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"The first major monograph in sixty years on the San Francisco modernist sculptor who developed a unique abstract style rooted in surrealism and inspired by nature. A member of one of the Bay Area's most productive and innovative midcentury artistic groups. Texts by a diverse range of scholars cover such subjects as infinity and movement in Kent's work; the influence of nature; and the diverse artistic milieu at the San Francisco Art Institute and beyond that surrounded Kent and her husband, artist Robert Howard. With an extensive chronology and a wide selection of sculptures, photographs, and rarely seen works on paper and paintings on Hydrocal, the book substantiates Kent's achievement as one of midcentury America's most innovative sculptors, re-excavating her work for younger generations"--publisher's description

• What is provenance? : On the origin of the exhibited objects
• What does protection mean here?
• How to keep evil forces in check?
• Are they all real?
• Can words describe things?
• Which image serves as a model?
• What can a face tell us?
• Are all heroes alike?

"Protecting, healing, or punishing--people of various eras and origins have attributed such powers to the sculptures that are being presented together here for the first time: be it the sculpture of the Mangaaka from what is today the Republic of Congo, the protective goddess Mahamayuri from China, or the Maria on the globe from Southern Germany. Forty-five objects created between the fourth and the nineteenth century from two museums in Berlin provide a vivid testimony to the ever-present need for protection and orientation when dealing with individual or social crises. They represent the existence of an invisible world of gods, spirits, or ancestors, and create a connection between this world and a "different reality." As a result of how they are presented in museums, their context of use is, however, often lost--a situation that is reflected on by the authors of this book."

"L'artiste britannique Rebecca Warren est une des figures majeures de l'art contemporain. Sa palette déploie toute une gamme d'influences modernistes et de cultures pop, montrant une attention singulière à la figure, à la chair, à la matière et à la disposition des pièces. Dans ASensitiv, Warren analyse les correspondances révélatrices, voire hallucinatoires entre son oeuvre et l'art et la personnalité de Giacometti. Associant sculptures, peintures et dessins sélectionnés dans la collection de la Fondation Giacometti à ses propres oeuvres (dont certaines sont exposées pour la première fois), cette exposition est l'occasion de considérer son travail en relation avec l'un des maîtres de l'art moderne."--Page 4 of cover.

• A passion for clay / C.D. Dickerson III, Emerson Bowyer
• Plates
• Reading Canova's hand / Anthony Sigel
• Cherished gifts in clay / Elyse Nelson

The most celebrated sculptor of the neoclassical age, Antonio Canova (1757?1822) established himself as the preeminent artist of his time with his funerary monuments and meticulously carved marbles on classical themes. Although his idealized and sensual sculptures are widely known, this is the first book devoted entirely to the brilliantly expressive clay models that he made in preparation for his marble sculptures. Only sixty-five of his terracotta models survive today. Extraordinarily modern in their boldness, the models retain the touch of the artist?s hand and yield a revelatory glimpse into Canova?s imaginative and technical process.00The authors, with expertise in art history and conservation, examine Canova?s techniques for making terracotta models, including how he used clay to develop full-scale models that his assistants copied in marble, and his practice of gifting his models to friends.0 0Exhibition: National Gallery of Art, Washington, DC, USA (11.06. - 09.10.2023) / Art Institute of Chicago, USA (19.11.2023 - 18.03.2024)

""Ces merveilleuses lettres, cher André Neher, sont le symbole de toutes les fraternités à tous les stades et degrés de l'homme. Elles sont les clés de l'avenir du monde ; elles savent si bien synthétiser par la pureté, l'équilibre, l'harmonie, que le respect et la considération sont primordiaux pour la survie de l'espèce humaine. Me croirez-vous si je vous disais que nous nous parlons elles et moi un langage combien secret, exclusif ; fait de subtilités, de complicité et d'amour ?" Farouchement autodidacte, Anna Waisman (1928-1995) a pris la sculpture à bras-le-corps à partir de la fin des années cinquante, pour composer, pendant plus de trente ans, les "lettres" personnelles d'un alphabet hébraïque, d'où elle a fait surgir les infinités de sens contenues dans ses formes, ses repliements, ses envolées. À ces "objets abstraits" que sont les lettres hébraïques, "visibles et palpables" d'un côté, "expression d'une réalité spirituelle fondamentale" de l'autre, Anna Waisman confie toute son intelligence du judaïsme et sa foi intuitive et profonde. "J'ai découvert le judaïsme en sculptant les lettres hébraïques dans la pierre", écrit-elle. Et le dialogue qu'elle établit, à partir de 1962, avec André et Renée Neher, la conforte dans ses intuitions, la rattache à un judaïsme ouvert et recréé, la rassure dans le chemin qu'elle parcourt, seule, le long des vides et des pleins d'un alphabet qu'elle découvre et comprend en même temps qu'elle le sculpte. À ce titre, ce livre est un document exceptionnel d'une amitié stellaire entre l'artiste Anna Waisman et l'homme de pensée, André Neher."--Page 4 of cover.

• Directors' foreword / Jessica Morgan and Rebecca Rabinow
• Curators' acknowledgments / Megan Holly Witko and Michelle White
• Chryssa's New York work / Michelle White
• To glorify my anonymity / Lisa Cohen
• A lecture by Chryssa given on January 10, 1968, at New York University
• "Plug-in promethean" : Chryssa's neons and the invention of light art in the 1960s / Tina Rivers Ryan
• Neon care in Chryssa's work / Joy Bloser and matt dilling
• Plates
• World unmaking : Chryssa's queer fragmentation of language / Jonathan D. Katz
• Sans titre / Tiona Nekkia McClodden
• Chryssa from here and there / Kalliopi Minioudaki
• Chronology / Megan Holly Witko

"Chryssa & New York offers a timely reassessment of Greek-born artist Chryssa (Chryssa Vardea-Mavromichali, 1933-2013). Chryssa was a leading figure in the postwar New York art world and in the use of signage, text, and neon, yet her work, which bridges Pop, Conceptual, and Minimalist approaches to art making, remains under-recognized. Focusing on the artist's early career, in particular her time in New York from the 1950s to the 1970s, this book charts the emergence of her singular aesthetic, especially her formal innovations with neon, and culminates in the development of her monumental and rarely seen installation The Gates to Times Square (1964-66). Essays situate Chryssa's art alongside that of other New York-based practitioners in the 1950s and 1960s, consider her work through the lenses of queer theory and the Greek diaspora, and uncover her crucial influence on light art today. Rounding out the volume, a conversation on the technical aspects of her practice and a comprehensive chronology make this the definitive publication on Chryssa for years to come."--Distributor's website.

Curtis Cuffie (1955-2002) was an artist from Harstville, South Carolina, who found local notoriety in the 1990s for the thrilling and surprising way he adorned the streets of New York's East Village. His on-the-spot sculptures were woven into fences, hung from walls and sprawled along the Bowery and Cooper Square. Making use of whatever he could find to fashion works that were imaginative and real, Cuffie took the street for all it could provide: materials, an audience, a rhythm and a sense of the strange unexpectedness of public life. He was unhoused for stretches of his life, and his sculptures were viewed near to his outdoor quarters. Cuffie's art was often removed by city sanitation, but new work would spring up soon after. Though little of his art survives today, a trove of photographs documenting it keeps him in the present. This publication, the first on Cuffie, seeks to honor the artist and rectify his omission by going backward to recover that which has been left behind. It places Cuffie's own photographs and those of his companion Katy Able alongside pictures that photographers Margaret Morton and Tom Warren took of Cuffie and his art on the streets. Exhibition: Gallery Bucholz, New York, USA (03.2023).