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The sculptural work of Chillida (San Sebastian, 1924-2002) is non-figurative and characterised, in the artist's own words, by the dialogue between masses and voids of often monumental proportions, elements that he endows with conceptual unity thanks to his mastery of the laws of movement and balance. In this book Carandente, far from restricting himself to commenting on the most visible aspects of the artist's career, analyses the conceptual and technical dimensions of his activity, both the individual task of searching and perfecting and the socio-cultural context that acts as a framework to the Basque sculptor's output. Chillida is undoubtedly one of the most outstanding figures in the sculpture of the second half of the 20th century. 782 illustrations
A deluxe appreciation of Eduardo Chillida's public sculpture The outdoor public works of Basque sculptor Eduardo Chillida (1924-2002), which are installed in various cities around the world, are protrayed here in stunning black-and-white photography, highlighting the intensity of his monumentally scaled abstract sculptures. In most cases, the architectural, urban or landscape setting determines many elements of the sculpture, and the artist strives to relate his design to the external environment in which it is placed. Here, both the details of each sculpture and its setting are featured. Chillida: Open-Air Sculptures begins with an essay by Italian art critic Giovanni Carandente that tracks Chilida's origins and inspirations, and also analyzes his civic and social themes. The volume also features a wide selection of the artist's own writings, included on inserted pages printed on an alternative paper stock. Chilida's lucid meditations on sculpture outline his intentions and desires, bringing us closer to the work itself.
Eduardo Chillida (1924 - 2002) is among the 20th century sculptors who have decisively contributed to the non-figurative vocabulary of sculpture and its material innovation. Along with steel, stone and concrete, he has favoured wrought iron as a material that, as he says, he subjects to a dynamic process and forcefully endows with his own vibrations till the theme has fully crystallized and space and form become inseparable. The sculptural form, which avoids identification and - in contrast to the pieces by Henry Moore - hardly even reminds us of the volume of our body, serves as an instrument to make (empty) space visible. Chillida's writings, which in this book are published for the first time, take the reader into the mental world of the sculptor, his philosophical reflections and notations on his work, all of which serve the concentration of energy found in the collection. This publication includes text written by renowned British sculptor, Tony Cragg. English text.
Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change and environmental justice.
For the general public and specialists alike, the Hellenistic period (323–31 BC) and its diverse artistic legacy remain underexplored and not well understood. Yet it was a time when artists throughout the Mediterranean developed new forms, dynamic compositions, and graphic realism to meet new expressive goals, particularly in the realm of portraiture. Rare survivors from antiquity, large bronze statues are today often displayed in isolation, decontextualized as masterpieces of ancient art. Power and Pathos gathers together significant examples of bronze sculpture in order to highlight their varying styles, techniques, contexts, functions, and histories. As the first comprehensive volume on large-scale Hellenistic bronze statuary, this book includes groundbreaking archaeological, art-historical, and scientific essays offering new approaches to understanding ancient production and correctly identifying these remarkable pieces. Designed to become the standard reference for decades to come, the book emphasizes the unique role of bronze both as a medium of prestige and artistic innovation and as a material exceptionally suited for reproduction. Power and Pathos is published on the occasion of an exhibition on view at Palazzo Strozzi in Florence from March 14 to June 21, 2015; at the J. Paul Getty Museum from July 20 through November 1, 2015; and at the National Gallery of Art in Washington, DC, from December 6, 2015, through March 20, 2016.
In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, Heidegger Among the Sculptors makes a singular contribution to the philosophy of sculpture.
Essays by Hal Foster and Carmen Gim nez.