SCULPTURE GARDEN OF THE GODS, a book of black and white photographs, and prose, is the fruit of writer and photographer Thomas K. Shor's three winters upon this mountain--often blown by hurricane-force winds and engulfed in thick fog. Shor weaves the poetic force of his eye with that of his pen to take us on a journey to this otherworldly landscape, where lashing winds sculpt solid granite into forms that look like living beings with an uncanny regularity. It is a place of mystery and beauty, where the most enduring is dissolved by the most fleeting, where wisps of fog blown by a gale can cause an entire mountainside to disappear in an instant. It is a landscape that elicits a deep sense of wonder. Not only do great expanses of space open out on this mountain, but time opens out as well: Fresh cracks occur and are rounded by the years. Rocks balance for centuries before succumbing to a fissure. Stories are told in stone that are thousands of years old, forming a continuity from geologic times to our own. The rock formations are so strange and improbable--in seeming defiance of the logic that shapes landscapes--that one cannot help but wish one could go there with a geologist who could explain how it could have been left that way by nature, how such forms occur, how one huge granite boulder could have been left balancing so delicately upon another. Yet to have the eye of a geologist, to 'understand' the ravages of time that quite certainly led to this hauntingly beautiful and otherworldly landscape, would threaten the mystery of the place. SCULPTURE GARDEN OF THE GODS, with its 190 black-and-white photographs, takes us on a journey to this mythic yet very real landscape which gave birth to Dionysus, where the animating wind has been sculpting matter for untold millennia, giving breath to stone and bringing it to life.

This is the bilingual English/Greek edition. The Greek island of Ikaria has gained notoriety lately for being a so-called "Blue Zone," one of the places on the planet where people live the longest. This otherwise obscure island was also known to the Ancients as the birthplace of the Greek god of ecstasy and wine, Dionysus, who was born upon the rocky ridge of mountain that runs down the center of the island. SCULPTURE GARDEN OF THE GODS, a book of B and W photographs, and prose, is the fruit of writer and photographer Thomas K. Shor's three winters upon this mountain-often blown by hurricane-force winds and engulfed in thick fog. Shor weaves the poetic force of his eye with that of his pen to take us on a journey to this otherworldly landscape, where lashing winds sculpt solid granite into forms that look like living beings with an uncanny regularity. It is a place of mystery and beauty, where the most enduring is dissolved by the most fleeting, where wisps of fog blown by a gale can cause an entire mountainside to disappear in an instant. It is a landscape that elicits a deep sense of wonder. Not only do great expanses of space open out on this mountain, but time opens out as well: Fresh cracks occur and are rounded by the years. Rocks balance for centuries before succumbing to a fissure. Stories are told in stone that are 1,000s of years old, forming a continuity from geologic times to our own. The rock formations are so strange and improbable-in seeming defiance of the logic that shapes landscapes-that one cannot help but wish one could go there with a geologist who could explain how it could have been left that way by nature, how such forms occur, how one huge granite boulder could have been left balancing so delicately upon another. Yet to have the eye of a geologist, to 'understand' the ravages of time that quite certainly led to this hauntingly beautiful and otherworldly landscape, would threaten the mystery of the place. Also available English edition.

Sculptor Ho Baron's "Gods for Future Religions" tells a story of an imaginary kingdom where his surreal sculptures play Jungian archetypal roles. Within the narrative, he explores mythological world archetypes and their influence on his visionary creative process. The art book also highlights samples of his earlier pen and ink drawings and photography and includes biographical anecdotes about the development of his 40-year oeuvre.

In the heroic tradition of Michelangelo and Rodin, Donald DeLue's (1897-1988) monumental sculpture adorns such sites as Valley Forge ( Washington at Prayer ) and Gettysburg ( Peace and Memory ). His 45-foot-high Rocket Thrower soared above the 1964 NewYork World's Fair, symbolizing humanity's conquest of outer space. Less well known to the public than Paul Manship, whose assistant he briefly was, DeLue receives a fitting tribute in this biography/critical study, the first monograph on the artist. Howlett, president of Childs Galleries in Boston and New York, knew DeLue well and seems attuned to the sculptor's traditionalist blend of classical myth, national symbolism and spiritualized personification of emotions. Fiery and primal, DeLue's most original work reaches beyond the spring of classical perfection to tap archaic Greek and Minoan sources.

This book examines how Pompeian peristyle gardens were utilized to represent the socioeconomic status of Roman homeowners, introducing fresh perspectives on how these spaces were designed, used, and perceived. Pompeian Peristyle Gardens provides a novel understanding of how the domus was planned, utilized, and experienced through a critical examination of all Pompeian peristyles – not just by selecting a few well-known examples. This study critiques common scholarly assumptions of ancient domestic space, such as the top-down movement of ideas and the relationship between wealth and socio-political power, though these possibilities are not excluded. In addition, this book provides a welcome contribution to exploring the largely unexamined middle class, an integral part of ancient Roman society. Pompeian Peristyle Gardens is of interest to students and scholars in art history, classics, archaeology, social history, and other related fields.

Fifteen hundred years ago, Teotihuacan was one of the world's greatest cities. Some 200,000 people lived in this Mexican metropolis, with its massive public buildings, grid plan of streets and imposing murals and sculpture. Its trading empire dominated much of ancient Mexico. Then, in the 8th century, came a mysterious collapse. Even knowledge of the original name was lost: Teotihuacan, City of the Gods, was a title bestowed by the Aztecs six hundred years later.

This innovative book poses two, deceptively simple, questions: what is a sculpture garden, and what happens when you give equal weight to the main elements of landscape, planting and artwork? Its wide-ranging frame of reference, including the USA, Europe and Japan, is brought into focus through Tremenheere Sculpture Garden, Cornwall, with which the book begins and ends. Effectively less than 15 years old, and largely the work of one man, Tremenheere affords an opportunity to examine as work-in-progress the creation of a new kind of sculpture garden. Including a historical overview, the book traverses multiple ways of seeing and experiencing sculpture gardens, culminating in an exploration of their relevance as 'cultural ecology' in the context of globalisation, urbanisation and climate change. The thinking here is non-dualist and broadly aligned with New Materialisms and Material Feminisms to explore our place as humans in the non-human world on which we depend. Eminent contributors, including John Dixon Hunt, George Descombes, Bernard Lassus and David Leatherbarrow, approach these issues through practices and theories of landscape architecture; garden and art making; history and writing; and philosophy. Richly illustrated with over 100 images, including a colour plate section, the book will primarily appeal to those engaged in professional or academic research, along with sculpture garden visitors, who will find new and surprising ways of experiencing plants and art in natural and urban settings.