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.
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.
Michaelangelo's David has just turned 500.
In celebration, Italy has restored this sculpture to its original splendor--
and "David: Five Hunded Years "is the first to capture each step of the way.
What started as a solid block of granite, emerged as one of the most significant statues in the world. After half a millennium of exposure, David has undergone a complete restoration to revive his original splendor. This magnificent depiction reveals the classical man as he looked when Michelangelo originally laid down his chisel in 1504. Radically new photographic techniques, including new photographic zooms, and color accuracy capture in detail every aspect of the restored masterpiece, all accompanied by illuminating background information from prominent art historian Antonio Paolucci.Art lovers, historians, or just those who appreciate a true beauty will not be able to resist such a brilliant addition to their collection.
Alberto Giacometti (1901-1966) is one of the few artists of the last century whose work is almost more recognizable than his name. His distinctive elongated figures are well known, and appear in major museum collections worldwide. However, the story of Giacometti's evolution, from his first professional works of art through his surrealist compositions to the emergence of his mature style, has rarely been explored fully and in depth. This comprehensive overview of his career focuses on the art, the people, and the events that influenced him, and on the original and experimental way in which he approached and developed his work. An illustrated glossary of texts on his life and art is accompanied by a plate section of strikingly beautiful illustrations of his sculptures, paintings, and drawings as well as sketchbooks, decorative works, photographs, and studio ephemera, much of which have never been published before. This accessible survey is the definitive resource for fans of the artist.
This remarkable and beautiful new volume examines twenty-three major artworks that were produced to decorate Sta. Maria del Fiore in Florence, better known to visitors as the Duomo, or cathedral, in the first decades of the 1400s.
These include nine works alone by Donatello, considered one of the greatest and most influential Italian sculptors, including his masterpiece Lo Zuccone, and The Evangelist John which inpsired Michelangelo. There is also a detailed discussion of Ghiberti's gilded bronze Gates of Paradise, created for the Eastern end of the cathedral, which includes remarkable shots of the doors before, and after, their current restoration.
With four chapters by leading scholars, and a catalog presenting over fifty superb color plates of the artworks, beautifully photographed by leading art photographer Antonio Quattrone, this volume explains how these masterpieces had a profound impact on the art of the Italian Renaissance.
This is a major new scholarly survey, and will become a seminal text on the artistic imagination, creativity, and skill of the Florentine Renaissance.
Mons. Timothy Verdon is the director of both the Diocesan Office of Sacred Art and Cultural Heritage Ecclesiastical and the Museo dell'Opera di Santa Maria del Fiore.
Daniel Zolli is a doctoral candidate in Harvard University's history of art and architecture department.
Amy R. Bloch is assistant professor of art history at the University at Albany, State University of New York (SUNY).
Marco Ciatti is director of the Opificio delle Pietre Dure, Florence.
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.
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 story of the impact of the rediscovery of antique objects, long-forgotten and often physically buried, on the consciousness and art of 15th- and 16th-century Rome. Barkan brings to life the inspired attempts to bridge the huge gap between ancient and Renaissance Rome, a rebirth which not only transformed art but also poetry and history. Stories of the rediscovery of statues such as the Lacoon and the Torso Belvedere is accompanied by extracts of Roman descriptions of statues and art as well as Renaissance accounts of uncovering them and their attempts to understand them. Finally, Barkan examines the influence of sculptures on specific Renaissance artists and works, notably Bandinelli.
This work presents a catalogue raisonne of every work the artist has created from his earliest sculptures of 1947 to his works of the past year. It follows the artist's mental and artistic development, outlining the various threads of his works: the childlike aspects of his art, the role of insanity, the anticipation of death, and his constantly changing creative expression.