A comprehensive overview of renowned Belgian artist Berlinde De Bruyckere's work since 2014, inspired by the figure of the angel Belgian artist Berlinde De Bruyckere has long been a leading light in the international contemporary art world whose sculptures, installations and drawings endeavor to find the meaning of humanity, physicality, suffering and vitality. Conceived in the loneliness and isolation of the COVID-19 pandemic, this book explores De Bruyckere's recent, never-before-seen work inspired by the figure of the angel as portrayed in myths, stories, literature and art history. According to De Bruyckere, an angel-with its warm, dark wings-provides protection, a refuge from fear. The angel guards against a lonely existence and, even more importantly, against a lonely death. It symbolizes the fragile line De Bruyckere treads between artistic poeticism and engagement with current affairs. This volume will serve as an essential resource on an artist whose works constitute a provocative and influential addition to the contemporary art canon. Distributed for Mercatorfonds Exhibition Schedule: Bonnefantenmuseum Maastrich, The Netherlands (March 29-September 26, 2021)

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.

This is the twentieth volume in the Public Sculpture of Britain series, the ambitious collaboration between Liverpool University Press and the Public Monuments and Sculpture Association that will eventually document the outdoor sculptural heritage of the whole of the UK. Public sculpture is defined in this context as any work of three-dimensional art located in an unregulated public space, typically consisting of free-standing commemorative monuments, architectural carvings and statues attached to buildings, and contemporary site-specific interventions. A subject that was until recently overlooked as a matter of marginal relevance to the history of art, public sculpture has been shown through the Liverpool University Press series to offer a range of important insights into the built environment, enriching our understanding of architecture and city planning, and raising many challenging issues relating to the development of society as a whole. This is nowhere better illustrated than in Edinburgh, where the richness of its history as a capital city, and the dramatic power of its urban topography, have combined to create a uniquely fertile breeding ground for public sculpture of every kind. With the coverage divided between two companion volumes, the study begins appropriately with the historic Old Town, and the various suburbs extending from it to the south.

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.

An exciting new account of Irish high crosses This landmark study of Irish high crosses focuses on the carvings of an unnamed artist, the "Muiredach Master," whose monuments-completed in the early years of the 10th century-deserve a place alongside the Book of Kells as great works of their time. Drawing on a wealth of recent research, Roger Stalley describes in vivid detail how the crosses were made, where they were carved, and how they were lifted into place. His lively prose situates the works in their context, identifying patrons and exploring their motives, as well as venturing to understand what the crosses may have meant to those who gazed at them a millennium ago. In doing so, Stalley rejects preconceived notions about the imagery of the crosses, including the extent to which they were inspired by images from abroad. Distributed for the Paul Mellon Centre for Studies in British Art

This illuminating and original book opens up a neglected corner of eighteenth-century art - the funeral monument. In the last forty years, studies of the satires of early and mid-eighteenth-century England have multiplied, whereas its funerary monuments have been neglected by all but a small group of enthusiasts. This book redresses the balance and demonstrates that tombs and inscriptions are of manifest worth to the student of eighteenth-century English value systems, providing as they do an archaeology of ideal types. Across the genres of art, there is, perhaps, no better register of shifting notions of correct behaviour, in life and in death. Matthew Craske looks closely for the first time at tomb sculptures in their social context. He discusses a large number of monuments by many different sculptors, all with a knowledge of the person commemorated and the circumstances behind the commission, resulting in a work of great scholarly density and originality that probes the motives behind the imagery and the epitaph. He begins by analysing the relationship of tomb designs to the changing and diverse culture of death in the eighteenth century, and then explains conditions of production and the shifting dynamics of the market, concluding with a masterly analysis of the motivations of those who commissioned monuments, including women and ranging from aristocrats to merchants and professional people. This handsomely illustrated book presents a unique history of death, fame, example and attitudes to loss, as well as a remarkable art history.

A compelling examination of French sculptor Auguste Rodin from the perspective of his enthusiastic American audience This exhibition catalogue explores the American reception of French artist Auguste Rodin (1840-1917), from 1893, when his first work entered a US museum, to the present. Its trajectory reaches from the collecting frenzy of the early twentieth century-promoted by philanthropist Katherine Seney Simpson and performer Loie Fuller-to important museum acquisitions of the 1920s and 1930s. From there, it traverses the 1950s, when Rodin's reputation flagged, through to the artist's revival and recognition in the 1980s. Rodin's promoters include a dynamic cast of characters, each of whom played a crucial role in cementing his status. The book traces this story through approximately 50 sculptures and 20 drawings that cover Rodin's most iconic subjects and themes. They demonstrate his dexterity across media-his virtuosity in plaster, terracotta, bronze, and marble-as well as his expressive, colorful drawings, some of them relatively unknown, sparking new appreciation for his work and delight for readers. Distributed for the Clark Art Institute Exhibition Schedule: Clark Art Institute, Williamstown, MA (June 18-September 18, 2022) High Museum of Art, Atlanta (October 21, 2022-January 15, 2023)

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.

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.

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.

Marking the occasion of Didier Vermeiren's eponymous solo exhibition at WIELS in Brussels, this book illuminates the recurrent strategies of repetition, reversal, doubling and inversion that the artist explores in his work Published to mark the occasion of Didier Vermeiren's (b. 1951) eponymous solo exhibition at WIELS in Brussels, Double Exposition takes its name from a photograph by Vermeiren that refers to its own double exposure ("exposition" in French, which also translates as "exhibition"). The title thus evokes the recurrent strategies of repetition, reversal, doubling, and inversion that Vermeiren explores in his work. Conceived by the artist and containing a rich array of his striking photographs, this book also features an in-depth analysis of Vermeiren's most recent sculptures written by long-term commentator on his practice, Michel Gauthier; an essay on the central role of photography in his studio practice by Susana Gallego-Cuesta; and a look at the shifts and continuities in his oeuvre over the past four decades by the exhibition's curator, Zoe Gray. Distributed for Mercatorfonds

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.

Terracotta Warriors provides an intriguing, original and up-to-date account of one of the wonders of the ancient world. Illustrated with a wealth of original photographs, this is the first book available for the general reader. In one of the most astounding archaeological discoveries of all time, the Terracotta Warriors were discovered by chance by farmers in 1974. We now understand that the excavated pits containing nearly eight thousand warriors and hundreds of horses are only part of a much grander mausoleum complex. There is a great deal still to be discovered and understood about the entire area whichis now thought to cover around 100 square kilometres. And there is the tantalising possibility of the opening of the imperial tomb.

The essential five-volume resource on the painting and sculpture of one of the world's foremost contemporary artists For more than 60 years, Jasper Johns (b. 1930) has remained a singular figure in contemporary art. His most widely influential work-depictions of everyday objects and signs such as flags, targets, flashlights, and lightbulbs-helped change the face of the art world in the 1950s by introducing subject matter that stood in contrast to the prevailing style of Abstract Expressionism. In subsequent decades, Johns's art has increasingly engaged issues of memory and mortality, often incorporating references to admired artistic predecessors. This definitive 5-volume catalogue raisonne documents the entire body of painting and sculpture made by Johns from 1954 through 2014, encompassing 355 paintings and 86 sculptures. Each work is illustrated with a full-page reproduction, nearly all of which were commissioned expressly for this publication. A decade of research underpins the project, with thorough documentation of each object and an overarching monograph that represents the most comprehensive study of the artist's work to date. All facets of the catalogue reflect the input of the artist, who worked closely with the author at all stages.

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.

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.