Книги про скульптуру и керамику

The first-ever spomenik guidebook, with over 75 examples alongside map references and information on why they exist and who built them. 

Spomenik’ the Serbo-Croat/Slovenian word for ‘monument’ – refers to a series of memorials built in Tito’s Republic of Yugoslavia from the 1960s-1990s, marking the horror of the occupation and the defeat of Axis forces during World War II. Hundreds were built across the country, from coastal resorts to remote mountains. Through these imaginative forms of concrete and steel, a classless, forward-looking, socialist society, free of ethnic tensions, was envisaged. 

Instead of looking to the ideologically aligned Soviet Union for artistic inspiration, Tito turned to the west and works of abstract expressionism and minimalism. As a result, Yugoslavia was able to develop its own distinct identity through these brutal monuments, which were used as political tools to articulate Tito’s personal vision of a new tomorrow. Today, following the breakup of the country and the subsequent Yugoslav Wars of the 1990s, some have been destroyed or abandoned. Many have suffered the consequences of ethnic tensions – once viewed as symbols of hope they are now the focus of resentment and anger. 

This book brings together the largest collection of spomeniks published to date. Each has been extensively photographed and researched by the author, to make this book the most comprehensive survey of this obscure and fascinating architectural phenomenon. 

A fold-out map on the reverse of the dust jacket shows the exact location of each spomenik using GPS coordinates.

A magnificent catalogue of the V&A's collection of twentieth-century and contemporary British ceramics

Contemporary ceramicists working in Britain, including Rachel Kneebone, Grayson Perry and Edmund de Waal, are part of a broader international group of artists experimenting with clay, considering how it intersects and works in dialogue with other art forms and with culture at large. Recent experimentation with the medium owes much to the rapid evolution of ceramics into an expanded field, and to the work of mid- to late 20th-century potters and their reinvention of ceramics as a radical and contemporary art practice. The pioneering methods and rethinking of form in the work of exponents such as Bernard Leach, Michael Cardew, Lucie Rie, Hans Coper and Alan Caiger-Smith – whose reference points were drawn from East Asia, Africa, the ancient Mediterranean and the Middle East as much as from their own heritage – continue to influence and inspire contemporary makers. In his introductory essay, Alun Graves, Senior Curator at the Victoria and Albert Museum, London, provides all lovers of ceramics – collectors, practitioners, historians and those interested in modern and contemporary art and crafts – with the historical context, documenting the medium’s shift into an expressive, and sometimes interventionist, art form. An extensive visual catalogue, Studio Ceramics is the primary reference for 20th-century and contemporary British studio ceramics, and a record of the national collection of British ceramics held at the V&A.

Contents List:

Foreword by Tanya Harrod
Preface by Alun Graves
Studio Ceramics in Britain
Timeline of Ceramics
A-Z of Artists

About the Authors:

Alun Graves is Senior Curator, Ceramics and Glass 1900–now, in the Department of Decorative Art and Sculpture at the Victoria and Albert Museum, London. He has written widely on 20th and 21st-century British ceramics and sculpture, contributing to a variety of journals, collected papers and exhibition catalogues. He has curated many exhibitions and displays, including Simon Carroll: Expressionist Potter (2014–15), Barnaby Barford: The Tower of Babel (2015), and Alison Britton: Content and Form (2016).

An essential reference guide to the methods and techniques of glazing

Packed with information and glaze recipes, The Glaze Book will enable you to reference hundreds of ceramic surfaces. Each glaze recipe is clearly illustrated so you can see the colour and surface responses it has to offer, and features a description including its firing range, and the uses to which it can be put.

The Glaze Book provides easily accessible help on
- Methods and Techniques
- Raw Materials
- Glazing Tools and Equipment
- Mixing a Glaze
- Methods of Application
- Glaze Recipes for Earthenware, Stoneware and Porcelain

About the Author:

Stephen Murfitt has been working with ceramics for the past 30 plus years both teaching and exhibiting.

An essential reference for anyone working with ceramics, from weekend crafters and students to practising ceramicists seeking a one-stop reference on techniques and processes, this workshop reference covers both traditional and contemporary practices, collecting the breadth and range of ceramic techniques into one definitive volume for amateur and specialist alike.

A directory of materials, tools, machinery and furniture describes everything you need to set up an effective workshop. It includes an extensive guide to forming techniques, from pinch, coil, slab and wheel to mould-making, slip casting and extrusion, detailed sections on slip decoration, embossing and glazing, glaze recipes and applications. These techniques are explored thematically to facilitate the process of discovery that takes place in the workshop, supported by detailed descriptions and step-by-step photography. At the back of the book, there is a comprehensive guide to firing and kilns, along with charts and tables for quick reference. All techniques are examined closely for relevance to practice and quality of finish.

The practical processes of running a workshop are discussed alongside the more complex techniques of making unique work.

Examples of how to set up a studio, good workshop practices, toolmaking, and recycling of materials act as a foundation to creating a strong workshop environment to carry out your work.

Celebrates the contemporary revival of pottery, focusing on six inspiring cities and their makers

​Clay is back: the age-old craft of ceramics is being embraced by a new generation of urban makers and collectors. Author Katie Treggiden explores the contemporary revival of pottery, focusing on six inspiring cities and their makers. 27 young and passionate ceramicists in New York, London, Tokyo, Copenhagen, Sydney and Sao Paulo introduce us to their work, their studios and their inspiration.

Urban Potters: Makers in the City will appeal to a broad audience – not only those who practice pottery themselves, but anyone who is interested in the handmade. The book also includes a practical source list of places to buy handmade ceramics in the six cities featured.   

About the Author:

Katie Treggiden is a design writer, editor, curator, lecturer and consultant. Treggiden writes for the Guardian Magazine, the Telegraph Magazine, Elle Decoration and Icon, among others. She is the author of The Makers of East London and The Residents: Inside the Iconic Barbican Estate.

The book presents the extraordinary three-dimensional “live sculptures” by the Russian architect, designer, writer and artist.

Having some engineering experience, Klyukin was able to experiment and derive a concept of connecting steel sheets on a non-existent, speculative axis without any actual fasteners. The principle of mobility of each individual piece was the basis for this technological innovation. Each sculpture created without physical fasteners is easily assembled and disassembled. This new experience brought new satisfaction. One of the statuettes done using the “live sculpture” technique, the Golden Madonnina, was used as the official award during Milan Design Week in 2017, a kind of Oscar for designers.

Vasily Klyukin was born in Moscow in 1979. From 1995 to 2010, he was active in business; when he left business he moved to Monaco, where he took up writing, architecture, and design. In 2013, he published Designing Legends, an album of architectural concepts that contained fifty of his visions for future buildings such as towers, office buildings, museums, and opera houses. Klyukin is recognized by many for his pronounced individuality and the unique shapes of his buildings. He strives to make each building internationally recognizable and mark it as the symbol of the city, or even the country that hosts it. In 2016, he published a sci-fi novel, Collective Mind. This is a dystopia about the creation of artificial intelligence, a computer that uses human brain as fuel. The book has been translated into English and French and published around the world. The sequel to the novel is expected in 2019. Hollywood producer Peter D. Graves has optioned Collective Mind.

His main achievement is the live sculptures technique that he created in 2017 and that he uses to craft influential and memorable installations. His first solo exhibition of live sculptures is based on Dante Alighieri’s The Divine Comedy and is called

In Dante Veritas. Currently displayed at the State Russian Museum in St. Petersburg, the collection of twenty-seven sculptures will soon be traveling to Moscow, then the Vatican, Venice, Miami, and New York.

“My sculptures are a symbiosis of engineering and meaning.” —Vasily Klyukin

5000 Years of Tiles is the essential, single-volume colour compendium of tile art and production around the world, from ancient times to the present day.

Over 350 beautiful colour illustrations showcase an incredible range of tile arts, including the first fired roof tiles in ancient Greece in the third millennium BC, English medieval floor pavements from Clarendon Palace, figural tiles from China, richly patterned Iznik tiles from the Islamic world and stylized ceramic tiles of the Arts and Crafts movement.

Placing the tiles firmly in their historical and cultural context, this richly illustrated book highlights the continuity and diversity of tiles, examining how tile art in one time and place has inspired and rejuvenated those in others. The function and form of this versatile art is examined in stunning detail, from floors to roofs, stoves to bathrooms, cathedrals to metro stations to reveal a fascinating history of design, colour and decoration.

This stunning two-volume set evokes the differences, as well as the affinities, between the works of groundbreaking artists Yves Klein and Alberto Giacometti.
 
Volume one of this beautiful new book features archival images of both artists among new texts by curator Joachim Pissarro and others, as well as never- before-translated texts by Isaku Yanaihara, Dino Buzzati, and Pierre Descargues. Detailed illustrated chronologies for each artist complete volume one, while the colourful second volume includes colour plates of all the works displayed during Gagosian Gallery’s 2016 London exhibition of the same title, as well as installation images.

About the authors:

Joachim Pissarro is the Bershad Professor of Art History and Director of the Hunter College Galleries at Hunter College in New York City. He was a curator at MoMA’s Department of Painting and Sculpture. 

Danielle Peterson Searls is an art historian specializing in French Modernism, Romanesque art, and Islamic textiles. 
Catherine Grenier has been the director of the Fondation Giacometti since 2014. She has organized several major exhibitions of Alberto Giacometti’s work. 

Daniel Moquay is director of the Yves Klein Archives. He has organized more than forty retrospective exhibitions of Klein’s work and published more than thirty books on the artist. 

Cecilia Braschi is an art historian and former researcher at the Fondation Alberto et Annette Giacometti (2005–2011). She has curated exhibitions of and written extensively on Alberto Giacometti. 

Richard Calvocoressi is the former curator at the Tate Gallery, London (1977–1983), as well as the former director of the Scottish National Gallery of Modern Art (1987–2007) and of the Henry Moore Foundation (2007–2015).

This book references all the artist's periods and media: sculpture (plaster, bronze), paintings, drawings, prints… It will allow a comprehensive view of Alberto Giacometti's creation, from early works to the surrealist period, from the return to figuration to his work from models, and to the invention of the great post-war icons. Over 230 works are represented, including several masterpieces such as Spoon Woman (1927), The Invisible Object (1934-35), Woman with Chariot (1945), The Nose (1947), and Walking Man (1960).

Giacometti’s works are separated into fourteen original sections revealing the themes favoured by the artist - the representation of the head, the face, the female body, etc. The book is punctuated by seven essays written by leading art historians who dwell on the detours and questions that mark Alberto Giacometti's creative process, but also allow the reader to discover his relationship to loneliness, melancholy, and his hard work with his models: his wife Annette, his brother Diego, his close friends. This catalogue aims to introduce the reader to another Giacometti, the one who experiments with the limits of sculpture, and the formidable painter who also practices, alongside the portrait, the genres of landscape or still life.

A comprehensive survey of the work of the legendary Swiss artist, this book illustrates and examines more than 100 of his sculptures, paintings, drawings, and prints

This lavishly illustrated retrospective traces the early and midcareer development of the preeminent Swiss artist Alberto Giacometti (1901–1966), examining the emergence of his distinct figural style through works including a series of walking men, elongated standing women, and numerous busts. Rare paintings and drawings from his formative period show the significance of landscape in Giacometti’s work, while also revealing the influence of the postimpressionist painters that surrounded his father, the artist Giovanni Giacometti. Other areas of inquiry on which Alberto Giacometti casts new light are his studio practice ― amply illustrated with photographs ― his obsessive focus on depicting the human head, his collaborations with poets and writers, and his development of the walking man sculpture, thanks to numerous drawings, many of which have never been shown. Original essays by modern art and Giacometti specialists shed new light on era-defining sculptural masterpieces, including the Walking Man, the Nose, and the Chariot, or on key aspects of his work, such as the significance of surrealism, his drawing practice, or the question of space.

About the Author:

Emilie Bouvard is director of collections and scientific program at the Fondation Giacometti, Paris.

What was particularly memorable for those who saw Anish Kapoor’s first shows, in the early eighties, was the silence conveyed to the exhibition space by those small sculptures covered with yellow, red, black or blue pigments.

When the young Kapoor became established on the international scene at the beginning of the eighties,immediately attracting the attention of critics, the art scene was characterized by very noisy art made of large-format paintings, mainly with harsh and violent colors, and redundant in memories and citations ranging from art history to mythology. In this context, Kapoor’s intimist sculptures were offbeat and also distinguished themselves from the so-called “New British Sculpture” so widely discussed in those years.

On closer inspection, that “new” sculpture was not so very new at all, since it constructed narratives and figurative images made through a system of signs placed in relation to each other to give life to a compositional whole.

The young British sculptors had inherited this conception of sculpture from Anthony Caro, and although it was already the postmodern era Caro, as the expression of a tendency to be overcome, was considered the father to kill. The only one of those artists who created a new way to understand sculpture was Kapoor himself, who felt it was possible to return to the origins of art without suffering inferiority complexes towards the artistic avant-gardes of the twentieth century.

Not that Kapoor distanced himself from the history of modern art - as evidenced by his interest in Constantin Brancusi, Marcel Duchamp, Yves Klein, Barnett Newman, Robert Smithson or Donald Judd. To put it simply, he believed there were archaic forms tied to the spiritual dimension that never lost their ability to create relationships between individuals.

A new and updated edition of the definitive monograph on the British artist Antony Gormley, now available in an affordably priced format.

This beautiful and comprehensive monograph, expanded and updated in a new affordably priced edition, examines the entirety of Gormley’s career, from his earliest sketches to his best-known public installations. Martin Caiger-Smith’s “magnificent, magisterial overview” (The Independent) examines the relationship between Gormley’s life and art and identi-fies the singular vision that ties together a vast canon of work in an extraordinary range of media and materials.

Best known for the major public works that most visibly represent his innovative approach to sculpture, Gormley is a prolific artist who has renegotiated the tension between the individual and the universal. Drawing on images that range from childhood snap-shots to photographs of his most recent installations, this book traces the evolution of Gormley’s work, from the drawings he makes every day in the studio, through the constantly evolving process of casting his own body in various forms, to the ultimate expression of his ideas in such masterpieces as the colossal Angel of the North or the scattered figures of Another Place.

Illustrated with hundreds of images that explore the scale and impact of Gormley’s work — including his acclaimed exhibition at the Royal Academy in 2019, as well as recent installations in Florence, Delos, and New York City—and “dense with insight and deeply considered analysis from the author” (Financial Times), this book is the definitive survey of a monumental career.

About the Author:

Martin Caiger-Smith is Head of the MA Curating the Art Museum program at the Courtauld Institute in London. In his prior roles as Head of Exhibitions and Acting Director of the Hayward Gallery, he organized major exhibitions that showed internationally, including retrospectives of Francis Bacon (1998), Roy Lichtenstein (2004), and Dan Flavin (2006). He writes frequently on art, photography, and architecture. 

The first book to document the history of the groundbreaking company Architectural Pottery, tracing its critical influence on midcentury design and its enduring appeal today

Architectural Pottery’s strikingly minimalist designs heralded new domestic housewares that could uniquely accent the modern home - inside and out. Formally expressive yet accessible, their refreshingly unembellished, elegant pots and planters were enthusiastically received by the public upon Architectural Pottery’s launch in 1950, soon ubiquitous in spaces representing the epitome of modern living.

Highly coveted and prized in design circles, they were seen in houses by Richard Neutra, John Lautner, and the historic Case Study Houses, and featured in the first of MoMA’s legendary Good Design exhibitions alongside now-iconic designs by Ray and Charles Eames, Alexander Girard, and George Nelson. Over three decades, Architectural Pottery also developed innovations in stoneware production, expanded into fiberglass furniture, and included famed furniture designer Paul McCobb and sculptor David Cressey on its roster of designers.

A midcentury modern design enthusiast’s dream, Architectural Pottery: Ceramics for a Modern Landscapeis the first full history of this celebrated and influential brand. Richly illustrated with contemporary photography and extensive visual archival material—including the records of the founders Rita and Max Lawrence, and the personal archives of designers, art directors, and photographers associated with the company - it both tells a compelling story and is a valuable resource for collectors and interior designers.

The publication of this new book will coincide with a major exhibition at the American Museum of Ceramic Art in Pomona, California.

About the Authors:

Daniel Chavkin is a photographer, collector, and researcher of all things modernist, and the author of Unseen Midcentury Desert Modern.

Jeffrey Head is a writer specializing in architecture and design and is author of several books.

Jo Lauria is a Los Angeles–based curator, writer, and educator, as well as coauthor of Master of the Midcentury: The Architecture of William F. Cody, also published by Monacelli.

Celebrating the 400th anniversary of traditional Japanese ceramic culture as interpreted by today’s leading designers

The art of Japanese porcelain manufacturing began in Arita in 1616. Now, on its 400th anniversary, Arita / Table of Contents charts the unique collaboration between 16 contemporary designers and 10 traditional Japanese potteries as they work to produce 16 highly original, innovative and contemporary ceramic collections rooted in the daily lives of the 21st century. More than 500 illustrations provide a fascinating introduction to the craft and region, while the contemporary collections reveal the unique creative potential of linking ancient and modern masters.

About the Author:

Anniina Koivu is a critic, editor, and consultant. She was the editor of Abitare magazine, the director of research and head of international PR & partnerships at Vitra, and in 2013 was appointed head of theory of the masters’ programmes in product design and art direction at ECAL in Lausanne. She is the author of Works (2012) and editor-in-chief of The Walking Society (2015).

This visually stunning love letter to the art of traditional crafts takes readers inside Europe’s most illustrious — and in many cases endangered — decorative arts workshops to profile how artisans continue to maintain the highest centuries-old standards of workmanship and creativity.

Beginning in the Renaissance, ateliers were established as places for European artists to work and teach their crafts. Centuries later most of these spaces have disappeared, but a select few continue to produce some of the world’s most celebrated and sought-after objects in the areas of crystal, ceramics, wrought iron, fabric, bookbinding, mosaic, wood paneling, and more. John Whelan and Oskar Proctor traveled throughout Europe to document these important spaces, both to celebrate them and to preserve their disappearing ideals. Ranging from the well-known to the obscure, this volume takes readers inside dozens of ateliers from Austria, England, France, Germany, Italy, Spain, and Switzerland. Sumptuous double-page spreads feature alluring photography, and fascinating background texts tell their stories. By shining a light on their collective value as well as their individual expertise, this book offers both a historic evaluation of how ateliers have been shaped by modern forces — and also a clarion call for their preservation.

About the Author:

John Whelan is a specialist in heritage design and creative direction. His heritage projects include a revival of la brasserie française, France’s most iconic culinary export, and his clients include brands such as Cire Trudon, the oldest candlemaker in France. His work has been profiled by Architectural Digest, Vanity Fair, and The Time (London). He lives in Venice, Italy.

__________

Пролистать книгу Ateliers of Europe: An Atlas of Decorative Arts Workshops