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Titre:
Antony Gormley Blind light

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$80.00
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Résumé:
Over the past 25 years, Antony Gormley, perhaps Britain's best-known living sculptor, has revitalized the human image in sculpture. He won the 1994 Turner Prize and has had solo exhibitions at the Whitechapel, Tate, and Hayward galleries, White Cube and The British Museum, and internationally at the Corcoran Gallery, Documenta and the Venice Biennale. His radical investigations of the body as a place of memory and transformation use his own corpus as subject, tool and material. Conflating figure and ground, inside and outside, the physical and the psychological, Gormley explores complex relationships between the city, its architecture and its people. This richly illustrated catalogue is filled with new, never-before-seen sculptural works--a series of figures in light-infused webs of steel, and the monumental steel-block "Space Station," 20 feet high. Photographer Gautier Deblonde also chronicles a major new public project, "Event Horizon," which sites some 30 sculptures on buildings across central London, dramatically altering the city skyline. An in-depth interview with Gormley explores the development of his new work, as well as his relationship to the artists who have inspired him and to his contemporaries in the field of figurative sculpture.

Titre:
On longing : Narratives of the miniature, the gigantic, the souvenir, the collection

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$39.95
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Résumé:
Miniature books, eighteenth-century novels, Tom Thumb weddings, tall tales, and objects of tourism and nostalgia: this diverse group of cultural forms is the subject of On Longing, a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world. Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

Titre:
The ruins lesson

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$39.95
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Résumé:
How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms. Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, and images of decay in early modern allegory. Stewart looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing his art. "The ruins lesson" ultimately asks what can resist ruination—and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure.

Titre:
The ruins lesson: meaning and material in Western culture

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$49.95
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Résumé:
How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms.

Titre:
The open studio : Essays on art and aesthetics

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$33.95
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Résumé:
Poets often have responded vitally to the art of their time, and ever since Susan Stewart began writing about art in the early 1980s, her work has resonated with practicing artists, curators, art historians, and art critics. Rooted in a broad and learned range of references, Stewart's fresh and independent essays bridge the fields of literature, aesthetics, and contemporary art. Gathering most of Stewart's writing on contemporary art—long and short pieces first published in small magazines, museum and gallery publications, and edited collections—The Open Studio illuminates work ranging from the installation art of Ann Hamilton to the sculptures and watercolors of Thomas Schütte, the prints and animations of William Kentridge to the films of Tacita Dean. Stewart's essays are often the record of studio conversations with living artists and curators, and of the afterlife of those experiences in the solitude of her own study. Considering a wide variety of art forms, Stewart finds pathbreaking ways to explore them. Whether she is following central traditions of painting, drawing, sculpture, film, photography, and printmaking or exploring the less well-known realms of portrait miniatures, collecting practices, doll-making, music boxes, and gardening, Stewart speaks to the creative process in general and to the relation between art and ethics. The Open Studio will be read eagerly by scholars of art, poetry, and visual theory; by historians interested in the links between contemporary and classic literature and art; and by teachers, students, and practitioners of the visual arts.