|
Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
One of the most imaginative and fascinating artists of
eighteenth-century France, Edme Bouchardon (1698-1762) was
instrumental in the transition from Rococo to Neoclassicism and in
the artistic rediscovery of classical antiquity. Much celebrated in
his time, Bouchardon created some of the most iconic images of the
age of Louis XV. His oeuvre demonstrates a remarkable variety of
themes (from copies after the antique to subjects of history and
mythology, portraiture, anatomical studies, ornament, fountains and
tombs), media (drawings, sculptures, medals, prints), and
techniques (chalk, plaster, wax, terracotta, marble, bronze). This
lavishly illustrated publication represents an unprecedented and
thorough survey on this major and unique artist from the Age of
Enlightenment, offering in-depth scholarship based on unpublished
material detailing the subtle relationship between, as well as the
relative autonomy of, the artist's two careers as a sculptor and a
draftsman.
This is a boxed set of Anthony Caro: Drawing in Space, Anthony
Caro: Interior and Exterior, Anthony Caro: Figurative and Narrative
Sculpture, Anthony Caro: Small Sculptures and Anthony Caro:
Presence. The box has been specially designed by Anthony Caro.
Anthony Caro restlessly explored an unpredictable range of
sculptural possibilities, testing limits and positing new ideas
about the nature of eloquent three-dimensional objects. Through his
expansion and transformation of the legacy of construction in metal
pioneered by Julio Gonzalez and Pablo Picasso, and further
developed by David Smith in the USA, Caro created a new,
multivalent language of three-dimensional abstraction. The Caro
pendulum swung between extremes of linearity and robustness,
abstractness and allusion. He countered his mastery of line and
transparency with investigations of our responses to mass and
perceptions of interior and exterior, even experimenting with
literally enterable sculptures. He made rigorously abstract
constructions that resemble nothing but themselves, intimate
table-based pieces, monumental constructions like metaphorical
architecture, and complex multi-part cycles of narrative works that
pulse in and out of explicit illusionism. And more. The range and
variety of Caro's sculpture notwithstanding, there are also common
threads that run through all of his work. The five volumes in this
set, each by a different critic, examine the various aspects of
Caro's evolution individually, tracing the permutations of
different themes - narrative, volume and mass, line and openness -
throughout his work, over time. Each volume is independent and
explores different territory, but cumulatively, by tracing these
dominant themes, they provide new insight into the achievement of
one of the undisputed giants of Modernist art.
Against Nature, now open at the Henry Moore Institute, explores an
extraordinary collection of hybrid sculptures, made over the last
100 years, ranging from mythical centaurs to the modernist monsters
which haunted the imagination of a post Darwinian age. The
galleries will be filled with fantastical combinations of animal,
vegetable and human creatures by some of the foremost sculptors of
the 20th century including Louise Bourgeois, Max Ernst and Jacob
Epstein.
With more than 100 works representing four decades, this is the
definitive monograph on abstract sculptor Mel Kendrick, who first
emerged in 1970s New York, where he studied with legends Tony Smith
and Robert Morris. At a time when Minimal and Conceptual art
dominated, Kendrick forged his own path, embarking on a career-long
series of provocative investigations into the fundamentals and
possibilities of sculpture, his restless experimentations with
form, scale, and materiality realized in wood, rubber, cast paper,
or concrete. Essays by Nancy Princenthal, Allison N. Kemmerer,
Terrie Sultan, and Adam D. Weinberg, and a conversation between
Kendrick and fellow artist Carroll Dunham provide fascinating
perspective on forty years of art making in the aftermath of
Minimalism.
The work of the prize winning Peruvian American light artist
Grimanesa Amoros is characterised by organic forms and an
instinctive approach. The basis of her fascinating sculptures lies,
however, in the natural sciences, social history and critical
theory. Research and feeling establish a form of communication in
her works. The expansive sculptures and video installations of
Grimanesa Amoros have already been shown all over the world: from
Mexico to Tel Aviv and from Beijing to Times Square in New York.
She presented her latest works, "OCUPANTE" and "GOLDEN SECRET
ROOM", In the Ludwig Museum Koblenz. The artist creat es playful
light installations which are so enigmatic that they permit
interpretations on different levels. Together with an overview of
her work, this volume reproduces the works in large format
illustrations, thereby reproducing their fluidity and luminosity.
This pioneering book, the first monograph devoted to Donald Judd,
addresses the whole breadth of Judd's practices. Drawing on
documents found in nearly twenty archives, David Raskin explains
why some of Judd's works of art seem startlingly ephemeral while
others remain insistently physical. In the process of answering
this previously perplexing question, Raskin traces Judd's
principles from his beginnings as an art critic through his
fabulous installations and designs in Marfa, Texas. He discusses
Judd's early important paintings and idiosyncratic red objects, as
well as the three-dimensional works that are celebrated throughout
the world. He also examines Judd's commitment to empirical values
and his political activism, and concludes by considering the
importance of Judd's example for recent art. Ultimately, Raskin
develops a picture of Judd as never before seen: he shows us an
artist who asserted his individuality with spare designs; who found
spiritual values in plywood, Plexiglas, and industrial production;
who refused to distinguish between thinking and feeling while
asserting that science marked the limits of knowledge; who claimed
that his art provided intuitions of morality but not a specific set
of tenets; and who worked for political causes that were neither
left nor right.
The astonishing fame enjoyed by Manneken-Pis is inversely
proportional to his size. However, as surprising as this may seem,
his story is still largely unknown. During which period did the
statue first appear? When did he receive his first costumes? When
was he first used to symbolise that mischievous and irreverent
spirit that the inhabitants of Brussels have claimed for
themselves? In a more general sense, when did he first embody the
city's image abroad? This book invites you to discover the many
facets of the Manneken-Pis phenomenon. Text in English, French and
Dutch.
Digital technologies have profoundly impacted the arts and expanded
the field of sculpture since the 1950s. Art history, however,
continues to pay little attention to sculptural works that are
conceived and ‘materialized’ using digital technologies. How
can we rethink the artistic medium in relation to our technological
present and its historical precursors? A number of theoretical
approaches discuss the implications of the so-called ‘Aesthetics
of the Digital’, referring, above all, to screen-based phenomena.
For the first time, this publication brings together international
and trans-historical research perspectives to explore how digital
technologies re-configure the understanding of sculpture and the
sculptural leading into the (post-)digital age. Up-to-date research
on digital technologies’ expansion of the concept of sculpture
Linking historical sculptural debates with discourse on the new
media and (post-)digital culture
The recently deceased French-American sculptor Louise Bourgeois
(1911-2010) was one of the most important artists of the last
century. Her fleshy blobs, skeletal spiders and the aggressive
fragility of her work offered a new solution to the antagonism
between the figurative and the abstract that had previously been
part and parcel of modernism. Bourgeois herself provided a unique
interpretive level to modern art through the uses she made of
childhood trauma, family life and sexuality. This accessible study
serves as both an ideal introduction to the central themes of the
late artist's oeuvre and as a commemoration of her one-hundredth
birthday. Over the course of nine chapters, it examines her life,
her exploration of the works of other artists and the
transformation of her emotions into such works of art as the now
iconic pieces "Destruction of the Father," "Fillette," "Cells" and
"Maman."
The Art & Times of Daniel Jocz presents the entrancing and
challenging work of American jewellery artist and sculptor Daniel
Jocz. There is a spontaneous quality to the work, yet it is always
rich with meaning. His open spirit is fully embodied in the 2007
neckpiece series An American's Riff on the Millstone Ruff. Inspired
by the extravagant scale of 17th-century Dutch ruffs at the
Rijksmuseum in Amsterdam, he decided to update them with automobile
paint. Jeannine Falino takes an in-depth look at the twists and
turns of Jocz's long career, from his early geometric sculptures to
the fashion-forward flocked Candy Wear collection, and from his
ruminations on Marlene Dietrich in the form of necklaces featuring
enamel smoked cigarettes to the wall reliefs he explores today.
Wendy Steiner considers Jocz's place in the avant-garde through the
lens of fashion and culture, while Patricia Harris and David Lyon
explore his involvement in the rollicking Boston jewellery scene of
the late 20th century.
A mountain of chairs piled between buildings. Shoes sewn behind
animal membranes into a wall. A massive crack running through the
floor of Tate Modern. Powerful works like these by sculptor Doris
Salcedo evoke the significance of bearing witness and processes of
collective healing. Salcedo, who lives and works in Bogota, roots
her art in Colombia's social and political landscape - including
its long history of civil wars - with an elegance and poetic
sensibility that balances the gravitas of her subjects. Her work is
undergirded by intense fieldwork, including interviews with people
who have suffered loss and endured trauma from political violence.
In recent years, Salcedo has become increasingly interested in the
universality of these experiences and expanded her research to
Turkey, Italy, Great Britain, and the United States. Published to
accompany Salcedo's first retrospective exhibition and the American
debut of her major work Plegaria muda, Doris Salcedo is the most
comprehensive survey of her sculptures and installations to date.
In addition to featuring new contributions by respected scholars
and curators, the book includes over one hundred color
illustrations highlighting many pieces from Salcedo's
twenty-five-year career. Offering fresh perspectives on a vital
body of work, Doris Salcedo is a testament to the power of one of
today's most important international artists.
South African sculptor Angus Taylor, born in Johannesburg in 1970
and alumnus of the University of Pretoria, is known mainly for his
monumental works. For these, in addition to the classic bronze, he
uses a selection of materials special to his immediate environment:
black granite, red jasper, straw, and the red earth of the Pretoria
region. In the symbiosis of these materials with traditional
artistic craft techniques, distinctly contemporary works arise,
which Taylor pioneeringly positions as figurative landmark
sculpture. This first-ever monograph on Angus Taylor offers a
comprehensive survey of his oeuvre to date. Key works from his
entire career since the founding of his studio Dionysus Sculpture
Works in 1997 are featured in full colour illustrations throughout.
The essays discuss Taylor's methods, practices, and personal
philosophies and put his work is context within South Africa's
social situation as well as with his own biography. The book offers
a much welcomed profound introduction to Angus Taylor's innovative
and characteristic body of work.
Austrian artist Manfred Wakolbinger, born 1952, trained as a metal
worker and tool maker before turning to art. Following first steps
in jewellery design, he moved on to sculpture and photography,
later also to video art. Many of his sometimes voluminous
sculptures were created for public spaces. The submarine world has
captured his particular interest in photography and video.
Wakolbinger's art is organic and conveys an inner poetry, yet it
remains enigmatic even when it becomes concrete and figurative.
This book features a selection Wakolbinger's works in photography
and sculpture since 2012, accompanied by a conversation between the
artist and curator Jasper Sharp. An essay on the topic of language
in his art by scholar and critic Cornelia Offergeld and a text by
celebrated Austrian novelist Christoph Ransmayr describe and
interpret the recent oeuvre by one of Austria's most distinguished
contemporary artists. Text in English and German.
Patricia Wengraf is one of the world's leading dealers in bronzes,
sculpture and works of art. In her particular speciality, bronzes
of the 15th-18th centuries, her knowledge and connoisseurship are
of world repute. This exquisite catalogue - the first sales
catalogue ever published by the dealer - presents a selection of
exceptional works. Accompanies an exhibition in New York City.
The architect is at all times also an artist. How otherwise would
he be able to tame the three-dimensionality of space and subdue the
urges of physics and structural mechanics with the creations of his
fantasy? This creativity is however mostly restricted purely to its
own field. Rob Krier is an exception. For years, he has seen his
love of art as a vocation -- one which he nurtures parallel to his
work in construction. Fine art should stand in dialogue with
architecture and it is Krier's ambition to have iconographic themes
brought into the latter, so that they might speak equally to both
the occupants of a building and to bystanders, moving them to
thoughtful reflection. In his contribution to the European
Embankment project in St Petersburg, Krier recently demonstrated
the power of architecture and fine art to cross-fertilise. The
architects in charge of the urban development of this district are
Sergei Tchoban and Evgeny Gerasimov. Krier designed the facade for
a 132-metres long building on the Newa riverbank one that looks
across the water onto the rear facade of the Hermitage. The
vibrancy of the architecture is enhanced by its sculptural
ornamentation based on the Balzac theme, 'The Human Comedy'. In
this regard, Krier modelled over 50 figures in white clay, as well
as around 65 linear metres of reliefs. The short poems that comment
on the sculptures also centre on the theme of mankind and its
interrelationships in society.
|
You may like...
Auguste Rodin
Rainer Maria Rilke
Paperback
R233
Discovery Miles 2 330
|