Rachel Whiteread has single-handedly expanded the parameters of contemporary sculpture with her casts of the outer and inner spaces of familiar objects, sometimes in quiet monochrome, sometimes in vivid jewel-like colour. She won the Turner Prize in 1993, the same year as her first large-scale public project, House, a concrete cast of a nineteenth-century terraced house in London's east end. This book, by writer and editor Charlotte Mullins - the first significant survey to examine Whiteread's career to date - has been substantial updated with a new chapter containing 10 major works, including Tate's Turbine Hall installation Embankment and Cabin, Whiteread's first permanent public sculpture in America. Born in London in 1963, Rachel Whiteread is one of Britain's most exciting contemporary artists. Her work is characterised by its use of industrial materials such as plaster, concrete, resin, rubber and metal. With these she casts the surfaces and volume in and around everyday objects and architectural space, creating evocative sculptures that range from the intimate to the monumental.

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.

From casting to sculpture Cast materials become solid, yet they originate as fluid materials that can take on any imaginable form. This simple yet radical paradigm allows for the exploration of volumetric formations through process-oriented casting and experimentation with alternative ways of manufacturing, presenting, and shaping casting molds. Working with hardening bodies fundamentally challenges the notion of formal rigidity; conventional formwork models are reconsidered, and a new aesthetic emerges. Fluid Bodies presents a variety of objects created using alternative casting methods. The book documents experimental artistic research and showcases innovative and surprising sculptures in concrete and plaster. Alternative ways of manufacturing, presenting, and shaping casting molds Concrete and plaster sculptures, parametric designs, and the further development of conventional formwork models and casting processes With numerous large-format photographs

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.

John Pickering has been described as a modern-day alchemist who hews his sculptures from pure mathematical principles. His technique is to conjugate a numerical sequence and to cast its form in space. As the form unfolds, it invites us to explore surfaces as sculpture, and to interpret volumes and spaces as architecture. Because of the mathematical rigour that underpins the form, it is already potent, engineered, rational and ultimately, buildable. "The Inversion Principle" conveys, through photographs, the full impact of Pickering's sculptures. But equally it describes the meticulous process of making them. It defines the inspirations behind the works (which include Naum Gabo, space probes, satellites and Stockhausen). It dicusses their engineering implications. Finally, it places them within the architectural tradition of the visionary form.

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."

Lesley Dill is an American artist working at the intersection of language and fine art in printmaking, sculpture, installation and performance, exploring the power of words to cloak and reveal the psyche. Dill transforms the emotions of the writings of Emily Dickinson, Salvador Espriu, Tom Sleigh, Franz Kafka, and Rainer Maria Rilke, among others, into works of paper, wire, horsehair, foil, bronze and music — works that awaken the viewer to the physical intimacy and power of language itself. Lesley Dill – Wilderness: Light Sizzles Around Me features a uniquely inspired group of sculptures and two-dimensional works more than a decade in the making. It is testimony of Dill’s ongoing investigation into the significant voices and personas of America’s past. For the artist, the American voice grew from early America’s obsessions with divinity and deviltry, on fears of the wilderness out there and wilderness inside us. The plates, in colour throughout, are supplemented with essays by Lesley Dill, Brooklyn-based writer Nancy Princenthal, Figge Art Museum’s curator Andrew Wallace, and researcher and tribal historian Juaquin Hamilton-Youngbird. The book also features a literary text by writer by Tom Sleigh and a poem by author and poet Ray Young Bear.

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work This richly illustrated volume reintroduces readers to American sculptor William Edmondson (1874–1951) more than 80 years after his historic solo exhibition at the Museum of Modern Art. Edmondson began carving at the onset of the Depression in Tennessee. Initially creating tombstones for his community, over time he expanded his practice to include biblical subjects, the natural world, and recognizable figures including nurses and preachers. This book features new essays that explore Edmondson’s life in the South and his reception on the East Coast in the 1930s. Reading the artist through lenses of African American experience, the authors draw parallels between then and now, highlighting the complex relationship between Black cultural production and the American museum. Countering existing narratives that have viewed Edmondson as a passive actor in an unfolding drama—a self-taught sculptor “discovered� by White patrons and institutions—this book considers how the artist’s identity and position within history influenced his life and work. Distributed for the Barnes Foundation  Exhibition Schedule: The Barnes Foundation, Philadelphia (June 25–September 10, 2023)  

Lynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world. This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries.

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

In recent decades sculpture has arguably become the dominant art form in the world. In this ground-breaking account of the development of post-War sculpture Andrew Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He explores the use of everyday objects and the importance of sculptural context, discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth Art, landscape sculpture, installation, and Performance Art. The holistic picture of post-War sculpture which emerges establishes for the first time the key events and themes round which future debate will centre.

`Andrew Causey weaves his way adroitly through the labyrinth of post-War sculpture ... No one else has charted the territory so comprehensively.' Professor Stephen Bann, University of Kent at Canterbury

`a clear guide to the various directions of sculpture and the work of sculptors in the years when modern sculpture has begun to stand in its own right as a major art form' Sir Anthony Caro, Sculptor

Pedro de Mena y Medrano (1628-1688) is the most highly regarded master of Spanish Baroque sculpture, on a par with his contemporaries, the great seventeenth-century painters Velazquez, Zurbaran and Murillo. Mena's contributions to Spanish Baroque sculpture are unsurpassed in both technical skill and expressiveness of his religious subjects. His ability to sculpt the human body was remarkable, and he excelled in creating figures and scenes for contemplation. This first monograph of Pedro de Mena shows incredible details and remarkable images of his hyper-realistic sculptures, full of passion. In addition to text by curator Xavier Bray, Pedro de Mena also features important contributions by Jose Luis Romeo Torres, curator of the exhibition Pedro de Mena, to be held in Malaga in 2019.

This is the seventeenth volume in the series the Public Sculpture of Britain, part of the PMSA National Recording Project, which will eventually cover the whole of the country. The introduction considers the ways in which the rural and urban landscapes of Sussex, from market town, rural village and country estate, to city, major seaside resort and new town development, are reflected in the county's public sculptures. The historical period covered ranges from the allegedly pre-historic (the Long Man of Wilmington) to the present day (the most recent entry is Maggi Hambling's The Resurrection Spirit, 2013). There is a high proportion of nineteenth- century sculptures, including significant works by John Flaxman, Michael Rysbrack, Frances Chantrey and John Edward Carew; the 'statuemania' that characterised the last part of this century is well illustrated by Thomas Brock's imposing statue celebrating Queen Victoria's Diamond Jubilee on Hove seafront. The achievements of major twentieth and twenty-first century sculptors are represented by Elisabeth Frink and William Pye among others. Many works from this period are the result of public art initiatives by local councils, often as part of more wide-ranging regeneration schemes for Sussex towns. The patronage of health authorities, influenced by new thinking about the calming and healing qualities of art in public places has also benefitted both local sculptors and those based elsewhere in the country. Each individual work is catalogued, with precise details of location, condition and history, including commissioning, opening ceremonies and re-siting. Most are individually illustrated in black and white. Biographies of local and less well-known sculptors, together with a selected bibliography are included at the end of the volume.

For nearly forty years, John Van Alstine has created abstract sculptures forged from steel and stone. In John Van Alstine: Sculpture, 1971-2018, three notable essayists explore the sculptor's abstract landscapes that reveal the complex synergy between natural forces and man-made elements; by grappling with the challenges of balancing stone and steel, Van Alstine's indoor, outdoor, and site-specific sculptures are measured and calculated, yet simultaneously poetic; their swooping angular lines create expansive spaces beyond the limits of their steel and stone frames to unveil our collective history and imagination, illuminating a deft interplay of natural energies and the human experience. The artist weaves into his works elements of mythology, celestial navigation, implements, human figures, movement, urban forms, and found objects, while using motion, balance, and inertia to incorporate the eternal forces of gravity, tension, and erosion. In an essay on his drawings, Van Alstine details the critical role they play in the initiation and planning of his projects, offering the reader a firsthand perspective on the artist's creative process. Van Alstine's works have been featured in numerous solo and group exhibitions and are found in the permanent collections of the Carnegie Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian's National Museum of American Art, and the Phillips Collection, to name but a few. His works are also found in numerous public and private collections. The Artist Book Foundation is gratified to announce the publication of this lavishly illustrated monograph on an esteemed and prolific contemporary artist.

This volume brings together new research by some of the world's leading experts, exploring the artistic production and cultural context of Renaissance sculpture from Ghiberti's Gates of Paradise to the small bronzes of Giambologna and his followers. The essays cover a range of sculptural materials and forms to cast fresh light on the artists, their creative and collaborative processes, and those who commissioned, owned and responded to their work. The papers were originally presented at a conference at the V&A in 2010 as part of the Robert H. Smith Renaissance Sculpture Programme.

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.

Im Rahmen der aktuellen Diskussion zur asthetischen und kulturellen Bildung gehen Autorinnen und Autoren unterschiedlicher kulturwissenschaftlicher Disziplinen der Frage nach, was asthetische Erfahrungen sind. Indem sie interdisziplinar sowie asthetisch-transformatorisch arbeiten, koennen sie eroertern, wie sich etwas derart Fluchtiges und der Subjektivitat Verhaftetes empirisch fassen und in Bildungsinstitutionen initiieren und vermitteln lasst. In den Projekten verlassen die Teilnehmerinnen und Teilnehmer den gewohnten Lernort, ubersetzen Materialien in Sprache und Schrift, Texte in Film oder Literatur in Tanz oder werden dazu angehalten, ihre eigenen Wahrnehmungsmuster zu hinterfragen.