A deep look at a contemporary artist whose work highlights how the rise of technology and corporate capitalism have disrupted our lives and polarized society One of the most thought-provoking artists of his generation, Josh Kline (b. 1979) creates installations, sculptures, videos, and photographs that address the ways new technologies affect how people live and work. Engaging with a range of concerns that impact the entire labor force, from essential workers to the creative class, Kline demonstrates how climate change, automation, disease, and politics have shaped our identities. At a time when so many aspects of life are under threat, Kline takes an unflinching look at how we got here and boldly imagines a more equitable and empathetic future. Kline's art demonstrates the ways technology has widened and reinforced the gap of inequity in America, while also carrying the potential to make a fairer world. "As an artist who's thinking about the consequences of technological innovation," Kline has said, "I think there's an obligation to raise questions about who benefits." His ongoing cycle of installations (Freedom, 2014-16; Unemployment, 2015-16, Civil War, 2016-19; Climate Change, 2019- ) that imagine the next hundred years of society are featured in this book, along with his earlier bodies of work, Creative Labor (2009- ) and Blue Collars (2014- ) and production images and concept sketches for his newest works that are published here for the first time. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (April 19-August 13, 2023)

Rini Tandon's work is characterized by a poetic cross-media approach: her oeuvre comprises works on paper, paintings, and sculptures, as well as photographs and videos. This monograph provides, for the first time, an overview of the oeuvre of the artist, who was born in India and lives in Austria, and who studied under Nasreen Mohamedi at the Faculty of Fine Arts of the University of Baroda. The book takes the reader on a fascinating journey - from Rini Tandon's early work, which already showed an affinity for sculptural expression, through to her post-minimalist geometric sculptures and her interventions in architectural and landscape space. As a result of her engagement with digital modernism she finally produced experimental setups and videos with a scientific slant.

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)

This catalogue celebrates the recently installed collection of twentieth-century sculpture donated to the J. Paul Getty Trust by the Fran and Ray Stark Trust in 2005. The book takes the reader on a visual tour of the J. Paul Getty Museum's new sculpture gardens and installations, which features twenty-eight works by artists such as Alexander Calder, Alberto Giacometti, Ferdinand Leger, Roy Lichtenstein, Rene Magritte, Aristide Maillol, Joan Miro, Henry Moore, and Isamu Noguchi. The book offers essays on the curatorial decisions involved in establishing harmonious groupings; a history of European and American sculpture within built outdoor environments and gardens; and catalogue entries that discuss individual pieces within their broader art-historical contexts.

A bold new spatial perspective on modern sculpture, with 800 color images of work by artists including Henry Moore, Lygia Clark, Anish Kapoor, and Ana Mendieta. This monumental, richly illustrated volume from ZKM Karlsruhe approaches modern sculpture from a spatial perspective, interpreting it though contour, emptiness, and levitation rather than the conventional categories of unbroken volume, mass, and gravity. It examines works by dozens of twentieth- and twenty-first-century artists, including Hans Arp, Marcel Duchamp, Henry Moore, Barbara Hepworth, Lygia Clark, Anish Kapoor, Olafur Eliasson, Ana Mendieta, Fujiko Nakaya, Tomas Saraceno, and Alicja Kwade. The large-scale book contains over 800 color images.

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, Heidegger Among the Sculptors makes a singular contribution to the philosophy of sculpture.

Luigi Valadier, son of the French-born Andrea, obtained his silversmith license in 1760 and became one of the most celebrated artists in Europe, working for the noble families of Rome (Borghese, Odescalchi, Chigi, Orsini), cardinals and popes and a broad international clientele which included the Duke of Northumberland, Madame du Barry, the Bali of Malta, Jacques-Laure Le Tonnelier de Breteuil, the King of Sweden, Karl Theodor, Elector of Bavaria, the Count of the North, heir to the Russian throne, etc. His workshop situated near Piazza di Spagna employed dozens of craftsmen and produced not only silverware but also bronze statues, often copies of ancient sculptures, magnificent clocks, vases in precious marbles, lamps, huge candelabras, furniture, desers, reliquaries and liturgical vessels, and much more. In 1785 while completing commissions for the Borghese prince and working on the cast of the enormous bell of St Peter's, he committed suicide by drowning in the Tiber river, possibly due to the severe economic challenges from which his extraordinary workshop was suffering.

Born in New York in 1941, Joel Shapiro is one of the most significant artists of his generation. Since the first public showing of his work in 1969 as part of the landmark Anti-Illusion: Procedures/Materials exhibiton at the Whitney Museum of American Art, he has been the subject of numerous solo exhibitions in galleries and museums around the world. Most renowned for having developed in the 1980s and '90s a distinctive language of dynamic sculpture that blurs the lines between abstraction and figuration, Shapiro became known through his earliest 1970s New York shows for introducing common forms of often diminutive size. Since then he has continued to push the material and conceptual boundaries of sculpture by working in a number of materials and employing various working methods. Joel Shapiro: Sculpture and Works on Paper 1969-2019 is the first book in over twenty years to survey the artist's entire working career. In an extensive essay, art historian Richard Shiff provides a fresh and incisive examination of Shapiro's oeuvre and working process. With more than two hundred striking full-colour illustrations, this is a long-anticipated and much-needed survey of this vital and essential American artist.

In the mid-1980s, Robert Rauschenberg's creative attentions turned toward the visual and plastic properties of junk metal when he began to assemble found metal objects and screenprint his photographic images onto aluminum, bronze, brass and copper. His first body of work in this vein was "Gluts," a series begun in 1986 and continued intermittently until 1995, in which ornate metalwork seemingly derived from a bedpost might attach to a slice of mesh wire, or twisted petals of yellow metal might sprout from the remains of an eviscerated toaster. Asked to comment on his novel use of the word "gluts," Rauschenberg said, "It's a time of glut. Greed is rampant... I simply want to present people with their ruins... I think of the "Gluts" as souvenirs without nostalgia." Published to accompany the Peggy Guggenheim Collection's exhibition "Robert Rauschenberg: Gluts" (the first show to focus on Rauschenberg's sculpture since 1995), this fully illustrated catalogue features a selection of approximately 40 sculptures drawn from the holdings of institutions and private collections in the United States and abroad. It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

The Necessity of Sculpture brings together a selection of articles on sculpture and sculptors from Eric Gibson's nearly four-decade career as an art critic. It covers subjects as diverse as Mesopotamian cylinder seals, war memorials, and the art of the American West; stylistic periods such as the Hellenistic in Ancient Greece and Kamakura in medieval Japan; Michelangelo, Gian Lorenzo Bernini, Augustus Saint-Gaudens, and other historical figures; modernists like Auguste Rodin, Pablo Picasso, and Alberto Giacometti; and contemporary artists including Richard Serra, Rachel Whiteread, and Jeff Koons. Organized chronologically by artist and period, this collection is as much a synoptic history of sculpture as it is an art chronicle. At the same time, it is an illuminating introduction to the subject for anyone coming to it for the first time.

Bonalumi is one of the figures who has made the most significant marks on the Italian artistic scene starting from the 1960s. He took part in the cultural debate that developed in those years, contributing decisively, together with Enrico Baj, Piero Manzoni and Enrico Castellani, to the transcending of informal language in the name of a new objectification of the artwork. Starting from 1959, Agostino Bonalumi began to create shaped works using convex canvas obtained through the use of wooden or steel elements positioned behind the canvas itself. This is a stylistic characteristic that was to remain unchanged over the years and that would lead to the artist testing his skills in both the sculptural and the environmental/architectural fields. Through a special selection of works of small dimensions, created by the artist during the entire course of his career, one can look back to his conceptual and project path, from the convex canvases to his sculptural production. The sophisticated results of the artist's research are achieved here also thanks to a more intimate dimension, in which he employs his own methodological approach. The works presented here are neither preparatory models nor sketches of works of larger dimensions: rather, they have come about from the same practice and sometimes share the conformation of the larger works. The small format works were often realised following the larger ones, as if the reduced dimensions enabled the artist to better delineate the project idea lying at the basis of the latter. Text in English and Italian.

This remarkable dictionary provides information on the work of over 3,000 sculptors working in Britain between 1660 and 1851. It is a substantially expanded edition of Gunnis's "Dictionary of British Sculptors," the primary source for information on church monuments, portrait busts, carved fireplaces and more since publication in 1951. Published for the Paul Mellon Centre for Studies in British Art and the Henry Moore Foundation

A radical, lively departure from received notions about art of the Romantic period For many, the term "neoclassicism" has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists' alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795-1821) as a theoretical framework. Eschewing the "Golden Age" narrative, which sees J. M. W. Turner (1775-1851) as the pinnacle of the period's artistic achievement, the book examines overlooked artists, such as Henry Howard (1769-1847) and John Graham Lough (1798-1876). The result is a fresh account of underappreciated works of British painting and sculpture.

Ausgehend von Konzepten der psychoanalytischen Selbstpsychologie, psychologischen Phanomenologie und kunstwissenschaftlichen Ikonologie skizziert der Autor am Beispiel ausgewahlter kunstlerischer Werke von Camille Claudel, Albrecht Durer, Dante Gabriel Rossetti und Kurt Schwitters einen tiefenpsychologisch orientierten Zugang zur bildenden Kunst. Gleichzeitig verweist der Autor auf die Bedeutung der sozialen Funktion von Kunst und ihre Anwendung im Rahmen rezeptiver kunsttherapeutischer Verfahren.

The volume offers a historical-critical study on the entire career of Marco Tirelli (Rome,1956). His production - surprising and enigmatic - includes works on paper, works on canvas or wood, sculptures, installations, whose subjects always appear poised between recognisability and abstraction: the figures and scenes represented are made up of a densification of microscopic particles of colours that from a distance seem well defined, but which, when viewed from a short distance, break down. A subtle, intellectual painting, therefore, the result of an introspective investigation carried out with dedication. The same tension between illusion and reality, between light and shadow, also characterises the sculptures and installations, as documented in these pages. The volume includes a historical-critical essay by Antonella Soldaini, a conversation with the artist, a biographical note and a documentary summary. Text in English and Italian.

Complementary Contrasts: The Glass and Steel Sculptures of Albert Paley highlights the significance of glass in the work of the celebrated sculptor Albert Paley. Though best known for his large-scale metal sculptures, Paley has incorporated glass in many works for over a decade. After beginning his career as a jewelry maker, Paley soon transitioned to furniture and freestanding sculpture. In the 1970s, Paley delved into large, site-specific works that blurred the line between sculpture and architecture. Despite disparity in size, Paley's collective artworks display a synergy of forms and philosophy, favoring natural curves and lines that defy their rigid materials. In 1999 Paley was invited to Pilchuck Glass School to collaborate with artist Dante Marioni. His experience utilizing fire to manipulate metal translated naturally into his glass design and allowed him to embrace the new material with ease. Since this initial introduction, Paley has collaborated with a number of glass artists and created over a hundred sculptures incorporating glass. The first book to focus on Paley's glass and steel sculpture, Complementary Contrasts includes approximately forty new sculptures created at the Museum of Glass in collaboration with Seattle-based glass sculptor Martin Blank. These sculptures will be supported by earlier works from Paley's personal collection. Thirty works on paper that illuminate Paley's process of incorporating glass in his sculpture are also illustrated. Collectively, the objects in this publication demonstrate a culmination of Paley's talents as a sculptor.

This book will teach you how to execute a patina following step by step instructions, what to expect as you work and many factors that influence the final result. It also cover some history about patinas in antiquity and many other interesting facts about the subject of coloring bronzes.

Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even be considered in relation to furniture and industrial design. This book encourages you to consider the multiple forms and everyday guises sculpture can take.

Exploring Western sculpture with examples from antiquity through to the present day, Mary Acton shows you how to analyse and fully experience sculpture, asking you to consider questions such as What do we mean by the sculptural vision? What qualities do we look for when viewing sculpture? How important is the influence of the Classical Tradition and what changed in the modern period? What difference does the scale and context make to our visual understanding?

With chapters on different types of sculpture, such as free-standing figures, group sculpture and reliefs, and addressing how the experience of sculpture is fundamentally different due to the nature of its relationship to the space of its setting, the book also explores related themes, such as sculpture s connection with architecture, drawing and design, and what difference changing techniques can make to the tactile and physical experience of sculpture.

Richly illustrated with over 200 images, including multiple points of view of three dimensional works, examples include the Riace bronzes, Michelangelo s "David," Canova s "The Three Graces," medieval relief sculptures, war memorials and works from modern and contemporary artists, such as Henry Moore, Cornelia Parker and Richard Serra, and three-dimensional designers like Thomas Heatherwick.

A glossary of critical and technical terms, further reading and questions for students, make this the ideal companion for all those studying, or simply interested in, sculpture."

Bottles aligned on shelves or suspended in the air, jars of marbles and dye-filled tubes: form, substance and structure emerge from deceptively humble means in the sculpture of Tony Feher. His work uses gravity, light and repetition to isolate and animate everyday objects, creating a sculptural territory that Feher can rightfully claim as entirely his own. Published in conjunction with a major retrospective exhibition organized by the Blaffer Art Museum, this is the first publication to explore work from throughout the artist's significant and influential career. This comprehensive book reproduces his many sculptures, site-specific installations and two-dimensional works and includes major new texts on Feher's practice from Blaffer Director Claudia Schmuckli and curator and writer Russell Ferguson. Superbly realized by renowned New York design studio Matsumoto Incorporated, this publication is the definitive book on the work of a vanguard American artist.

These amazing sculptures and the great humanitarians they represent were created to bring awareness to the lives and works of these individuals who have made our world a better one. Included is some of the sculptor's story-the unexpected journey in creating these works by choosing to follow her heart's passion. The collection is now on display at Southern Oregon University's Hannon Library in Ashland Oregon.

In 1972, Giulio Paolini held an exhibition in New York. Art historian, curator, and critic Germano Celant, who coined the term 'Arte Povera' in 1967, was asked to edit the exhibition catalogue. What followed was an ample monograph that covered the course of Paolini's career - his concepts, themes, contexts and influences. This was an unprecedented move, as, until that time, most galleries produced simple brochures. This monograph was one of the first in-depth and scholarly studies of a contemporary artist, and as such, paved the way for future monographs. Text in English and Italian.