A visually dynamic and extensive resource covering all sculpture media. Beginning Sculpture explores traditional sculpting methods as well as the latest tools and techniques. It covers a diverse range of media including wood, metal, stone, paper, clay and mixed media. Studios are designed to enhance student learning and nurture self-discovery. With an easy to follow format, students: * Learn the elements and principles of design and sculpture * Photographs and illustrations sequentially detail fundamental techniques and skills. * Examples of master artworks reflect diverse times and perspectives * Student create art and master concepts and skills through carefully crafted lessons
Written by a well-known artist and best-selling art-instruction author with almost rock-star popularity in the contemporary world of representational art, Beginning Drawing Atelier, with its unique workbook/sketchbook approach, and high-quality paper, offers a comprehensive and contemporary twist on traditional Atelier art instruction practices. Atelier education is centered on the belief that working in a studio, not sitting in the lecture hall, is the best place to learn about art. Every artist needs to learn basic drawing skills. In this elegant and inspiring workbook, master contemporary artist and best selling author Juliette Aristides breaks down the drawing process into small, manageable lessons; presents them progressively; introduces time-tested principles and techniques in the Atelier tradition that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings. What makes this approach unique is the fact that it includes blank pages for copying and practicing within each lesson, facilitating traditional Atelier methods. Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance. These studios, in a return to classical art training, are based on the nineteenth-century model of teaching artists by pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually progress to painting as their skills develop. Beginning Drawing Atelier is like having an atelier in a book--and the master is Juliette Aristides, a classically trained artist. On every page, Aristides uses the works of Old Masters and today's most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, the approach in this new book offers serious art courses for serious art students.
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
Stretching lengths of yarn across interior spaces, American artist Fred Sandback (1943–2003) created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer. Drawing on Sandback’s substantial archive, Edward A. Vazquez demonstrates that the artist’s work—with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s—creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback’s site-determined practice draws viewers’ focus to their connection to space and others sharing it. As Vazquez shows, Sandback’s art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.
The ancient and wonderful art of direct stone sculpture is brought to life in this comprehensive new book by the noted sculptor, Milt Liebson. After a brief, informative historical overview of stone sculpture, he leads the reader through the hands-on experience of sculpting in stone. This is the book that artists, and would-be artists in stone have been seeking for many years.The types of stone used in sculpture are covered, as well as the basic tools for hand sculpting and the techniques for their use. For the advanced sculptor there is detailed information on power tools and their use, the methods of lamination and repair, the business side of stone sculpture, and other helpful information gleaned from years of experience.Detailed photographs take the readers from the rough stone to the polished and mounted piece.Direct Stone Sculpture promises to be the standard reference work in the field for years to come.
Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.
"In 1906, soon after Matisse acquired his first African sculpture, he began the first of his nudes based on erotic and ethnographic photographs. This reading of Matisse's early sculpture examines the artist's appropriations from two seemingly disparate visions of the body: commercial nude photography and African sculpture. Why would Matisse synthesize mechanically made traces of actual flesh with the hand-carved abstractions of Pende, Senufo, Baga, and Baule figural sculptures? In the twentieth century, halftone technology in France changed economics of photographic reproduction. The inexpensive illustrated revues where Matisse found substitutes for living models were full of plates, making the female body available for mass consumption as never before. One of the main appeals of African sculpture to Matisse and others was that it appeared as a productive antithesis to this; it represented an alternative experience and understanding of human sexuality. In this, Matisse's primitivism was as much a system of beliefs projected onto African sculptures and actual African bodies, as a series of visual and conceptual borrowings from them. To support this idea, the book uses primary materials from turn-of-the-century ethnography and comparative anthropology, popular erotica, and the visual culture of French colonialism. It draws connections between artistic debts and the ideological and historical forces informing them, and plots new study in a now-familiar story of early twentieth-century modernist primitivism. This book challenges an established convention about Matisse--a painter who sculpted merely as a "rest"-- proposing how the sculpture's play with period perceptions of race and gender is key to understanding the artist's fascinations with cultural and sexual origins"--
