Bøker i Subject/Object: New Studies in Sculpture-serien

Active during a complex period in France's intellectual history, Giacometti took on a number of different artistic styles in his work, and forged a remarkable set of affiliations with the writers and thinkers around him. This book focuses on important aspects of Giacometti's work and its reception.

Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four British archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporaneous audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture''s placement and suggests that the garden can itself be read as a sculptural landscape.

This book brings together a collection of essays each of which fundamentally questions the meaning of the word iconoclasm as a descriptive category. Each contribution examines the impact of iconoclastic acts on different representational forms, and assesses the development and historical implications of these various destructive and transformative behaviours.

The expression ''the Zola of Sculpture'' was coined in the circles of the Royal Academy in the 1880s as a term of abuse. Rodin: ''The Zola of Sculpture'' reveals how the appraisal of Rodin in British culture was shaped by controversies around the literary models of Zola and Baudelaire, in a period when negative notions about French culture were being progressively transformed into positive expressions of modern sculpture. Embedded within this collaborative book is the editor''s proposition that Rodin came to play an important role in the cultural politics of the Entente Cordiale at a critical juncture of European history. Encompassing new scholarship in several disciplines, drawn from both sides of the Channel, Rodin: ''The Zola of Sculpture'' offers the first in-depth account of Rodin''s career in Britain in the period 1880-1914 and weaves this historical trajectory into a complex investigation of the interactions between French and British cultures. The authors examine the cultural agencies in which conceptions of Rodin''s practice played a defining role, dealing in turn with artists'' professional associations, art criticism, private and public collectors and the education of women sculptors.

The notion that the practice of abstraction was confined to Western Europe while a stereotyped form of figuration defined the art of the Eastern bloc continues to dominate art historical accounts of public sculpture of the post-war period. This book offers a number of alternative readings, and demonstrates strategic uses of figuration and abstraction across East and West. Encompassing sites of memory (including war memorials and Holocaust memorials), state, civic and corporate sculpture, as well as temporary and unexecuted projects, the book shows that persuasive advocates of figuration were to be found in the West, while in the East imaginative experiments in abstraction were proposed in the name of Social Realism. Presenting fresh insights into sculptural practice in the period between 1945 and 1968, this book brings together a wide range of authors, some of whom have never before been published in English. Their essays are complemented by extracts from documentary texts, which give a flavour of contemporary debates, and a biographical section includes entries on many sculptors who will be unfamiliar to an English-speaking audience.

The institution of the pantheon has come a long way from its classical origins. Invented to describe a temple dedicated to many deities, the term later became so far removed from its original meaning, that by the twentieth century, it has been able to exist independently of any architectural and sculptural monument. This collection of essays is the first to trace the transformation of the monumental idea of the pantheon from its origins in Greek and Roman antiquity to its later appearance as a means of commemorating and enshrining the ideals of national identity and statehood. Illuminating the emergence of the pantheon in a range of different cultures and periods by exploring its different manifestations and implementations, the essays open new historical perspectives on the formation of national and civic identities.

Giacometti: Critical Essays considers Giacometti's work and career from the 1920s to the 1960s via a series of specific contextual studies.

In recent years the intersections between art history and archaeology have become the focus of critical analysis by both disciplines. Contemporary sculpture has played a key role in this dialogue. The essays in this volume, by art historians, archaeologists and artists, take the intersection between sculpture and archaeology as the prelude for analysis, examining the metaphorical and conceptual role of archaeology as subject matter for sculptors, and the significance of sculpture as a three-dimensional medium for exploring historical attitudes to archaeology.

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton''s Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture.

Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum''s own sense of itself in relation to its audiences and its broader institutional aspirations.

Aims to uncover the social, political and gendered messages revealed by sculpture's placement. This book focuses on four English archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park.

Encompassing new scholarship in several disciplines, drawn from both sides of the Channel, this book offers an in-depth account of Rodin's career in Britain in the period 1880-1914 and weaves this into a complex investigation of the interactions between British and French cultures.

A study of the major role played by royal monuments in the public space of expanding cities across eighteenth-century Europe. Using the royal monuments as the basis for the examination of modern European cities, it considers the development of urban landscapes from the creation of capital cities to the last members of the ancient regimes.

This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals who are working in disciplines beyond art history. The collection brings together a diverse set of approaches.

Includes essays by art historians and artists that take the intersection between sculpture and archaeology as the prelude for analysis, examining the metaphorical and conceptual role of archaeology as subject matter for sculptors, and the significance of sculpture as a three-dimensional medium for exploring historical attitudes to archaeology.

An examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. This title considers an array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance.

Shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit, can be fruitfully applied to a range of modern three-dimensional art.

The notion that the practice of abstraction was confined to Western Europe while a stereotyped form of figuration defined the art of the Eastern bloc continues to dominate art historical accounts of public sculpture of the post-war period. This book offers a number of alternative readings, and demonstrates strategic uses of figuration and abstraction across East and West. Encompassing sites of memory (includng war memorials and Holocaust memorials), state, civic and corporate sculpture, as well as temporary and unexecuted projects, the book shows that persuasive advocates of figuration were to be found in the West, while in the East imaginative experiments in abstraction were proposed in the name of Social Realism. Presenting fresh insights into sculptural practice in the period between 1945 and 1968, this book brings together a wide range of authors, some of whom have never before been published in English. Their essays are complemented by extracts from documentary texts, which give a flavour of contemporary debates, and a biographical section includes entries on many sculptors who will be unfamiliar to an English-speaking audience.

A collection of essays which fundamentally question the meaning of the word iconoclasm as a descriptive category. These essays examine the impact of iconoclastic acts on different representational forms, and assess the development and historical implications of these various destructive and transformative behaviours.

This collection of essays if the first to trace the transformation of the monumental idea of a pantheon from its origns in Greek and Roman antiquity to its later appearence as a means of commemorating and enshrining the ideals of national identity and statehood.