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Books on the topic 'Published sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Schraenen, Guy. From page to space: Published paper sculptures. Serralves, 2011.

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2

Donald Judd: Large-scale works : published in conjunction with a show of recent sculpture, March 27-April 24, 1993. Pace Gallery, 1993.

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3

Barlach, Ernst. Briefwechsel, 1900-1938. Piper, 1997.

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4

1976-, Rothkopf Scott, Moody Rick, Roy Lichtenstein Foundation, and Mitchell-Innes & Nash, eds. Roy Lichtenstein: Times Square Mural : a catalogue published on the occasion of the unveiling of the Times Square Mural and the exhibition at Mitchell-Innes & Nash, September 5-October 19, 2002. Roy Lichtenstein Foundation, 2002.

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5

Them: A memoir of parents. Penguin Press, 2005.

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6

Gray, Francine du Plessix. Them. Penguin Group USA, Inc., 2008.

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7

Stokes, John. Beyond Sculpture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0006.

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In the 1880s, Wilde responded with enthusiasm to reconstructions of classical Greek theatre staged in Oxford, Cambridge, and London, and his published reviews draw extensively on his own classical training together with ideas taken from Georg Wilhelm Friedrich Hegel, Walter Pater, and John Addington Symonds. He took a similar interest in contemporary plays based on classical subjects, such as Alfred Lord Tennyson’s The Cup and John Todhunter’s Helena in Troas. This chapter describes how Wilde’s experience of Greek theatre and its offshoots in live performance contributed to his fascination with the art of the actor, with theatrical space, with the deployment of scenery, and with the relation of archaeology to architecture. It concludes by tracing an underlying shift in his dramatic theory from ‘plasticity’ to ‘psychology’.
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8

J, Khandalavala Karl, Mathur Asharani, Singh Sonya, and Festival of India, eds. Indian bronze masterpieces: The great tradition : specially published for the Festival of India. Specially published on behalf of the Festival of India by Brijbasi Printers, 1988.

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9

Coley, Nathan. Black tent: Catalogue published on the occasion of Black tent, a sculpture by Nathan Coley, commissioned for Portsmouth Cathedral by Art and Sacred Places, 2003. Edited by Wade Gavin and Art and Sacred Places. Art & Sacred Places, 2003.

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10

Ware, Chilli. Ice Sculptor: Desktop Publisher. Pearson Publications Company, 2001.

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11

Perumāḷmurukan̲, ed. U. Vē. Cā., pan̲muka āḷumaiyin̲ pēruruvam. Kālaccuvaṭu Patippakam, 2005.

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12

Behar, Ruth, Juanamaría Cordones-Cook, and Kristin Schwain, eds. Handmade in Cuba. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401520.001.0001.

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Handmade in Cuba is an in-depth examination of Ediciones Vigía, an artisanal press that published exquisite books crafted from everyday supplies during some of Cuba’s most dire economic periods. Vividly illustrated, this volume shows how the publishing collective responded to the nation’s changing historical and political situation from the margins of society, representing Cuban culture across the boundaries of race, age, gender, and genre. In this volume, poets and scholars reflect on the unique artistic work of Rolando Estévez, who oversaw the creation of over 500 handmade books and magazines between 1985 and 2014. They highlight the beautiful designs and unusual materials selected, including fabric, metals, wood, feathers, and discarded items. Through diverse perspectives, including an interview with Estévez himself, the essays showcase the unlimited inventive possibilities of books as objects, as sculptural pieces, and as installations. Even in the age of digital technology, Estévez generated enormous excitement and admiration for these hand-crafted books, and this volume offers the first inside view of this important alternative publishing space.
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13

Oni: Vospominanii︠a︡ o roditeli︠a︡kh. AST, 2017.

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14

Pollard, Natalie. Poetry, Publishing, and Visual Culture from Late Modernism to the Twenty-first Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852605.001.0001.

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This book examines why it is important to appreciate cultural artefacts such as poems, sculptures, and buildings not as static, perfected objects, but as meshworks of entangled, mutable, and trans-personal forces. Offering six such case studies across the long twentieth century, the book focuses on how poetic works activate closer appreciation of literature’s hybridity. The book analyses how such texts are collaborative, emergent, and between-categories, and shows why this matters. It focuses, first, on how printed poetry is often produced collaboratively, in dialogue with the visual and plastic arts; and second, how it comes about through entangled and emergent agencies. Both have been overlooked in contemporary scholarship. Although this proposal makes some trouble for established disciplinary modes of reception and literary classification, for this reason, it also paves the way for new critical responses. Chiefly, Fugitive Pieces encourages the development of modes of literary critical engagement which acknowledge their uncertainty, vulnerability, and provisionality. Such reading involves encountering poems as co-constituted through materials that have frequently been treated as extra-literary, and in some cases extra-human. Focusing on works by Djuna Barnes, David Jones, F.T. Prince, Ted Hughes, Denise Riley, and Paul Muldoon, Fugitive Pieces fosters closer attention to how literary works operate beyond the boundaries of artistic categorization and agency. It examines the politics of disciplinary criticism, and the tensions between anthropocentric understandings of value and intra-agential collaborative practices. Its purpose is to stimulate much-needed analysis of printed works as combinatorial and hybrid, passing between published versions and artforms, persons and practices.
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15

Gray, Francine du Plessix. Them: A Memoir of Parents. Penguin Press HC, The, 2005.

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16

Them: A Memoir of Parents. Penguin (Non-Classics), 2006.

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