Eye-catching, life-size, and natural stone sculptures creatively conceived and intricately constructed that stop passersby in their tracks, are the hallmark of sculptor Boaz Vaadia. This title features more than 180 images, spanning from Boaz Vaadia's early work to his more recent portrait and bronze sculptures.
Now in PaperbackIn Dime-Store Alchemy, poet Charles Simic reflects on the life and work of Joseph Cornell, the maverick surrealist who is one of America's great artists. Simic's spare prose is as enchanting and luminous as the mysterious boxes of found objects for which Cornell is justly renowned.
In 1902, Rainer Maria Rilke--then a struggling poet in Germany--went to Paris to research and write a short book about the sculptor Auguste Rodin. The two were almost polar opposites: Rilke in his twenties, delicate and unknown; Rodin in his sixties, carnal and revered. Yet they fell into an instantaneous friendship--and before long Rodin hired Rilke as his secretary.
With verve and great insight, Corbett transports readers to turn-of-the-twentieth-century Paris to explore this surprising friendship and the development of their influential ideas about art and creativity. She captures the dawn of modernism with appearances by such charismatic figures as Paul Cezanne, Henri Matisse, Isadora Duncan, George Bernard Shaw, and Jean Cocteau, as well as the rise of the concept of "empathy" amid the pioneering work of Sigmund Freud, Carl Jung, and Georg Simmel. Corbett also introduces the women in these men's lives, many of them esteemed writers and artists in their own right: Rodin's muse Camille Claudel, Rilke's wife and fellow artist Clara Westhoff, and the remarkable Lou Andreas-Salome, who was Nietzsche's lover and Rilke's lifelong friend.
You Must Change Your Life is a vibrant portrait of Rilke and Rodin's singular friendship, heartbreaking rift, and moving reconciliation, and it is a testament to the ways their work continues to reverberate to this day.
She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden, or Copenhagen, but where is her grave? We know only her age, fourteen, and the work that she did--because it was already grueling work, at an age when children today are sent to school. In the 1880s, she danced as a "little rat" at the Paris Opera, and what is often a dream for young girls now wasn't a dream for her. She was fired after several years of intense labor; the director had had enough of her repeated absences. She had been working another job, even two, because the few pennies the Opera paid weren't enough to keep her and her family fed. She was a model, posing for painters or sculptors--among them Edgar Degas. Drawing on a wealth of historical material as well as her own love of ballet and personal experiences of loss, Camille Laurens presents a compelling, compassionate portrait of Marie van Goethem and the world she inhabited that shows the importance of those who have traditionally been overlooked in the study of art.
In this prescient and beautifully written book, Booker Prize-winning author John Berger examines the life and work of Ernst Neizvestny, a Russian sculptor whose exclusion from the ranks of officially approved Soviet artists left him laboring in enforced obscurity to realize his monumental and very public vision of art. But Berger's impassioned account goes well beyond the specific dilemma of the pre-glasnot Russian artist to illuminate the very meaning of revolutionary art. In his struggle against official orthodoxy--which involved a face-to-face confrontation with Khruschev himself--Neizvestny was fighting not for a merely personal or aesthetic vision, but for a recognition of the true social role of art. His sculptures earn a place in the world by reflecting the courage of a whole people, by commemorating, in an age of mass suffering, the resistance and endurance of millions.
"Berger is probably our most perceptive commentator on art.... A civilized and stimulating companion no matter what subject happens to cross his mind."--Philadelphia Inquirer
Using minimal tools and a simple technique of bending, interweaving, and fastening together sticks, artist PatrickDougherty creates works of art inseparable with nature and the landscape. With a dazzling variety of forms seamlesslyintertwined with their context, his sculptures evoke fantastical images of nests, cocoons, cones, castles, and beehives. Over the last twenty-five years, Dougherty has built more than two hundred works throughout the United States, Europe, and Asia that range from stand-alone structures to a kind of modern primitive architectureevery piece mesmerizing in its ability to fly through trees, overtake buildings, and virtually defy gravity. Stickwork, Dougherty's first monograph, features thirty-eight of his organic, dynamic works that twist the line between architecture, landscape, and art. Constructed on-site using locally sourced materials and local volunteer labor, Dougherty's sculptures are tangles of twigs and branches that have been transformed into something unexpected and wild, elegant and artful, and often humorous. Sometimes freestanding, and other times wrapping around trees, buildings, railings, and rooms, they are constructed indoors and in nature. As organic matter, the stick sculptures eventually disintegrate and fade back into the landscape. Featuring a wealth of photographs and drawings documenting the construction process of each remarkable structure, Stickwork preserves the legend of the man who weaves the simplest of materials into a singular artistic triumph.
* One of the best-known American sculptors of the modern period, David Smith was a pioneer of abstract sculpture. He revolutionized the possibilities of metal sculpture by introducing the industrial process of welding, enabling him to create the most extraordinarily balanced compositions - using metal 'draw in space'. Predominantly known as a sculptor, the book also sheds light on his prolific practice of drawing, sketching, writing and photographing his sculptures.
-Monograph covering the long and successful career of sculptor Erwin Hauer, known for his infinitely expandable two- and three-dimensional works -Contains detailed presentations on a number of significant works, including Jerusalem Tower and Infinite Surface I-WP -Abundant array of full-color and black-and-white photography Over the course of 60-plus years, Erwin Hauer has created modular sculptures that feature penetrations and prominent interior voids yet, remarkably, are bonded by continuous surfaces. The modules of these sculptures contain the seeds of infinity: what Hauer calls 'continua'. Still Facing Infinity covers the full scope of Hauer's artistic oeuvre, from early two-dimensional works that double as room dividers to three-dimensional, space-filling sculptures that are conceptually similar to innovative architecture and engineering (works by Antoni Gaudi, F lix Candela, and Frei Otto) as well as advanced mathematical concepts (triply periodic infinite surfaces without self-intersections). Hauer offers detailed presentations in writings as well as in abundant photographs of a number of significant works, including Jerusalem Tower and Infinite Surface I-WP, the basis for numerous tabletop and large-scale sculptures as well as for two independent series that explore multiple iterations of the infinite surface concept. Introduction; Jerusalem Tower, Explorations in the Planar Dimension, The Earlier Family Tree, Matrix 54, The New Family Tree, Opportunities and Discoveries, Architectural Installations, Infinite Surfaces, Focus on Infinite Surface I-WP, The Nexus and Labyrinth Project, Linear Progressions, A Busman's Holiday; Appendix
- The new monograph about artist Gabriela Kutschera links her jewelry with her sculptures and the paper work- First publication on the Viennese artist in English- Full size photographs document the spatial dimensions of her sculptural work The techniques used to forge iron and precious metal are a key theme in the work of Viennese artist Gabriele Kutschera (b. 1950). Starting out with jewelry creations related to the body, she turned to spatially related, forged iron sculptures from the 1990s. The rhythmical process of altering the cross-section of an industrially prefabricated iron rod is a defining factor of her metalsmithing: by hammering and annealing - the creation and release of the metal's stresses - she is able to shape the material. Kutschera translates this sequential processing into her expressive works. The perception of time and change is her chief motif, which she also addresses in her paper works Timelines. Gabriele Kutschera documents the distinguished Austrian artist's works in iron sculpture, jewellery and paper from 2000 to 2018. Text in English and German. Contents: Includes essays by Carl Aigner, Monika Fahn, Verena Formanek and Hans-Peter Wipplinger. Published to accompany an exhibition at Bayerischer Kunstgewerbeverein (BKV), Munich (DE), 6 September-20 October 2018.