Sculpture as Experience 2nd Edition explores the freedoms and possibilities inherent in sculpture. Beginning with exercises in seeing and drawing for beginners and experienced artists alike, Dr. Judith Peck goes on to describe different approaches to creating sculpture, including both aesthetic and practical methods for working with a wide range of media. &break;&break;The expanded second edition includes: &break;&break;Six new chapters devoted to paper productions, foam core fabrications, wood constructions, sand sculpture, project preservations and patina, and mounting &break;&break;200 color photos to encourage individual creativity and provide inspiration &break;&break;In-depth instructions demonstrating techniques for working with found objects, clay, foil and pariscraft, wax, wire, plaster and cement and vermiculite &break;&break;Checklists of tools and materials needed for each medium and technique &break;&break;Generously illustrated in color with student work and the author's own art, Sculpture as Experience 2nd Edition will broaden the definition of what sculpture is and help the individual sculptor find his or her medium.

"delightful, readable, and scholarly. The volume is profusely and well illustrated, each art example is clearly labelled and dated, and superb supplementary references for illustrations and supplementary suggestions for further reading are added to complete the study." Choice

Pushed to the height of its illusionistic powers during the first centuries of the Roman Empire, sculpture was largely abandoned with the ascendancy of Christianity, as the apparent animation of the material image and practices associated with sculpture were considered both superstitious and idolatrous. In Pygmalion’s Power, Thomas E. A. Dale argues that the reintroduction of architectural sculpture after a hiatus of some seven hundred years arose with the particular goal of engaging the senses in a Christian religious experience. Since the term “Romanesque” was coined in the nineteenth century, the reintroduction of stone sculpture around the mid-eleventh century has been explained as a revivalist phenomenon, one predicated on the desire to claim the authority of ancient Rome. In this study, Dale proposes an alternative theory. Covering a broad range of sculpture types—including autonomous cult statuary in wood and metal, funerary sculpture, architectural sculpture, and portraiture—Dale shows how the revitalized art form was part of a broader shift in emphasis toward spiritual embodiment and affective piety during the late eleventh and twelfth centuries. Adding fresh insight to scholarship on the Romanesque, Pygmalion’s Power borrows from trends in cultural anthropology to demonstrate the power and potential of these sculptures to produce emotional effects that made them an important sensory part of the religious culture of the era.

"Looking at art through the lens of psychedelic experience and culture... reveals an unexpected and illuminating dimension of art since the 1960s--not just obvious signs of psychedelic sytle but an underlying psychedelic ethos animating the works." --back cover.

Introduction : marking time -- What is slow art? (when images swell into events and events condense into images) -- Living pictures -- Before slow art -- Slow art emerges in modernity I : secularization from Diderot to Wilde -- Slow art emerges in modernity II : the great age of speed -- Slow fiction, film, video, performance, 1960 to 2010 -- Slow photography, painting, installation art, sculpture, 1960 to 2010 -- Angel and devil of slow art

Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].

A comprehensive guide for sculptors looking to recreate the human body using clay, from the author of The Portrait in Clay In Sculpting the Figure in Clay, acclaimed portrait bust sculptor Peter Rubio teaches a master class in the essentials of figurative sculpture. In this intensive, all-inclusive guide, he introduces students to a natural, straightforward geometry that will help them become masters at forming figures of clay. Rubino’s unique approach utilizes a geometric system consisting of blocks, simple shapes, and guidelines that instruct students in a new and instinctive sculptural style, With these easy-to-follow instructions and informative concepts, students will see figures as the basic shapes beneath the form as well as learn vital approaches such as BLT: Bend, Lean, and Turn, to create evocative expression, and the Three Ps: Position, Proportion, and Plans, for accurate representation. Other topics include: • The Fundamentals of the Clay Torso • Observing the Model • Essential Materials and Tools • Sculpting the Female Torso from the Live Model • Sculpting the Reclining Figure from the Live Model • Sculpting the Hand, Foot, and Lower Arm • Plus Many Photographic Reference Poses for Continued Study This unparalleled resource is the definitive guide to figurative sculpture.

“The rhythm of the body moving through space has been the motivating source of most of my work.”—Richard Serra Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration—from Donatello and Brancusi to Japanese gardens and Machu Picchu—revealing a history of sculpture across time and culture through the eyes of one of the medium’s most brilliant figures. Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

This book provides original grounds for integrating the bodily, somatic senses into our understanding of how we make and engage with visual art. Rosalyn Driscoll, a visual artist who spent years making tactile, haptic sculpture, shows how touch can deepen what we know through seeing, and even serve as a genuine alternative to sight. Driscoll explores the basic elements of the somatic senses, investigating the differences between touch and sight, the reciprocal nature of touch, and the centrality of motion and emotion. Awareness of the somatic senses offers rich aesthetic and perceptual possibilities for art making and appreciation, which will be of use for students of fine art, museum studies, art history and sensory studies.