanxi Province, the works of art they once housed, and the religious practices of the eleventh to thirteenth centuries connected with them.

Netsuke - classic belt decorations for men - are rooted in a historical, mythological and artistic tradition in Japanese culture. Woodcarvers and their pupils, even counterfeiters, continued the work of their role models, in copies or variants of what came before them, and even created major works of art with the smallest of dimensions. Since the opening up of Japan in 1853, the miniature works have gained appreciation, and enthusiasts are found all over the world. Today netsuke are still being created in a great variety of motifs. Netsuke in Comparison presents one hundred netsuke from a private collection. For the very first time, it endeavours to juxtapose them with comparative images from collections and literature in order to locate them within this genre and to convey something of their diversity and expressiveness. Text in English and German.

The Hanau City Map project by Claus Bury relates to the new city of Hanau, which was formed from 1597 on and is characterised by its strictly geometric pattern of streets and star-shaped ramparts. The walk-on granite sculpture on the square directly next to the Walloon-Dutch church references the city map engraved in copper in 1632 by Matthaus Merian and revitalises Hanau's historical 17th century topography through its relief-like recesses and encompassing seating areas. An installation spanning centuries that brings the history, present, and future into a flourishing dialogue for the visitors of Hanau. Text in English and German.

The ethnographic literature of the 20th century focused mainly on the sculptural traditions of the numerous ethnic groups that populated Southern Nigeria while the more northern areas remained largely terra incognita. In 2013 Jan Strybol published a study on the sculpture of Northern Nigeria. He pointed out that in many parts of this region there are people who still had, at least until recently, their own sculptural tradition. In this study the author restricted himself to what is referred to as the Middle Belt and especially to the part between the Bauchi Plateau, the Gongola River and the Katsina Ala River. In 1974 Roy Sieber pointed out that, with a few exceptions, the people who were members of the Niger-Congo language family laid the foundations for the great African sculptural traditions south of the Sahara. However, the largest group of iconophile peoples in the Central Middle Belt of Nigeria is to be found in the Chadic branch of the Afro-Asiatic language family. In this book of objects from private collections the author shows the great variety of the sculptures of the Middle Belt. This study mainly deals with wooden figures but also contains four wooden masks and three bronzes. 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.

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.

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath's death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period. The book accompanies a show which will be held at the Scottish National Gallery of Modern Art Two in Edinburgh from 7 November 2015 to 26 June 2016.

Claes Oldenburg's commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg's profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York's changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg's innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.

Woodturning is as popular as ever -- a constantly growing segement in the woodworking world and one of the most wide-reaching woodcrafts among artists and hands-on crafters. It s appeal is based on the short learning curve, the minimal equipment, and the sheer joy of learning to make something out of wood with one s own hands. But, unlike a lot of crafts that rely on individuality and creative thinking, the initial techniques of woodturning must be mastered. While at first liberating, these same techniques can eventually be confining because in mastering them, one must follow the lead of others. At a certain point, woodturners can feel that mastering the techniques has become the end in itself as they lose sight of their true pursuit: to create one s own original style. In fact, some woodturners, who believe they aren t creative enough, will simply continue to master techniques while imitiating the style of others. Terry Martin, the author of The Creative Woodturner and a woodturning artist, instructor, and photographer for over thirty-years, believes this goes against the fundamental nature of creating and being an artist. There is no right or wrong and the pursuit of originality should be the goal of every woodturner. Best of all, creativity can be learned and the ability to think and see in one s own artistic style can be achieved. The Creative Woodturner is not your usual how-to woodturning book. It won t tell you what a chuck is, how to sharpen a scraper, or how to turn a goblet. Instead, this book is a how-to for unlocking curiosity, how to break the rules, and for following one s own artistic path with confidence. Designed to give readers a wide-persepective on creativity, The Creative Woodturner begins first with insightful commentary, quotes, and examples from the woodturning and art community that will both inspire and inform. In addition, the author shares his Idea Tools: questions to ask during the planning and creative process that are as important to the creation of the woodturning project as any equipment in the shop. Finally, 16 one-of-a-kind projects from boxes and vessles to bowls and one-of-a-kind scultpures are featured that will spark the creative mindset of any woodturner. Each project is documented with instructions and crisp photography highlighting the key steps, techniques, and tasks necessary for completion. In taking the reader through each project, the author pulls back the curtain on his woodturning magic and shares his vision and how the Idea Tools and creative thinking emerges in each project. An inspiring and enjoyable read not only for woodturners, but for any artist, The Creative Woodturner will anyone to think and see differently so time is spent at the lathe or whatever creative pursuit it is -- creating the original ideas instead of imitating someone else."