Sculpture Books

Book SynopsisThis study of the monument of Godfrey of Bouillon offers new insights to the political uses of public monuments devoted to figures from the past, modern uses and appropriations of the Middle Ages, and the role of historical culture in the creation of national identity. On 15 August 1848, a bronze equestrian statue of the crusading hero Godfrey of Bouillon (d.1100) was unveiled in the Place Royale in Brussels, Belgium's capital. Conceived and largely funded by the national government, its creation was a major element in a programme of political and cultural consolidation put into place after the Belgian Revolution (1830-1831) and the consequent establishment of the nation's independence. From the outset, the monument was designed to transmit ideas about history and nationhood, and functioned as a focal point in discussions of politics, language, religion and identity. This book sheds new light on a range of dynamics in nineteenth-century Belgium, using the statue as a prism; it investigates responses to it both home and abroad, and traces broader national interest in the commemoration of Godfrey, adopted as a national hero despite being born almost 800 years before the emergence of the state. Above all, it reveals that Belgian politics and culture in this period were profoundly shaped by a sustained interest in the Middle Ages, and by efforts to shape a historical narrative that traced Belgian nationhood back to that era, and beyond.Table of ContentsList of illustrations Acknowledgments A note on language and names List of abbreviations Preface Introduction 1. State-building, historical culture and public monuments in nineteenth-century Belgium 2. The physical setting of the monument: Brussels' Place Royale 3. The creation of the monument 4. The changing meanings of the monument 5. The monument as a lieu de mémoire I: culture and politics 6. The monument as a lieu de mémoire II: history and national identity Conclusion Bibliography Index

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Book SynopsisPublic Sculpture of Lancashire and Cumbria is a fascinating book that provides much needed attention to the best public sculpture and monuments in these north-west counties. With an invaluable introduction and notes, the author highlights in particular works of art that are in need of restoration or protection by local authorities and other owners.The art works included are mostly in urban areas however some are tucked away on moors and hilltops, and can be reached by a modest walk, and are thus less familiar. Many entries are accompanied by original photographs, often showing details of the craftsmanship. This book highlights the brilliant work of local sculptors, including several women, who have been neglected over the years and were suppressed by the usual dominance of craftsmen from London and the south east. Their biographies appear at the end of the book.Locations of the public sculpture are given and each dedicated entry provides a description and the measurements of the sculpture; records its inscriptions and its condition; the reason for its commemoration; the chief advocate and process of the commission; its sources of funding and cost; the choice of artist and source of the materials; the relationship between the artist and the architect; the name of the bronze founder or builder; the historical and political context; and the date and details of the unveiling ceremony.Trade ReviewReviews It is a work which will remain an invaluable source of reference for years to come. But it will also make us look again at the many fine works of art that are to be seen in our public places, in the churches and cathedrals, the streets and the parks and at the entrances to football grounds. Bookends, CarlisleTable of ContentsPreface vTribute to Edward Morris viMaps viiiIntroduction xiAcknowledgements xxiiiLancashire 3Cumbria 123Selected Biographies 195Bibliography and Abbreviations 209Index 218

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Book SynopsisThis is the twentieth volume in the Public Sculpture of Britain series, the ambitious collaboration between Liverpool University Press and the Public Monuments and Sculpture Association that will eventually document the outdoor sculptural heritage of the whole of the UK. Public sculpture is defined in this context as any work of three-dimensional art located in an unregulated public space, typically consisting of free-standing commemorative monuments, architectural carvings and statues attached to buildings, and contemporary site-specific interventions. A subject that was until recently overlooked as a matter of marginal relevance to the history of art, public sculpture has been shown through the Liverpool University Press series to offer a range of important insights into the built environment, enriching our understanding of architecture and city planning, and raising many challenging issues relating to the development of society as a whole. This is nowhere better illustrated than in Edinburgh, where the richness of its history as a capital city, and the dramatic power of its urban topography, have combined to create a uniquely fertile breeding ground for public sculpture of every kind. With the coverage divided between two companion volumes, the study begins appropriately with the historic Old Town, and the various suburbs extending from it to the south.Trade Review‘The Depth of detail, the lavish use of black and white photographs and the helpful indices and artists’ biographies are exemplary... These two handsome volumes will be key reference works for years to come but they are also of great interest to the public.’ Fiona Pearson, Journal of the Scottish Society for Art History‘Public Sculpture of Edinburgh is a triumph. It will be impossible to surpass, surely, by whatever measure one may care to adduce. In scholarship and in meticulous attention to detail (on the one hand) and (on the other) in lively discussion of, or trenchant opinion on, individual works of sculpture or the sculptural programmes which adorn the city’s grander buildings and public spaces it could not conceivably be bettered. No more significant work on the fabric of Scotland’s capital city has appeared in recent times.’ Iain Gordon Brown, Scottish Archives'These lovely books are all that anyone could ask for, and more. [...] Overall, Public Sculpture of Edinburgh is a remarkable achievement and a superb testament to the vitality of this great city and its public art.' William S. Rodner, SCOTIA: Interdisciplinary Journal of Scottish Studies

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Book SynopsisThis 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 raisonné, 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.Trade Review‘The Depth of detail, the lavish use of black and white photographs and the helpful indices and artists’ biographies are exemplary... These two handsome volumes will be key reference works for years to come but they are also of great interest to the public.’ Fiona Pearson, Journal of the Scottish Society for Art History'These lovely books are all that anyone could ask for, and more. [...] Overall, Public Sculpture of Edinburgh is a remarkable achievement and a superb testament to the vitality of this great city and its public art.' William S. Rodner, SCOTIA: Interdisciplinary Journal of Scottish Studies

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Book SynopsisThis lavishly illustrated book breaks new ground in focusing on some of the many successful professional British women sculptors active during this period. Largely unknown, the few women who have been mentioned in histories of twentieth century British sculpture have been those who adhered to the (masculine) Modernist canon. Organized by theme this book explores and illustrates an unusually large number of and stylistically varied works. The social and cultural contexts in which these women sculptors were working are investigated, revealing how, mostly male, commentators often fixated on their gender at the expense of seriously engaging with their work. A wide variety of sources are used, ranging from contemporary art historical accounts to articles in popular magazines. This book explores contemporary sculptural developments, art school training, exhibiting opportunities, and the writings of influential critics. It also reveals how important photography, film and the written word were in the creation of reputations. Alongside revealing important works and individuals, this book’s originality also lies in its scope, covering diverse sculptural genres such as decorative sculpture and utilitarian objects for the home and garden; portraits and statues; architectural sculpture, war memorials and ecclesiastical work. Trade Review'Rose’s study reveals the full scale of women’s involvement in every kind of sculpture from the late nineteenth to the mid-twentieth century – from monumental to decorative, from architectural to ecclesiastical, in a variety of materials [...] a carefully researched, revealing and beautifully illustrated study.'Jaqueline Banerjee, Times Literary Supplement'Pauline Rose’s Working against the Grain: women Sculptors in Britain is an impressive work, a ‘must’ for all sculpture buffs.’Peyton Skipwith, The Victorian

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Book SynopsisSculpture 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.

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Book SynopsisRichly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings. Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.Trade ReviewAn insightful and overdue study that will pave the way for future research. * SPECULUM *[An] excellent work. ... Ambrose's scholarly contribution is fundamental to the progression of the study of Romanesque sculpture. * MEDIEVAL REVIEW *Profound and intellectually wide-ranging. ... A book that offers both a fresh and profound perspective on monsters and a superb, original, perspective on the current state of the field and some of its central questions. * BURLINGTON MAGAZINE *Fascinating. To the wonderful sculptures on which the author focuses, he brings knowledge and sound judgment. -- Christopher Howse * DAILY TELEGRAPH *Table of ContentsIntroduction: Approaching Monsters Past Present Ideal Bodies (Il)Legibility Creating Monsters Imagining Cosmos Epilogue

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Book SynopsisComplementary to Pitika Ntuli – Scent of Invisible Footprint – The Sculpture comes The poetry. Released in a new, pocket size format to continue the intertwined dialogue between sculpture and poetry but, more so, to make the poetry of Pitika Ntuli accessible to a wider audience.

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Book SynopsisThis catalogue accompanied an exhibition at the Groeninge Museum, Bruges, which celebrated one of the greatest European artists of the late fourteenth century, André Beauneveu, apparently born in Valenciennes c. 1335. Active throughout the Southern Netherlands, his reputation grew swiftly and in 1364 he was commissioned by the King of France, Charles V, to create a group of royal tombs at St Denis. In the 1370s he oversaw another ambitious funerary project, for Louis de Mâle, Count of Flanders, at Courtrai, whilst continuing to undertake major civic commissions at Ypres, Mechelen and his home town of Valenciennes. Beauneveu spent the last years of his career in Bourges working for the most celebrated royal patron of all, Jean, Duc de Berry. The extraordinary scope of Beauneveu's talent was fully exploited by Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his unrivalled skill in the handling of stone which gives Beauneveu such significance, not only in the context of Northern sculpture but also for the arts of Europe as a whole. The known sculptural oeuvre of Beauneveu, however, is not substantial. The reappearance of the Virgin and Child once in the collection of Eduoard Aynard at the Abbey of Fontenay and its new attribution to this sculptor "who had no better nor equal in any land" dramatically increases our knowledge of his work and must entail a rethink of many histories of French and Flemish art in the fourteenth century, for we now have not two but three life-sized figures from which our view of his style and achievements can be formed.

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Book SynopsisObelisks, originally associated with the sun cult, had their heyday between 2000 and 1500 BC, when they adorned the Nile’s banks and proclaimed the splendour of the pharaohs. Today, only twenty-seven Egyptian obelisks remain standing and they are scattered in various locations throughout the world. Rome, with thirteen, boasts more than anywhere else, including Egypt itself. These monolithic structures can be seen in every corner of the ‘Eternal City’ and still hold a fascination for all who gaze upon them. This book is intended as a general guide to the obelisks that have found their way to the four corners of the earth. It examines the interest shown in them by the Roman emperors; it discusses each obelisk in detail, and traces individual histories and anecdotes concerning their journeys from Egypt. The work is illustrated throughout and translations of some of the relevant historical texts are supplied.Trade Review... a very readable and accessible book that will be enjoyed by anyone who seeks something more than the basic comments one might find in a generic guidebook. * Archaeology Travel, www.archaeology-travel.com *Table of ContentsList of Illustrations Preface Standing Obelisks and their Present Locations Chronologies Introduction: The History of the Pharaonic Egypt 1. The Cult of the Sun Stone: The Origins of the Obelisk 2. Created from Stone: How Egyptian Obelisks were Made 3. Contact with the West: Greece and Rome 4. Roman Annexation of Egypt 5. Egyptian Influences in Rome 6. Augustus and the First Egyptian Obelisks to Reach Rome 7. Other Augustan Obelisks 8. Augustus' Successors: Tiberius and Caligula 9. Claudius and Nero: The Last of Augustus' Dynasty 10. The Flavian Emperors and the Obelisks of Domitian 11. The Emperor Hadrian: A Memorial to Grief 12. Constantine and the New Rome 13. From Rome to Constantinople 14. An Obelisk in France 15. Obelisks in Britain 16. From the Old World to the New: An Obelisk in New York 17. The Obelisk Builders and the Standing Obelisks of Egypt Conclusions Appendix: Translations of Two Obelisk Inscriptions Bibliography Index

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Book SynopsisThis publication is the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi (c. 1455–1528), who earned the nickname 'Antico' with his highly refined reductions of Greco-Roman antiquities. His bronzes – many of which were produced at the brilliant court of Isabella d'Este at Mantua – were remarkable for being meticulously cast and finely cleaned and finished, designed for close appreciation in the privacy of a courtly studio. His black patination and exquisite detailing, such as gilded hair and silver-inlaid eyes, are characteristic. Given Antico's importance for the history of sculpture, this book is a much needed resource in the field, presenting new scientific research and the results of technical studies undertaken at the National Gallery of Art, Washington. A series of essays places Antico's life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overview of the artist's career, the catalogue will address key topics from his workmanship and craft to his relationship with the court of Mantua. Eleonora Luciano, associate curator of sculpture at the National Gallery of Art, provides a biography of the artist; Claudia Kryza-Gersch, curator of Italian sculpture at the Kunsthistorisches Museum, Vienna, discusses Antico as a pioneer of Renaissance sculpture; Stephen Campbell, professor and chair of the department of the history of art at John Hopkins University, writes about 'Antico and Humanism at the Court of Mantua'; Davide Gasparotto, curator at the Galleria Nazionale di Parma, considers Antico's portraiture; Denise Allen, curator at the Frick Collection, New York, writes about 'Materials, Workmanship and Meaning' in the artist's work. Two appendices present new scientific work: Dylan Smith and Shelley Sturman, both conservators at the National Gallery of Art, explore the technology of Antico's bronzes, and Richard Stone, conservator emeritus at the Metropolitan Museum of Art, New York, examines Antico's patinas. Exhibition held at National Gallery of Art, Washington.

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Book SynopsisAs an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time. Apart from his still widely admired naturalistic bronze portraits, Epstein’s oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa’s text reveals the man in all his genius, interpreting many works in the light of Epstein’s personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London’s art world. He responded to society’s attitude towards him in a series of bold projects– the monumental Genesis (1930) and Primeval Gods (1931–32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934–35); Consummatum Est (1938–39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944–45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture’s theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that“a new carving by Mr. Epstein – good, bad or indifferent – can still steal the headlines when criminal assault, private or political, is out of season”. It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for ‘an Epstein’ and his kind of ‘content’ sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture – which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England – became newly relevant, gaining him the status of grand old master of English sculpture.

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Book SynopsisThis rich collection of over twenty fully illustrated essays covers an array of medieval topics, with a particular emphasis on sculpture. The contributors, all friends and colleagues of the dedicatee, are prominent experts in their different fields, from the United Kingdom, Europe and the United States. The wide range of subjects covered includes ivories, wood carvings, alabaster, architectural sculpture, caskets, reliquaries, and questions of imagery and iconography. With a full scholarly apparatus, A Reservoir of Ideals is an invaluable work of reference. The volume celebrates the museum career and scholarship of Paul Williamson, a scholar and curator whose outstanding contribution to art history continues to expand and inspire the study of sculpture in general and medieval art in particular. Williamson joined the V&Ain 1979 as one of the youngest curators ever appointed. He took over as Chief Curator in 1989, and he was Director of the Collections from 2004-07, and Acting Deputy Director in 2013. During his 36-year career at the V&Ahe wrote 17 books and over 150 articles. Williamson’s profound experience and expertise as a curator at the V&Ahave both enhanced his own well-deserved reputation as the leading expert in the study of European sculpture, and simultaneously enriched the standing and holdings of the collections themselves. The works acquired during his time at the V&A, and the gallery displays that he either oversaw or curated himself, amply demonstrate his tremendous range of knowledge and appreciation of art. Despite his wide-ranging expertise and enthusiasm for the art of all periods, it seems fitting that this volume is devoted to medieval art, and primarily to sculpture - the works of art that undoubtedly lie closest to his heart. It is a testament to his standing at the pinnacle of medieval studies that so many leading experts have eagerly contributed to this exceptional collection.Trade ReviewAn invaluable and beautifully illustrated reference work … unreservedly recommended. * Midwest Book Review *

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Book SynopsisAlberto Giacometti's 1934 Cube stands apart for many as a typical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist's sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional - a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist's surrealist and realist phases and contains many elements of Giacometti's aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait - or what Didi-Huberman terms "abstract anthropomorphism." Drawing on Freud, Bataille, Leiris, and others whom Giacometti counted as influences, Didi-Huberman presents fans and collectors of Giacometti's art with a new approach to transitional work.Trade ReviewDidi-Huberman exploits the formal presence of "Cube "to construct a metaphoric and polyphonic interplay of critical facets which allows him to engage with a range of Giacometti s aesthetic investigations. --Timothy Mathews, author of Alberto Giacometti: The Art of Relation"

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Book SynopsisFrom his panoramic views of Prague to his enigmatic still lifes, photographer Josef Sudek (1896–1976) captured the unique spirit of the Czech capital during a wide swath of the twentieth century. Sudek enjoyed worldwide fame during his lifetime, yet a substantial part of his practice--photographing works of art--has remained largely unexplored. This book shines a light on Sudek's most beloved pictorial subject, sculpture, which acted as a bridge between his fine art photography and his commercial work. Sumptuous full-page reproductions of Sud'ks black-and-white photographs illustrate a series of thematic essays, focusing on the scope and legacy of his work, while cameos from the key people and institutions who supported his career reveal Sudek's rich connection to the artistic circles and movements of his day. Together, they uncover the shifting tension between the ability of photographs to bring art closer to the people and their potential as works of art in their own right.

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Book SynopsisThe work of Slovak sculptor Maria Bartuszova (1936-96) was first presented to international audiences in Kassel in 2007. Although her art has appeared in influential exhibitions and been included in prestigious contemporary art collections, up until now, she has yet to receive the widespread recognition she deserves. Dziewanska's book offers distinct perspectives on Bartuszova's work from renowned international critics in an effort to increase our awareness of her sculptures. Working alone behind the Iron Curtain, Bartuszova was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster-a material that, from a sculptor's point of view, is both primitive and common-the book deftly reveals how Bartuszova experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszova: Provisional Forms is an important contribution to the literature on great female artists.

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Book SynopsisThe Danish neoclassical sculptor Bertel Thorvaldsen (1770–1844), who lived most of his life in Rome, was not only one of Europe’s most soughtafter artists; he was also a collector. In addition to his own works and drawings, he built extensive collections of paintings, prints, drawings and books – and of ancient artefacts from Egyptian, Greek and Roman antiquity: coins, lockets, containers, vases, lamps, fragments of sculpture and more. He also acquired a large collection of plaster casts, primarily after ancient sculptures and reliefs, but also of works dating from the Renaissance and up until his own lifetime. Thanks to Thorvaldsen’s bequest to the city of Copenhagen, his birthplace, all of these collections are still largely intact and well preserved at his museum.Home to a total of 657 plaster casts, the Thorvaldsen Museum’s cast collection is unique for several reasons: The collection offers us insight into the sculptor’s working methods and the development of his work because it served a clear function as an image bank of forms, motifs and subjects for Thorvaldsen’s own endeavours. Furthermore, the dual fact that the collection is so well preserved and was established over a relatively brief period of time makes it a valuable example illuminating the trade and distribution of plaster casts during the first half of the nineteenth century. These areas of study form the central focal point of Volume I of this publication. Volume II contains a catalogue of the individual objects in the cast collection, while Volume III collects the overviews, inventories, concordances and primary sources referred to in the first two volumes.Arising out of many years of study of Thorvaldsen’s cast collection conducted by their author, the classical archaeologist Jan Zahle, these books contain comprehensive source material from the period, much of it previously unknown.

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Book SynopsisA much-needed resource on the practice of public art commissions and community engagement through the arts in urban Asia. Distributed for the NTU Centre for Co ntemporary Art Public art integrates landscape architecture, urban planning, and cultural management to create a sense of place. This book, dstributed for the NTU Centre for Contemporary Art, documents a major public art commission in Singapore, featuring works by artists Dan Graham, Zul Mahmod, TomÁs Saraceno, and Yinka Shonibare, and represents a unique collaboration between Nanyang Technology University Centre for Contemporary Art Singapore and Mapletree Investments—a Singaporean state-owned property developer with global operations. Essays and interviews with the artists tell the story of the regional histories, urban politics, and collaboration that went into the successful creation of a public space. Culture City. Culture Scape. is a much-needed resource on the role that art can play in public education and social corporate investment in urban Asia.Trade Review"The book offers insights on lesser-known topics through the discussion of public artworks at Mapletree Business City II.... All in all, Culture City. Culture Scape is a welcomed reference book on the discourse of public art in Singapore. With a critical, interdisciplinary approach, it successfully marries cultural and corporate interests to provide public education." * Art and Market *Table of Contents Greetings Joseph Liow Edmund Cheng Culture City. Culture Scape. Notes from the Curators Ute Meta Bauer and Khim Ong In the Public Sphere: Art and Education at Mapletree Business City Edmund Cheng with Ute Meta Bauer About the Artworks and Artists Yinka Shonibare CBE (RA): Wind Sculpture I Zul Mahmod: Sonic Pathway Tom?ís Saraceno: Stillness in Motion ÔÇö 3 Airborne Self-Assemblies Dan Graham: Elliptical Pavilion In Conversation Yinka Shonibare CBE (RA) with Sophie Goltz Zul Mahmod with Khim Ong Tom?ís Saraceno with Ute Meta Bauer Dan Graham with Ute Meta Bauer Permanent Public Artworks Yinka Shonibare CBE (RA) Zul Mahmod Tom?ís Saraceno Dan Graham Public Art Education: Situated in Singapore Sophie Goltz Mapletree-NTU CCA Singapore Public Art Education Programme Image Credits Acknowledgements Colophon

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Book SynopsisThe latest title in this book series presents Indian artist Shilpa Gupta’s monumental inflatable sculpture, Untitled. The sculpture depicts the dualities of our innermost struggles and the externalities around us. This book includes a curatorial essay that situates Gupta’s new work in relation to her art practice and other global sociopolitical forces as well as a full colour photo documentation of the sculpture against the backdrop of Singapore’s skyline. It also features a guest essay written by a well-known mental health professional who engages with the artist’s take on the human conditions. The last section of the book is a set of colourfully illustrated activity sheets, co-developed with an art therapist, that children and adults can use to navigate their emotions and responses towards conflict and other difficult issues.

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Book SynopsisA fully illustrated archaeological and art historical analysis of one of the most important artworks of Angkor, rewriting the chronology of the royal capital. In December 1936, a villager was led by a dream to the ruins of the West Mebon shrine in Angkor where he uncovered remains of a bronze sculpture. This was the West Mebon Visnu, the largest bronze remaining from pre-modern Southeast Asia, and a work of great artistic, historical, and political significance. Prominently placed in an island temple in the middle of the vast artificial reservoir, the West Mebon Visnu sculpture was an important focal point of the Angkorian hydraulic network. Interpretations of the statue, its setting, date, and role have remained largely unchanged since the 1960s—until now. Integrating the latest archaeological and historical work on Angkor, extensive art historical analysis of the figure of Visnu Anantasayin in Hindu-Buddhist art across the region, and a detailed digital reconstruction of the sculpture and its setting, Marnie Feneley brings new light to this important piece. Highly illustrated, the book will be of interest to art historians and curators, historians of Southeast Asia, and anyone curious about the art and history of Angkor.Table of Contents Introduction Chapter 1: The West Mebon Vi??u Chapter 2: The Cultural and Religious Development of Cambodia Chapter 3: The Iconography of Vi??u Chapter 4: The Iconography of Vi??u Anantasayin Chapter 5: The Hydraulic System of Angkor: Gods, Nature and Water Chapter 6: The Archaeology of the West Mebon Chapter 7: Artefacts, Inscriptions and the History of the West Mebon Chapter 8: Analysing the West Mebon Vi??u Chapter 9: Political and Religious Context of the West Mebon Vi??u Chapter 10: Bronze Sculptures of the Mahidharapura Dynasty Chapter 11: Appraising the date of the West Mebon Vi??u

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Book SynopsisA new analytical perspective on stones and stone masters across Southeast Asia that extends and deepens the recent literature on animism. Stones and stone masters are an important focus of animist religious practice in Southeast Asia. Recent studies on animism see animist rituals not as a mere metaphor for community or shared values, but as a way of forming and maintaining relationships with occult presences. This book features city pillars, statues, megaliths, termite mounds, mountains, rocks found in forests, and stones that have been moved to shrines, as well as the territorial cults which can form around them. The contributors extend and deepen the recent literature on animism to form a new analytical perspective on these cults across mainland Southeast Asia. Not just a collection of exemplary ethnographies, Stone Masters is also a deeply comparative volume that develops its ideas through a meshwork of regional entanglements, parallels, and differences, before entering into a dialogue with debates on power, mastery, and the social theory of animism globally.Table of Contents List of figures and tables Section I: Stone Theory Chapter 1: Holly High: An introduction to Stone Masters Chapter 2: John Clifford Holt: Theorizing 'Stone Masters': Revisiting Paul Mus Chapter 3: Holly High: "They can see us but we can't see them": Power, deities, and presences of places in Sekong, Lao PDR Chapter 4: Courtney Work: 'The Dance of Life and Death: Social relationships with elemental power Chapter 5: Paul-David Lutz: The State Has Come Chapter 6: Benjamin Baumann: Masters of the Underground: Termite Mound Worship and the Mutuality of Chthonic and Human Beings in Thailand's Lower Northeast Chapter 7: Holly High: Lady Luck of the City: Myth and meaning at Vientiane's city pillar Chapter 9: Kazuo Fukurra: From Ritual Traditions to Spirit Mediumship: The Evolution of Pillar Worship in Chiang Mai, Northern Thailand Chapter 10: Klemens Karlsson: Territory Cults and Power in the Eastern Shan State of Myanmar Chapter 11: H?ng T. D. Ngô: The Mountain, the Masters and the Nation: Enduring Power Encounters at a Temple in Contemporary Vietnam? Chapter 12: Penny Van Esterik: Afterword

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe most wonderful and clear art guide to explore and learn all the fundamentals of the greatest works, artists, schools of art and styles in the Prado Museum. Discover the Prado, one of the premier art galleries in the world. Explore and appreciate the greatest masterpieces and the artists who created them: El Greco, Velázquez, Goya, Botticelli, Raphael, the Venetians, Rubens, Rembrandt, Lorraine, Poussin, 19th century Spanish painting plus the best sculptural and decorative works it treasures in its collections. Learn its history and transformation from picture gallery to global treasured museum, which houses one of the very best collections of European art in the world including the most complete collection of Spanish paintings.

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Book SynopsisThe essential artistic guide to discover and learn the essentials of the greatest works, artists and styles in the Louvre Museum.Discover the immense art collection of the Louvre Museum, from Oriental, Egyptian, Greco-Roman and medieval antiquities to the great works of the Renaissance, Baroque, Neoclassicism and Romanticism. Painting, sculpture and decorative arts from all periods and civilizations. Works by great French masters such as Poussin and David, Flemish painters such as Rubens and Van Dyck, Dutch artists such as Rembrandt, Italian masters such as Leonardo da Vinci, Raphael, Michelangelo, Titian and Tintoretto, and Spanish artists such as El Greco, Zurbarán, Velázquez and Goya. An essential book to delve into the structure of the Louvre palace and its dependencies, learning in detail about 120 essential masterpieces among the more than 400,000 pieces contained in the most important museum in the world.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisIn this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials often things left on the side of the road, according to the logic and progress of the capitalist machine and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's OIL (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musée d'art contemporain, Montréal, 2008), Rachel Harrison's Consider the Lobster (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's The Mouth and Other Storage Facilities (Henry Art Gallery, Seattle, 2008).Trade Review"This book is an argument for paying more attention to the material conditions of sculpture—not as a return to formalism, but as a powerful and necessary tool to cut through the lingo of installation art and the capaciousness of digital culture."- Gloria Sutton, Northeastern University ArtTable of ContentsIntroduction 1. Rachel Harrison: "Consider the Lobster" 2. Isa Genzken: "OIL" 3. Geoffrey Farmer: "Me into Many" 4. Liz Magor: "The Mouth and Other Storage Facilities" Conclusion

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Book SynopsisThis is an account of the most important kind of surviving post-Reformation church art, the carved stone funeral monument. Built in huge numbers during the years around 1600, thousands still survive across England. Lavishly illustrated with rare photographs, it offers a valuable and informative record.Trade ReviewReview of the hardback: 'This is essential reading for art historians, social historians and even students of the politics and economics of the period.' The Art NewspaperReview of the hardback: 'Dr Llewellyn is to be commended for establishing a new area of inquiry: the visual culture of churches and the practice of commemoration in early modern England.' Journal of Ecclesiastical HistoryReview of the hardback: 'This is undoubtedly an important work which will remain the standard text for the foreseeable future.' Renaissance StudiesReview of the hardback: 'Llewelyn's study has much to inform the serious 'Reformation' theologian.' LaudeturReview of the hardback: 'Llewellyn's study explores the complexities and range of these ambitious works and persuasively argues for their importance as registers of shifting social attitudes and aspirations. this important book deserves the attention not merely of art historians, but of a far wider variety of scholars working on the material culture of post-medieval England.' Post-Medieval ArchaeologyTable of ContentsList of illustrations; Acknowledgements; Preface; Part I. Historiography and the Discourse of Art History: 1. The antiquaries and the rule of taste; 2. Art history - nation and place; 3. Art history - the period; 4. Art history - artists and the theory of art; 5. Alternatives; 6. In the presence of death; 6. Differentiation, replication and portrayal; 7. Continuity and separation; 8. The Reformation; 9. Emotion and mourning; 9. Monuments to living people; 10. Conclusion; Part II. Form and Design: 1. Regional variation; 2. Medieval precedents; 3. England and Europe; 4. Changes through time; 5. The components of design; 6. Recumbent figures; 7. Standing, kneeling and seated figures; 8. Other poses and types; 9. Traditional compositions; 10. Inscriptions; 11. Allegories and histories; 12. Decoration, surface and painted finishes; Part III. Building Monuments: 1. Securing and maintaining a place; 2. The business of erecting a monument; 3. Transportation; 4. The tomb-makers and their materials; 5. Materials; Part IV. Habits and Skills in Visual Culture: 1. Descriptions; 2. Aesthetic and visual categories; 3. Hierarchies and dangers; 4. Image theory and religious controversy; 5. Iconoclasm; 6. The defence of monuments; Part V. Exemplifications: 1. Patrons and society; 2. Monuments and the state; 3. The expression of virtue; Part VI. Conclusion. Four Discourses: 1. The four discourses; 2. The architectural frame; 3. The effigial body; 4. The heraldic sign; 5. The inscribed word; 6. English art and the exemplary tradition; Notes; Bibliography; Documents and manuscripts in original and published forms; Printed materials; Index.

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