Shaping the World by In this wide-ranging, thought-provoking and sometimes provocative new book, leading sculptor Antony Gormley, informed and energised by a lifetime of making, and art critic and historian Martin Gayford, explore sculpture as a transnational art form with its own compelling history. The authors' lively conversations and explorations make unexpected connections across time and media. Sculpture has been practised by every culture throughout the world and stretches back into our distant past. The first surviving shaped stones may even predate the advent of language. Evidently, the desire to carve, mould, bend, chip away, weld, suspend, balance - to transform a vast array of materials and light into new shapes and forms - runs deep in our psyche and is a fundamental part of our human journey and need for expression. With more than 300 spectacular illustrations, Shaping the World juxtaposes a rich variety of works - from the famous Lowenmensch or Lion Man, c. 35,000 BCE to Michelangelo's luminous Pietà in Rome, the Terracotta Warriors in China to Rodin's The Kiss, Marcel Duchamp's ready-mades, Olafur Eliasson's extraordinary Weather Project and Kara Walker's Fons Americanus, and Tomas Saraceno's ongoing Aerocene project, as well as examples of Gormley's own work. Antony Gormley and Martin Gayford take into account materials and techniques, and consider overarching themes such as light, mortality and our changing world. Above all, they discuss their view of sculpture as a form of physical thinking capable of altering the way people feel, and they invite us to look at sculpture we encounter - and more broadly the world around us - in a completely different way.
Call Number: NB 60 .G67 2020 - Auburn Hills & Orchard Ridge
Publication Date: 2020-11-17
Designing a New Tradition by In Designing a New Tradition, Rebecca VanDiveRebecca VanDiver is Assistant Professor of African American Art at Vanderbilt University.r presents a fresh perspective on the art and career of Loïs Mailou Jones. Considering the importance of Africa for Jones's work and examining the broader roles played by class, gender, and politics in constructions of African American art histories as a whole, VanDiver makes a convincing case for Jones's lasting place in American art history. VanDiver repositions Jones's work within the canon of American art, situating the artist's production within the larger cultural and aesthetic debates of the twentieth century, including modernism, abstraction, the Harlem Renaissance, feminism, Négritude, and Pan-Africanism. In doing so, VanDiver reveals one of Jones's most significant contributions to American art: the development of a composite black aesthetic that negotiates African, American, and European artistic traditions to reflect the increasingly fragmented nature of twentieth-century black identity and diasporic experiences. Tracing Jones's aesthetic transformations along a biographical arc, VanDiver offers a new framework for thinking about the connection between America and Africa and the role of the African diaspora in the creation of African American artistic identity. Accessibly written and filled with fascinating anecdotes about Jones's life and career, her many acquaintances, and the challenges she faced as a black woman artist working in the twentieth century, this book makes a singular contribution to a new and expanded art-historical canon.
Call Number: ND 237 .J76 V36 2020 - Auburn Hills
Publication Date: 2020-10-09