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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
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Jason Moran
(Paperback)
Jason Moran; Edited by Adrienne Edwards; Text written by Adrienne Edwards; Foreword by Olga Viso; Text written by Philip Bither, …
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The Waldfrieden Sculpture Park is honouring the great painter and
sculptor Heinz Mack on his 90th birthday with an exhibition devoted
exclusively to his sculptural work. In its three exhibition halls
and in the open grounds, the sculpture park presents 50 sculptures
by Heinz Mack, including numerous works that have never been shown
publicly before. Accompanying the exhibition is this comprehensive
catalogue in German and English with numerous illustrations from
the exhibition, a foreword by Anthony Cragg, a preface by Dr.
Thomas A. Lange, two statements by Heinz Mack and essays by
Heinz-Norbert Jocks, Norman Rosenthal, Corinna Thierolf and Jon
Wood. The essays - analogous to the illustration section, which
shows photographs from all three exhibition pavilions and from the
outdoor area - are devoted to the artist's wealth of forms and
diversity of materials on the basis of the exhibited stone works,
steles made of wood and metal, metal reliefs and screens.
Plato’s Timaeus is unique in Greek Antiquity for presenting the
creation of the world as the work of a divine demiurge. The maker
bestows order on sensible things and imitates the world of the
intellect by using the Forms as models. While the creation-myth of
the Timaeus seems unparalleled, this book argues that it is not the
first of Plato’s dialogues to use artistic language to articulate
the relationship of the objects of the material world to the world
of the intellect. The book adopts an interpretative angle that is
sensitive to the visual and art-historical developments of
Classical Athens to argue that sculpture, revolutionized by the
advent of the lost-wax technique for the production of bronze
statues, lies at the heart of Plato’s conception of the relation
of the human soul and body to the Forms. It shows that, despite the
severe criticism of mimēsis in the Republic, Plato’s use of
artistic language rests on a positive model of mimēsis. Plato was
in fact engaged in a constructive dialogue with material culture
and he found in the technical processes and the cultural semantics
of sculpture and of the art of weaving a valuable way to
conceptualise and communicate complex ideas about humans’
relation to the Forms.
This book is an exploration of the artistic world of Gianluca
Pacchioni, from the backstage of his workshop in Milan to his
incredible studio-house, as well as finished projects and open-air
installations. It also touches on his inspiration, which is drawn
from a mix of Italian classicism and Japanese minimalism, with a
dash of French seventeenth-century decorative style. First based in
Paris, where Pacchioni became a sculptor in the 1990s, and then in
Milan, his hometown, his atelier constantly forges sculptures and
limited-edition furniture produced for international clients. As a
pioneer in the art and design world, his approach to art is
experimental and innovative, and over the years he has shifted from
iron to stainless steel, and his most recent works have been made
with cast bronze and semiprecious stones and marble.
The Language of Mixed-Media Sculpture is both a survey and a
celebration of contemporary approaches to sculptures that are
formed from more than one material. It profiles the discipline in
all its expanded forms and recognizes sculpture in the twenty-first
century not as something solid and static, but rather as a fluid
interface in material, time and space. It gives insightful
revelations of the creative journeys of ten renowned sculptors and
showcases twenty-eight international sculptors. With over two
hundred colour photographs, this sumptuously illustrated volume
will inspire those intrigued by and interested in contemporary
sculpture.
In previous studies, Jan Strybol pointed out that - contrary to
popular belief - sculpture flourished in northern Nigeria. Wood
sculptures could be found just about everywhere, with the exception
of part of the Far North. In this study, the author first examines
the sculptural traditions of a number of peoples in central
Nigeria, more specifically from the Jos Plateau and from the Middle
Benue Valley to the source area of the Taraba River. These peoples
can be described as non-centralised communities where art was
mainly produced in perishable materials by part-time artists, in
contrast to the centralised empires in the South (Ife, Benin) where
full-time specialist sculptors created complex artefacts in durable
materials (stone, bronze, iron). Perhaps the most familiar ethnic
group in the Central Benue region to lovers of African art are the
Mumuye. Since the end of the last century, as a result of the
advance of world religions, the traditional rites of the Mumuye
have rapidly disappeared and with them the Mumuye sculptural
tradition so much admired in Europe and America. In addition to
wood sculptures, Jan Strybol also pays attention to objects in
bronze, iron, terracotta and other materials. These art forms have
been very underexposed until now and have almost completely
vanished. Finally, the author also delves into the artistic
achievements of some little-known remnant groups within the Mumuye
territory, which can boast of a rich art tradition.
Monuments around the world have become the focus of intense and
sustained discussions, activism, vandalism, and removal. Since the
convulsive events of 2015 and 2017, during which white supremacists
committed violence in the shadow of Confederate symbols, and the
2020 nationwide protests against racism and police brutality,
protesters and politicians in the United States have removed
Confederate monuments, as well as monuments to historical figures
like Christopher Columbus and Dr. J. Marion Sims, questioning their
legitimacy as present-day heroes that their place in the public
sphere reinforces. The essays included in this anthology offer
guidelines and case studies tailored for students and teachers to
demonstrate how monuments can be used to deepen civic and
historical engagement and social dialogue. Essays analyze specific
controversies throughout North America with various outcomes as
well as examples of monuments that convey outdated or unwelcome
value systems without prompting debate.
Originally published in 1909, this book contains a guide in English
and French to the sculptures of Chartres Cathedral. The text is
illustrated with over one hundred photographic plates of the
sculptures, with an explanation for each in both languages on the
facing page. Some of the photographs included are among the
earliest published examples of telephotography. This book will be
of value to anyone with an interest in French medieval sculpture,
the cathedral at Chartres or the history of photography.
This is the inaugural volume of a planned seven-volume catalogue
raisonne on the Spanish sculptor Julio Gonzalez (1876-1942). The
son of a goldsmith in Barcelona, Gonzalez studied painting and
sculpture from an early age. Upon moving to Paris in 1900, he
joined the company of fellow Spanish artists such as Juan Gris,
Pablo Gargallo and Pablo Picasso. Today, Gonzalez is primarily
known for his work in welded iron. Abstracted figures such his
"'Monsieur' Cactus" (1939) show a connection to the Cubist
sculptures of Picasso, with whom Gonzalez worked closely from the
1920s onward. Credited with introducing Picasso to welded
sculpture, Gonzalez was also an important influence on the American
Abstract Expressionist sculptor David Smith. This monumental
project is published in collaboration with the Instituto Valenciano
de Arte Moderno in Spain, which possesses the largest collection of
Gonzalez's work.
For three months Biel, Switzerland, hosted a special kind of
sculpture. It was special not simply because it was by one of
Switzerland's most famous contemporary artists-Thomas
Hirschhorn-and dedicated to one of the most prominent authors in
the history of Swiss literature, Robert Walser. Beyond that, this
sculpture was a redefinition of sculpture itself, because what
takes on a plastic form here is not made of stone, steel, or
bronze. It is society itself that helped to develop this work of
art. In 2016 Thomas Hirschhorn and the curator Kathleen Buhler
began doing field research in Biel, the city of Robert Walser's
birth, connecting with residents, clubs, artists, literati, and
experts. This resulted in a multifaceted agenda. Every day the two
offered events such as readings, walking tours, lectures, and
children's activities. All of this ultimately comprised the Robert
Walser-Sculpture. Never before has an entire city been integrated
into a temporary work of art in this way.
Rita McBride is a US-American artist whose installations explore
cultural and sociological issues using the language of
architecture. At first sight, the sculptures and installations are
composed of recognizable daily objects - machines, steps, tubes,
even water towers - that transport us to a standardized world,
where repetition itself establishes a code that facilitates
comprehension. However, the familiarity of form is disturbed by the
materials used - a car made of raffia, tubes out of marble or ficus
leaves modelled in Murano crystal - producing a sensation of unease
and uncertain significance. This exhibition catalog includes a
photographic essay by the artist and photographer Anne Pohlmann
capturing the way in which the museum's activity changes the
architecture of its space over the course of a year.
No further information has been provided for this title.
This second volume on Early Cycladic (and Cycladicising) sculptures
found in the Aegean, examines finds from mainland Greece, along
with the rarer items from the north and east Aegean, with the
exception of those discovered in the Cyclades (covered in the
preceding volume), and of those found in Crete. The significance of
these finds is that these are the principal testimonies of the
influence of the Early Bronze Age Cycladic cultures in the wider
Aegean. This influence is shown both by the export of sculptures
produced in the Cyclades (and made of Cycladic marble), and of
their imitations, produced elsewhere in the Aegean, usually of
local marble. They hold the key, therefore, to the cultural
interactions developing at this time, the so-called 'international
spirit' manifest particularly during the Aegean Early Bronze II
period.This was the time when the foundations of early Aegean
civilisation were being laid, and the material documented is thus
of considerable significance. The volume is divided into sections
wherein contributions examine finds and their archaeological,
social, and economic contexts from specific regions. It concludes
with an overview of the significance and role of these objects in
Early Bronze Age societies of the Aegean and eastern Mediterranean
region. This will be the first time that this material has been
systematically gathered together. Highly illustrated, it follows
and builds on the successful preceding volume, Early Cycladic
Sculpture in Context (Oxbow 2016).
In 1981, The Stuart Foundation, a not-for-profit foundation
dedicated to funding experimental public sculpture, and the
University of California, San Diego formed an extraordinary
partnership to create a major public, site-specific sculpture
collection with works throughout the campus. This collection has
played an important role in the arena of public art. Instead of
asking artists to create an object, without reference to the site,
they ask that each artist explore the campus carefully, and create
a site-specific piece that could be integrated into the beautifully
landscaped, 1,200-acre UCSD campus in La Jolla. The collection now
includes 20 works by some of the most important contemporary
artists, including William Wegman, Bruce Nauman, Kiki Smith, Robert
Irwin, Do Ho Suh and Mark Bradford, among others. Landmarks is an
updated edition of the only book focused on this premier collection
of site specific public art. The catalogue features an essay from
an interview with the collection's founding director, Mary Beebe;
an essay on the importance of the collection by Rob Storr; and
in-depth interviews with the 20 artists featured in the collection
and two artists whose work is underway. Published in association
with the Stuart Collection.
"Ambitious Form" describes the transformation of Italian
sculpture during the neglected half century between the death of
Michelangelo and the rise of Bernini. The book follows the
Florentine careers of three major sculptors--Giambologna,
Bartolomeo Ammanati, and Vincenzo Danti--as they negotiated the
politics of the Medici court and eyed one another's work, setting
new aims for their art in the process. Only through a comparative
look at Giambologna and his contemporaries, it argues, can we
understand them individually--or understand the period in which
they worked.
Michael Cole shows how the concerns of central Italian artists
changed during the last decades of the Cinquecento. Whereas their
predecessors had focused on specific objects and on the
particularities of materials, late sixteenth-century sculptors
turned their attention to models and design. The iconic figure gave
way to the pose, individualized characters to abstractions. Above
all, the multiplicity of master crafts that had once divided
sculptors into those who fashioned gold or bronze or stone yielded
to a more unifying aspiration, as nearly every ambitious sculptor,
whatever his training, strove to become an architect.
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