A unique anthology of articles on contemporary sculptors drawn from the 25-year history of Sculpture magazine, A Sculpture Reader offers a valuable overview of three dimensional art since 1980. Focusing on individual artists rather than themes or movements, the 42 essays in A Sculpture Reader capture the wide-ranging possibilities that characterize contemporary sculpture.

A Sculpture Reader: Contemporary Sculpture Since 1980 (Perspectives in Contemporary Sculpture)

Arts & Photography

History & Criticism

International Sculpture Center

Sculpture parks and gardens, whether woodland sanctuaries or urban retreats, sprawling sites or intimate oases, offer sculpture lovers and artists alike unique ways to experience the outdoors, sculpture, and the intersections between nature and culture. Since the mid-20th century, these venues have become important tourist destinations and essential aspects of public life in cities such as Chicago, Minneapolis, and Seattle and regions such as Yorkshire in England and the Hudson Highlands in New York. Landscapes for Art: Contemporary Sculpture Parks surveys a wide range of sculpture parks and gardens that focus on contemporary art--from well-established, museum-type institutions to small-scale, non-collecting, experimental programs. The book includes profiles of sculpture parks in the U.S., U.K., Japan, Australia, Lithuania, China, Italy, Canada, the Netherlands, Belgium, India, Latvia, Sweden, and Finland (among others). There are articles on key topics by art critics, landscape architects, and sculpture park professionals and interviews with Isamu Noguchi, Martin Friedman, and Alfio Bonanno.

Landscapes for Art: Contemporary Sculpture Parks (Perspectives in Contemporary Sculpture)

For more than 40 years, sculptors have been at the forefront of environmental and ecological/social innovation, making works that treat the earth as creative partner rather than resource and raw material. The new earthwork, which is currently at the leading edge of sculptural practice, means art for the future of humanity and the planet; it means a new approach to aesthetics and the role of art in our lives; it means a sustainable and vital artistic practice that not only solves problems but dares to ask questions and seek answers across disciplinary boundaries. Working in the land to solve agricultural, habitat, and water problems; using new materials and technologies; employing, and sometimes generating, alternative energy sources; taking action and educating about recycling, frontier biology, and genetic engineering, these artists demonstrate how art can open people's eyes, drive change, and envision more than one possible future.

The New Earthwork: Art Action Agency (Perspectives in Contemporary Sculpture)

Sculpture

Percent-for-art commissions may represent the official, professionalized face of public art, but beyond the plaza-in neighborhoods, back streets, and vacant lots, in suburban hinterlands, rural villages, and remote virtual realms-another kind of art has been taking shape, one that questions the very nature and experience of the commons. Driven by artists, curators, and non-profit organizations, these independent projects treat public space as more than an outdoor gallery. Whether temporary or permanent, guerrilla or sanctioned, object or action, such works invite us to imagine alternative ways of seeing and being while opening up new possibilities for individual and collective consciousness. When we enter their domain, public space becomes a site of resistance, a stage on which to enact experimental scenarios, and a catalyst for action-a place of both art and life.

Artists Reclaim the Commons: New Works / New Territories / New Publics (Perspectives on Contemporary Sculpture)

Brilliant stories: American narrative jewelry

Herman, Lloyd E.

This exhibition presented contemporary Japanese calligraphy to an American audience and began its tour at the Corcoran Gallery of Art in Washington, DC, in 1993 before traveling to ten other US locations. The illustrations and essays introduce the history and art of calligraphy, as well as its influence on American art and its present status in Japan. The exhibition was organized by IA&amp;A's President David Furchgott during his involvement with the International Sculpture Center (catalogue publisher).

Eloquent Line: Contemporary Japanese Calligraphy

Reference

David Clarke

Cecil H. Uyehara

Ichiro Hairu

Words, Language & Grammar

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