ANDY GOLDSWORTHY IN AMERICA

This study looks at the contemporary British artist, Andy Goldsworthy, and his work in the United States of America. Goldsworthy's presence in America grew steadily with a series of exhibitions beginning in the late Nineties with the Storm King Wall and show. This was followed by: Cornell University in 2000; the Three Cairns show and installations in 2002-03; Austin Museum in 2003; the Garden of Stone and Stone Houses in New York City in 2003-04; and Roof in Washington in 2005.

There are a number of essential sites to visit for Andy Goldsworthy's art in America: (1) the slate mounds in Washington's National Gallery of Art; (2) Garden of Stones in New York's Museum of Jewish Heritage; (3) the cracked stones at the de Young Museum in San Francisco; (4) the Storm King Wall in New York; and (5) Three Cairns in Des Moines, Iowa.

Fully illustrated, including images of the American landscape, and Goldsworthy's contemporaries.

Includes photographs taken by the author of Andy Goldsworthy's works in America, including in Washington, DC, San Francisco, New York State and Iowa.

Bibliography and notes.

WILLIAM MALPAS has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available. EXTRACT

Andy Goldsworthy works with the natural world, and within nature. He uses natural materials in natural shapes and forms set in natural contexts. Goldsworthy takes his cue from nature: as Jan Dibbets put it in 1969: 'I realized that if you want to use nature, you have to derive the appropriate structure from nature too'. Nature may be the starting-point but, as we'll see, the end-point - art - is entirely cultural and not something you'll ever find in the natural world.

Andy Goldsworthy seems to be a particularly gentle and sensitive artist, compared to many sculptors and land artists: he stitches together leaves to form lines (which're often placed in water, or over branches), or makes circular slabs of snow, or entwines twigs in an arc. He creates a delicate spiral of chestnut leaves, called Autumn Horn (1986); he pins bright yellow dandelions on willowherb stalks in a circle, on bluebells (1987); he makes lines and cairns of pebbles; a horizontal line of red sumach leaves was pinned to a willow (at Storm King in 1998); he rubs red stones to stain rockpools; he pins leaves to tree trunks; he fashions a zigzag line of hogweed stalks along a fallen elm tree (2002); he makes hollow, circular structures, recalling igloos, from slate, leaves, driftwood and bracken; he creates long wavy ridges in Arizonan and Australian desert sand; he throws sand and sticks in the air and photographs the moment.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713391. 180 pages.

This new (4th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

Bernini and His World is a unique exploration of Gian Lorenzo Bernini the sculptor, offering new insights and including discussions of the artist's stylistic innovations and the ways in which he approached sculpture. Placing his life and work within a social, anthropological and historical context, Livio Pestilli gives a fascinating and in-depth account, from the Rome in which Bernini lived and its reception of foreign sculptors to the myth-making narrative of his biographers, and the judgements of his critics. Beautifully illustrated and engagingly written, this book draws on a deep familiarity with both historic and modern Italian culture to give readers a vivid account of sculpture and sculptors in early modern Rome, and of Bernini's lasting legacy.

Sculpture Journal provides an international forum for writers and scholars in the field of post-classical sculpture and public commemorative monuments in the Western tradition. Sculpture Journal offers a keen critical overview and a sound historical base and is Britain's foremost scholarly journal devoted to sculpture in all its aspects. Periods covered extend to public and private commissions for present-day sculptors. While being academic and traditional, the journal encourages contributions of fresh research from new names in the field.

Formed in 1995 Cv/Visual Arts Research is a documentary resource of developments in contemporary art. The survey began in April 1988, and was first published as the quarterly review "Cv Journal of Art and Crafts" (later "Cv Journal of the Arts"). Cv was produced until 1992 and the collection of interviews, features and reviews provided the foundation of the Cv/VAR archive and subsequent publications. Following Cv Journal the data-base shifted towards electronic publishing, allowing a greater flexibility of communication. "Cv/VAR" addresses the fields of academic research, galleries and museums worldwide, and a growing non-specialist readership. In this respect the archive has been re-organised as a file system which may be accessed as individual articles or collated volumes, according to specific requirements. The programme is categorized as Interviews with the Artists (files 1-8); Curators and Collections (files 9/10); Crafts Directory (files 11/12); Small Histories (files 13/14); Guide to the Arts (files 15/16); Art, Criticism and Display (files 17/18 and an open area for current developments (files 19/20). "Cv/VAR Volume 47" documents an interview with the French sculptor Arman, exploring his early connections with Yves Klein, Rosicricianism, and the development of auto-formed sculptures of collected objects.

Stone statues, indigenous to the early Turks, appeared in the vast territory of the Asian steppes, from Southern Siberia to Central Asia and across the foothills of the Ural Mountains. The custom originated among Cumans in Eastern Europe. The skill of erecting anthropomorphic stelae required proficiency in processing different kinds of stone and wood, and was characterized by artistic value of representations, as well as by the timeless aesthetics of the canon. The author presents the results of her formative studies into the collection of the Cuman sculptures of the Veliko-Anadol Forest Museum, Ukraine. The book delves into the history of research on Cuman stone stelae, resulting in great reading for all archeologists and historians alike.

In this wide-ranging, thought-provoking and sometimes provocative new book, leading sculptor Antony Gormley, informed and energised by a lifetime of making, and art critic and historian Martin Gayford, explore sculpture as a transnational art form with its own compelling history. The authors' lively conversations and explorations make unexpected connections across time and media. Sculpture has been practised by every culture throughout the world and stretches back into our distant past. The first surviving shaped stones may even predate the advent of language. Evidently, the desire to carve, mould, bend, chip away, weld, suspend, balance - to transform a vast array of materials and light into new shapes and forms - runs deep in our psyche and is a fundamental part of our human journey and need for expression. With more than 300 spectacular illustrations, Shaping the World juxtaposes a rich variety of works - from the famous Lowenmensch or Lion Man, c. 35,000 BCE to Michelangelo's luminous Pieta in Rome, the Terracotta Warriors in China to Rodin's The Kiss, Marcel Duchamp's ready-mades, Olafur Eliasson's extraordinary Weather Project and Kara Walker's Fons Americanus, and Tomas Saraceno's ongoing Aerocene project, as well as examples of Gormley's own work. Antony Gormley and Martin Gayford take into account materials and techniques, and consider overarching themes such as light, mortality and our changing world. Above all, they discuss their view of sculpture as a form of physical thinking capable of altering the way people feel, and they invite us to look at sculpture we encounter - and more broadly the world around us - in a completely different way.

Cv/VAR 101 documents a commissioned sculpture by Anish Kapoor for the Monumenta series at Grand Palais, Paris. An initial presentation by the artist at his London studio in March,with curators Jean de Loisy and Mark Sanchez, describes the project, with reference to scale models, plus a discussion of the 'Orbit Tower' in process for the 2012 Olympics. Visits 'Leviathan' installed at the Grand Palais in May.

In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.

For the first time, the 92-metre frieze of the Voortrekker Monument in Pretoria, one of the largest historical narratives in marble, has been made the subject of a book.

The pictorial narrative of the Boer pioneers who conquered South Africa’s interior during the ‘Great Trek’ (1835-1852) represents a crucial period of South Africa’s past. Forming the concept of the frieze both reflected on and contributed to the country’s socio-political debates in the 1930s and 1940s when it was made. The frieze is unique in that it provides rare evidence of the complex processes followed in creating a major monument.

Based on unpublished documents, drawings and models, these processes are unfolded step by step, from the earliest discussions of the purpose and content of the frieze through all the stages of its design to its shipping to post-war Italy to be copied into marble and final installation in the Monument. The book examines how visual representation transforms historical memory in what it chooses to recount, and the forms in which it depicts this. It also investigates the active role the Monument played in the development of apartheid, and its place in post-apartheid heritage.

The second volume, to be published later this year, expands on the first, considering each of the twenty-seven scenes in depth, providing new insights into not only the frieze, but also South Africa’s history.

The Lives of Chinese Objectsis a fascinating book. It is the result of excellent historical research as well as curatorial expertise. The reader is taken on an amazing journey starting with the startling discovery of the image of five Chinese bronzes on display as part of the Great Exhibition in 1851...The stories uncovered are riveting, a mix of curatorial detail and description, historical research and theoretical analysis. This book is beautifully written - clear, detailed and informative. The author is ever present in the text and the book is as much a story of her journey, as it is a story of the lives of the 'Putuo Five'. I just wanted to keep reading." . Suzanne MacLeod, University of Leicester

This is the biography of a set of rare Buddhist statues from China. Their extraordinary adventures take them from the Buddhist temples of fifteenth-century Putuo - China's most important pilgrimage island - to their seizure by a British soldier in the First Opium War in the early 1840s, and on to a starring role in the Great Exhibition of 1851. In the 1850s, they moved in and out of dealers' and antiquarian collections, arriving in 1867 at Liverpool Museum. Here they were re-conceptualized as specimens of the 'Mongolian race' and, later, as examples of Oriental art. The statues escaped the bombing of the Museum during the Second World War and lived out their existence for the next sixty years, dismembered, corroding and neglected in the stores, their histories lost and origins unknown.

As the curator of Asian collections at Liverpool Museum, the author became fascinated by these bronzes, and selected them for display in the Buddhism section of the World Cultures gallery. In 2005, quite by chance, the discovery of a lithograph of the figures on prominent display in the Great Exhibition enabled the remarkable lives of these statues to be reconstructed.

Having met the elusive Maggi Hambling, This book is pure Maggi at her best.The book details the first ideas for the scallop to its placing on Aldeburgh beach .The book also tells us how Maggi became an artist. Anyone from Suffolk will relate to Maggi's work.First published in hardback 2010.

An electrifying story of passion, connection and transformation from 'a writer of show-stopping genius' (Guardian). 'Dark and brilliant.' SARAH MOSS 'A masterpience.' DAISY JOHNSON 'Extraordinary.' SARAH PERRY 'Hall has set a bar . . . Finely wrought, intellecutally brave and emotionally honest.' THE SCOTSMAN In the bedroom above her immense studio at Burntcoat, the celebrated sculptor Edith Harkness is making her final preparations. The symptoms are well known: her life will draw to an end in the coming days. Downstairs, the studio is a crucible glowing with memories and desire. It was here, when the first lockdown came, that she brought Halit. The lover she barely knew. A presence from another culture. A doorway into a new and feverish world. 'Sarah Hall makes language shimmer and burn . . . One of the finest writers at work today.' DAMON GALGUT 'Wonderful . . . The writing goes down smoking hot onto the page.' ANDREW MILLER 'I can think of no other British writer whose talent so consistently thrills, surprises and staggers . . . With Burntcoat she has solidified her status as the literary shining light we lesser souls aspire to.' BENJAMIN MYERS

Newly published in paperback to coincide with the Barbara Hepworth retrospective exhibition at Tate Britain in 2015, this fascinating book combines a fully illustrated catalogue of the sculptor's surviving prototypes in plaster (and a number also in aluminium and wood), generously gifted to The Hepworth Wakefield by the Hepworth Estate, with a detailed analysis of her working methods and a comprehensive history of her work in bronze. The Hepworth's collection of over forty unique, unknown sculptures are the surviving working models from which editions of bronzes were cast. They range in size from works that can be held in the hand to monumental sculptures, including the Winged Figure for John Lewis's Oxford Street headquarters. The majority are original plasters on which the artist worked with her own hands and to scale. It was in plaster that Hepworth experimented most as she made the transition from stone and wood to bronze, testing the potential of her new material as she went. Sophie Bowness's illuminating text describes the different means by which this increasingly important artist made her plaster works, and why. Drawing extensively on archival records and photographs, this publication is an important source of information about a significant collection of work, the gallery which houses it and Hepworth in general. The catalogue illuminates the histories of Hepworth's sculptures through fascinating archival photographs, which demonstrate everything from the varied tools used by Hepworth to the logistical problems of transporting her monumental pieces through the narrow streets of St Ives. The book provides a much-needed account of Hepworth's studio practice, her relations with foundries, and the evolution of her public commissions.

This beautifully illustrated reference work is the only source of information on American women sculptors as a group. Virginia Watson-Jones presents the accomplishments of more than 350 contemporary American women sculptors through photographs of their major works and detailed information about their lives and careers. For each artist information is provided on her birthplace and birth year, education, preferred media, major exhibitions, location of work in public collections, awards, selected private collectors, professional interests other than sculpture, teaching position (if applicable), and mailing address. Each entry also includes a statement by the sculptor and her signature.

In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest-in which painting, in particular, has been singled out for treatment-a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to non-existent.

The first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the 'Young British Artists'. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scale in contemporary sculpture, outlining its potential for critique or complicity in a system dominated by quantitative criteria of value. In a period characterised by uncertainty and incommensurability, Wells demonstrates that scale in contemporary sculpture can suggest the possibility of, and even an unashamed reliance upon, comparison and external difference in the construction of meaning.

This book is the companion to Public Sculpture of Edinburgh, volume 1, 'The Old Town and South Edinburgh', extending the coverage to the First New Town and its environs, and beyond that to the former independent burgh of Leith. It provides a comprehensive and detailed account of the entire spectrum of public sculptures to be found in these parts of the city, including free-standing commemorative monuments, architectural carvings, and contemporary site-specific interventions. Based on extensive new research, the text is structured as a catalogue raisonne, with each entry comprising a detailed description of the work, an account of how it came to be commissioned, and an analysis of its cultural significance. There are also separate appendices dealing with important works that have been lost or destroyed, minor works and sculptural coats of arms. The study of public sculpture is now recognised as offering a range of new insights into the development of the urban realm. Those insights are brought together here to provide a comprehensive resource for historians, architects, urban planners and conservators, and a narrative history that will be of interest to all who care about Edinburgh, and wish to celebrate its status as a UNESCO World Heritage Site.

A comprehensive study of modern sculpture developments in Great Britain, this beautiful and important new book showcases 95 leading sculptors from the second half of the 20th century. Chronologically arranged to show the influences that touched each of the artists lives, it concentrates on the most influential, award-winning, and highly valued works from the growing field of popular sculpture available today. The artists themselves selected most of the pieces to represent their own work and are liberally quoted with personal statements to interpret their work for the readers. 780 color and black and white photographs display the wide range of materials, themes, styles, and settings that convey each individual sculptors own classical, figurative, abstract, or visionary work. \nA history of the Royal Society of British Sculpture (RBS), by the organizations current president, sets forth the purpose and results of this prestigious group today. Essays on the St Ives group of the 1940s and figurative sculpture of the 1950s put the growing sculpture movement in Britain into perspective. From them sprang several generations of influential sculptors whose work challenges current sculptors to push the bounds of artistic expression. They must create, and they do, in countless original ways. The growing popularity of sculpture parks in Britain is currently influencing new sculpture parks all over the world. The exciting images and wealth of specific information contained here will continue to shape the art market for generations to come.

Richly illustrated, Early Gothic Column-Figure Sculpture in France is a comprehensive investigation of church portal sculpture installed between the 1130s and the 1170s. At more than twenty great churches, beginning at the Royal Abbey of Saint-Denis and extending around Paris from Provins in the east, south to Bourges and Dijon, and west to Chartres and Angers, larger than life-size statues of human figures were arranged along portal jambs, many carved as if wearing the dress of the highest ranks of French society. This study takes a close look at twelfth-century human figure sculpture, describing represented clothing, defining the language of textiles and dress that would have been legible in the twelfth-century, and investigating rationale and significance. The concepts conveyed through these extraordinary visual documents and the possible motivations of the patrons of portal programs with column-figures are examined through contemporaneous historical, textual, and visual evidence in various media. Appendices include analysis of sculpture production, and the transportation and fabrication in limestone from Paris. Janet Snyder's new study considers how patrons used sculpture to express and shape perceived reality, employing images of textiles and clothing that had political, economic, and social significances.

New and better than ever, Launching the Imagination treats design as both a verb and a noun - as both a process and a product. Design is deliberate - a process of exploring multiple solutions and choosing the most promising option. Through an immersion in 3-D concepts students are encouraged to develop methods of thinking visually that will serve them throughout their studies and careers. Building on strengths of the previous five editions Launching the Imagination 6e is even more: Concise. Content has been refined so that maximum content can be communicated as clearly and concisely as possible. Colorful. In addition to the full color used throughout the book, the writing is livelier than that in most textbooks. Analogies expand communication, and every visual example has been carefully selected for maximum impact. Comprehensive. Launching the Imagination is the only foundational text with full sections devoted to critical and creative thinking and to time-based design. The photo program is global, represents a myriad of stylistic approaches, and prominently features design and media arts as well as more traditional art forms. Contemporary. More than half of the visual examples represent artworks completed since 1970, and over 100 represent works completed since 2000 Compelling. Interviews with exemplars of creativity have always been an important feature of this book. Three of the best past profiles have been revised and a new profile has been added. Now inserted into the body of the text, each interview deliberately builds on its chapter content. In Chapter Five, designer Steve Quinn describes the seven-step sequence he uses in developing websites, logos, and motion graphics. In Chapter 8, Jim Elniski describes The Greenhouse Chicago, an innovative home that is both highly energy efficient and elegant. In Chapter 11, ceramicist David MacDonald describes his influences and work process. And, in the new profile in Chapter 6, artist Sara Mast describes an ambitious art and science collaboration begun in celebration of the ideas of Albert Einstein. Almost fifty new images have been added, representing major contemporary artists and designers including Wolfgang Buttress, Do Ho Suh, Garo Antresian, Janet Ballweg, Phoebe Morris, Alain Cornu, and Natalya Zahn.