The book provides an in-depth exploration of Emily Young's carved sculptures from the 1980s to today, highlighting their cultural and art historical significance. It delves into themes such as ecology, environmentalism, poetry, and philosophy, showcasing the depth of her sculptural imagination. Additionally, the inclusion of her early paintings reveals her ongoing interest in narrative. By examining the connection between her sculptures and the material world, the text enriches the reader's understanding of Young as a vital contemporary artist.
This book presents the shared sculptures and drawings of Bill Woodrow and
Richard Deacon. It showcases the work they have made together over the last
thirty years, exhibition by exhibition.
Over the past two decades, the concept of sculpture has undergone significant scrutiny, leading to a renaissance in this artistic form. This publication gathers essays, statements, interviews, letters, poems, and various texts from artists worldwide, exploring the evolving notions of sculpture from 1990 to the present. Accompanied by illustrations of the artists' works, it showcases the diversity and multiple facets of contemporary sculpture. The book is structured into three extensive chapters and a brief introduction, covering the creation processes, types of figuration, and exhibition venues for contemporary sculpture. Aimed at artists, curators, art historians, students, and art enthusiasts, this volume is produced by the Anthony Cragg Foundation for the Waldfrieden Sculpture Park in Wuppertal, serving as both a vital reference and a source of inspiration. Featured artists include Edward Allington, Francis Alÿs, John Bock, Mel Brimfield, Anthony Caro, Tony Cragg, Richard Deacon, and many more. Each artist brings unique perspectives and experiences, enriching the discourse around contemporary sculpture and its role in addressing socio-cultural and political themes.
“I am here and I have hours to wait before I may take possession of this holiday flat for a simple fortnight’s pleasure. The journey behind me collapses into the hinterland of my mind, rolled up as the past takes possession, penning it into its cavity and alcove. The capital seems a long way off. I think of the oval frosted glass and the sound of my neighbour’s radio and the silence of the dawn and the work that has to be done in the unfolding unpredictability of the setting. I need to think carefully and to compose myself and imagine that the holidays are here and that everything is alright. But everything is not alright.” (Jonathan Wood)
Unable to confront the challenges in her own life, Cara Hargraves immerses herself in work for her antiques-dealer boss, uncovering relics from the life of World War II British "Gunner Girl" Louise Keene and her complicated relationship with a man named Paul.
Accompanying the exhibition Lynn Chadwick at Cliveden (2 May - 14 October 2018), the second in a series of outdoor exhibition at the National Trust property in Buckinghamshire, this catalogue features texts by National Trust Curator, Oonagh Kennedy and Head of Research at the Henry Moore Institute, Jon Wood.On-site photography by Jonty Wilde sheds unique light on the British artist's large-scale bronze and steel sculptures installed across Cliveden's Grade I listed grounds.
"The future of sculpture has only just begun. Its potential is greater now than ever before, and its possibilities are just starting. Its language and its forms are just beginning to evolve." So says Tony Cragg, a believer not just in sculpture, but in freestanding, made-from-scratch abstraction. Cragg refuses to accept the domination of installation and the ready-made. His dedication to the form as he works in it--to its complexities, to its ability to interrogate the world and heighten our sensitivity--and his consistent espousal of that dedication, have given him an intriguing and unusual role in contemporary art. Cragg is a promoter of his medium in an age of anxiety about medium-based definitions, an age of crossover. There are plenty of words here, in an interview and three essays, but it's the sketches, watercolors, installation views, studio photographs and the sculptures themselves that make up the bulk of this new volume.
