Si la sculpture reste au coeur de sa pratique artistique, les intérêts et la production d'Isamu Noguchi (1904-1988) couvrent un domaine exceptionnellement vaste qui comprend des meubles et des lampes, des décors pour la danse, des places, des cours et des jardins. Noguchi ne faisait aucune distinction entre le design, l'artisanat et les soi-disant beaux-arts. Bien que ses jardins comprennent plusieurs des aménagements paysagers les plus emblématiques du XXe siècle, Noguchi occupe néanmoins une place éloignée de la pratique normale de l'architecture paysagère. Dans cette étude complète et richement illustrée des jardins de Noguchi, le célèbre historien du paysage Marc Treib décrit et analyse ces projets réalisés principalement aux États-Unis, au Japon et en Israël.
Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of 'curating as practice'.
Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine.
Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing international recognition as an abstract painter. This is the first publication to examine Bowling's art and ideas in relation to sculpture. An extended essay by Sam Cornish charts Bowling's interactions with sculpture since the 1960s, beginning with his important shaped canvas Swan (1964), which was first displayed with ribbons and an anchor hanging from it. The text also considers Bowling's time as an artist, critic and curator in New York in the late 1960s and early 1970s, when he was involved with debates around the meaning of Black art, and the work of a number of African American sculptors.
This first monograph on Phillip Lai (b.1969, Kuala Lumpur, Malaysia) charts the artist's sculptural development over the course of the last two decades. From a basement soy-sauce factory to the Hepworth Prize for Sculpture, the publication surveys several of the artist's exhibitions across London, Wakefield, Turin, Berlin and Hong Kong. The nine chapters explore an evolving oeuvre that finds form in materials like aluminium, pewter, concrete, resin, rice, cooking pots, textiles and film. It is through these technologies that Lai broaches the material limits of the everyday world, often working with casting processes that see the abstraction and changing stability of materials as they transition from fluid to solid. What comes into focus is a fascination with how objects can relieve or modulate primal human urges to food and water and how, by extension, a material world might be re-envisioned around concerns of depletion and survival. This publication includes an essay by critic and writer Jan Verwoert, with bilingual text in English and Chinese throughout.
This publication discusses a bronze Laocoön recently sold at Bonham?s. Its new owners attributed it to Giuseppe Piamontini (1663?1744) ?because of its manufacture and its extremely close proximity to the Doccia model?, the model employed for a porcelain Laocoön produced in the factory set up by Carlo Ginori (1702?57) in 1737 at Doccia near Florence.
Labelled as French and belatedly returned to Late Baroque Florence (but to the wrong artist), this magnificent group has finally revealed its identity. It is one of the incunabula of an ambitious young sculptor measuring himself with the sculptors of Ancient Greece and their great Renaissance followers of his native Florence. During the day he copied them in the Galleria degli Uffizi and in the streets of the city. At night he gathered together with other pupils of Foggini in the Borgo Pinti studio to study together. The prominent career to which Della Valle obviously aspired prompted his move to Rome. Della Valle helped us interpret the bronze correctly, interpret correctly its attribution in the Doccia models? inventory and by extension understand better that document itself. But most important, our understanding of Florentine Late Baroque sculpture and of Della Valle?s art has acquired another firm point of reference.
Stunning photographs portray masterpieces of Korean art in a new light
Combines a scholarly perspective with a contemporary artist?s aesthetic
A timely resource in English
The Scholar?s Vision, The Photographer?s Eye has at its core a dialogue between Chung Yangmo?expert scholar and former director of the Korean National Museum?and contemporary artist Koo Bohnchang. Their subject is Joseon-dynasty white and blue-and-white porcelain. These masterpieces, now in museums across the world, captivate with their stark minimalism. Koo Bohnchang?s sensitive portraits of the vessels meet Chung Yangmo?s commentary to provide a unique perspective on Korean ceramics.
International interest in Korean art and culture has boomed in the past decade, but literature on traditional Korean art forms in English remains scarce. This book is a timely resource for an English-speaking audience. In its pages, art-historical expertise combines with aesthetic interpretation, exploring the contemporary meaning of a classical porcelain tradition that blossomed for over five centuries.
