Published on the occasion of New York-based artist Carol Bove's (born 1971) eponymous show at David Zwirner in New York, Polka Dots is at once a catalog of new works and a stunning artist's book dedicated to her process as a sculptor. The book, which is designed by Joseph Logan in close collaboration with the artist, is built around a series of photographs taken in her studio by Andreas Laszlo Konrath. Through them, the reader experiences not only the development of Bove's most recent body of work--the "collage sculptures"--but also the materials and conditions that contributed to their creation. In addition to Konrath's rich and intimate photographs, the images of Bove's new works show the sculptures silhouetted out of their original context, an attempt by Bove to draw the reader away from typical ways of experiencing sculpture.
At the end of the late 1970s, art theorist and critic Rosalind Krauss had written a seminal text entitled "Sculpture in the Expanded Field," in an attempt to both locate and analyze vanguard sculptural practices of the time such as the work of Richard Serra, Robert Smithson, Mary Miss, and Donald Judd whose practices crossed outside of the limits of traditional sculpture and entered into the realms of architecture and landscape through the production of works that she classified as site constructions, marked sites, earthworks and axiomatic structures. Over the past three decades, the boundaries between art and architecture have continued to blur, giving rise to a series of works known as installations whose conceptual, spatial and material trajectories have generated a new and expanding network of relations between the domains of architecture, interiors, sculpture and landscape. At the same time, the range of institutional venues advancing architectural installation practices, such as the PS1 program spawned by the MoMA in New York, the Serpentine Gallery's annual architectural pavilion in London and the Art and Architectural Biennale's in Venice, have provided platforms to intensify the production and reach of contemporary installations. Installations have not only contributed to the advancement of architectural research but have also enabled the redefinition and progressive development of architecture's disciplinary territory allowing architects to explore spatial and tectonic ideas, experiment with emerging technological strategies, and distill perceptual and experiential conditions without the limitations traditionally imposed by the permanence and utility of building. Following the legacy of Rosalind Krauss, EXPANDED FIELD: Installation Architecture Beyond Art by Ila Berman and Douglas Burnham explores the realm of art and architecture across a broad terrain of installation practices, revealing a critical territory that, despite its exuberant proliferation, has been historically defined as a negativity: the progeny of that which is both not-architecture and not-art. Within this book, a wide range of art and architectural works are positioned and mapped as constellations within a newly expanded field suspended between Architecture, Interiors, Sculpture, and Landscape. These four terms are the initial reference points used to elaborate a more extensive taxonomical framework defining twelve distinct territories where the analytical drawings and photographic indexes of seventy-five installation projects are situated. The expanded field diagram is a conceptual framework that operates on many levels. It acts as a lens through which to theorize and classify the trajectories of current installation practices and serves as an infrastructure to organize the content of the book. Along the trajectory from interiors to sculpture, for example, one finds the immersive chromatic environments of Carlos Cruz-Diez, the thermal and radiant atmospheres of Philippe Rahm, the intensely graphic patterned surfaces of J rgen Mayer and Yayoi Kusama, and the interactive mediated light landscapes of Ryoji Ikeda and Julio Le Parc. These are installations intent on foregrounding immersive atmospheric spaces rather than sculptural objects and that collectively define Chromatic/Graphic Immersion, one of the twelve typologies through which the book is organized. Along the path from interiors toward landscape, are situated a different series of installation projects including the undulating orange strata of Bamscape and the pink spongy terrain of Mute Room, two works by Thom Faulders both of which redefine ground as a programmed surface and occupiable topography. These qualities of landscape then merge with the architectonic in the thickened geology of Rip Curl Canyon by Ball-Nogues, the artificial Dunescape by SHoP and the cellular topography of Voromuro developed for the ICA in Boston by Office dA. Based on an exhibition at the Wattis Institute of Contemporary Art, the book EXPANDED FIELD guides one through the world of contemporary installation practice through drawings, images and text that simultaneously expose the techniques through which architects describe and analyze spatial production while providing a context for installation art and architecture that supports both its didactic understanding and immersive experience.
Minnesotans have in the past century honored heroes and public figures, created mythic and heroic town symbols, funded abstracts on public streets and walkways, and now find themselves surrounded by a growing forest of sculpture carved by the chainsaw. Minnesota has more than 630 different pieces of outdoor sculpture, located in 150 different communities.
edited by Marie-Laure Bernadac and Hans-Ulrich Obrist"Everyday you have to abandon your past or accept it and then if youcannot accept it, you become a sculptor."Since the age of twelve, the internationally renowned sculptor LouiseBourgeois has been writing and drawing;first a diary preciselyrecounting the everyday events of her family life, then notes andreflections. Destruction of the Father;the title comes fromthe name of a sculpture she did following the death of her husband in1973;contains both formal texts and what the artist calls"pen-thoughts": drawing-texts often connected to her drawings andsculptures, with stories or poems inscribed alongside the images.Writing is a means of expression that has gained increasing importancefor Bourgeois, particularly during periods of insomnia. The writing iscompulsive, but it can also be perfectly controlled, informed by herintellectual background, knowledge of art history, and sense ofliterary form (she has frequently published articles on artists, exhibitions, and art events). Bourgeois, a private woman "withoutsecrets," has given numerous interviews to journalists, artists, andwriters, expressing her views on her oeuvre, revealing its hiddenmeanings, and relating the connection of certain works to the traumasof her childhood. This book collects both her writings and her spokenremarks on art, confirming the deep links between her work and herbiography and offering new insights into her creative process.
Rita McBride is a US-American artist whose installations explore cultural and sociological issues using the language of architecture. At first sight, the sculptures and installations are composed of recognizable daily objects - machines, steps, tubes, even water towers - that transport us to a standardized world, where repetition itself establishes a code that facilitates comprehension. However, the familiarity of form is disturbed by the materials used - a car made of raffia, tubes out of marble or ficus leaves modelled in Murano crystal - producing a sensation of unease and uncertain significance. This exhibition catalog includes a photographic essay by the artist and photographer Anne Pohlmann capturing the way in which the museum's activity changes the architecture of its space over the course of a year.
On September 13, 1862, in a field near Frederick, Maryland, four Union soldiers hit the jack-pot. There they found, wrapped carelessly around three cigars, a copy of General Robert E. Lee's most recent orders detailing Southern objectives and letting Union officers know that Lee had split his Army into four vulnerable groups. General George B. McClellan realized his opportunity to destroy the Army of Northern Virginia one piece at a time. "If I cannot whip Bobbie Lee," exulted McClellan, "I will be willing to go home." But the notoriously prudent Union general allowed precious hours to pass, and, by the time he moved, Lee's army had begun to regroup and prepare for battle near Antietam Creek. The ensuing fight would prove to be not only the bloodiest single day of the entire Civil War, but the bloodiest in the history of the U.S. Army.
Countless historians have analyzed Antietam (known as Sharpsburg in the South) and its aftermath, some concluding that McClellan's failure to vanquish Lee constituted a Southern victory, others that the Confederate retreat into Virginia was a strategic win for the North. But in Antietam: The Soldiers' Battle, historian John Michael Priest tells this brutal tale of slaughter from an entirely new point of view: that of the common enlisted man. Concentrating on the days of actual battle--September 16, 17, and 18, 1862--Priest vividly brings to life the fear, the horror, and the profound courage that soldiers displayed, from the first Federal cavalry probe of the Confederate lines to the last skirmish on the streets of Sharpsburg. Antietam is not a book about generals and their grand strategies, but rather concerns men such as the Pennsylvanian corporal who lied to receive the Medal of Honor; the Virginian who lay unattended on the battlefield through most of the second day of fighting, his arm shattered from a Union artillery shell; the Confederate surgeon who wrote to the sweetheart he left behind enemy lines in Harrisburg, Pennsylvania that he had seen so much death and suffering that his "head had whitened and my very soul turned to stone."
Besides being a gripping tale charged with the immediacy of firsthand accounts of the fighting, Antietam also dispels many misconceptions long held by historians and Civil War buffs alike. Seventy-two detailed maps--which describe the battle in the hourly and quarter-hourly formats established by the Cope Maps of 1904--together with rarely-seen photographs and his own intimate knowledge of the Antietam terrain, allow Priest to offer a substantially new interpretation of what actually happened.
When the last cannon fell silent and the Antietam Creek no longer ran red with Union and Confederate blood, twice as many Americans had been killed in just one day as lost their lives in the War of 1812, the Mexican War, and the Spanish-American war combined. This is a book about battle, but more particularly, about the human dimension in battle. It asks "What was it like?" and while the answers to this simple question by turns horrify and fascinate, they more importantly add a whole new dimension to the study of the American Civil War.
A fascinating look at renowned sculptor David Smith's late works and the methods and materials behind themAbstract Expressionist artist David Smith (1906-1965) was one of the most important American sculptors of the 20th century, yet few publications dedicated to his creative output currently exist. A painter-sculptor in the tradition of Matisse and Picasso, he focused on welded steel sculptures while simultaneously working inventively in two dimensions, in paint, ink, or tempera. David Smith Invents is the first book to focus on the output in all media of the artist's last fifteen years, a period in which he explored concave and convex forms in works welded from steel tanks and pipes that he bought by the rail-car load as industrial waste. Starting in 1953, Smith's efforts resulted in the monumental, personage-like forms of the Tanktotems series, and the later series of Bouquet of Concaves, leading in 1961 to the massive Zigs.
Susan Behrends Frank opens a window onto the unusual working process employed by Smith, who was once a welder on an automobile production line. In spite of their industrial manufacture and materials, his works blurred the boundaries between sculpture, painting, and drawing, and his sculptures during this period were created in a pictorial fashion, in a single plane. One of his practices was to draw a white rectangle on the floor and position the metal parts of his sculpture within its boundaries. Featured throughout the book are extraordinary photographs taken by Smith of his sculptures, along with an enlightening essay on the photos by Sarah Hamill. Peter Stevens discusses Smith's materials and surfaces.
The first book on Paul Storr for more than fifty yearsBicentenary of the Battle of Waterloo, so Regency period in the newsPaul Storr (1770-1844), acknowledged to be the greatest silversmith of the Regency period, holds a special place in the history of English silver. The workshops he directed, first for the Royal Goldsmiths Rundell, Bridge & Rundell, and later on his own account, wrought some of the greatest silver of the first half of the nineteenth century. The designs were provided by well-known Regency names such as John Flaxman, William Theed, Edward Hodges Baily, and Thomas Stothard. Storr numbered among his clients not only British royalty and aristocracy, but continental European nobility and prominent Americans. The year 2015 marks the bicentennial of the Battle of Waterloo, which saw Britain emerge as the dominant power in Europe. Military campaigns on land and sea, a more international outlook, newly fashionable foods, changes in table settings, and above all the creation of great wealth for Britain resulted in a revolution in silverware.