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Aftercast
Aftercast is published in the context of the research and exhibition project the humility of plaster (2016-2018), initiated by Florian Roithmayr as a new partnership between the Museum of Classical Archaeology and Kettle's Yard at the University of Cambridge, and Wysing Arts Centre. Moulding and casting are widely used techniques in modern and contemporary art making. Their use and application can be found in many other areas of production and material transformation not immediately associated with art practices, and in times before casting became an acceptable form of sculptural production in its own right. Plaster as a material remains the same: its inherent properties and qualities don't change. Moulding and casting are ancient techniques of giving and taking form and shape to objects and sculptures, and they continue to do so. And yet the way casts are symbolized, the way meaning and values are attributed to these works cast in plaster, has often shifted. Aftercast includes texts by Agnieszka Gratza and Alexander Massouras and was designed by Sara De Bondt, printed by Albe de Coker and is published by Tenderbooks.
Material Cultures in Public Engagement
The Material Cultures in Public Engagement volume seeks to document and explore the significant change in the relationship of Museums with collections of the Ancient World and their audiences. The volume establishes a new approach to the study of public archaeology as a discipline and application within Museums, by bringing together the voices and experiences of museum professionals (curators, conservators and researchers) and public engagement professionals. Chapters in this volume present clear case-studies of the variety and diversity of public engagement projects conducted currently within European Museums and beyond. While the majority of case studies presented in the volume’s chapter...
Frieze
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Domenico Brucciani and the Formatori of 19th-Century Britain
Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian émigré formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculptu...
Making & Unmaking
From Bauhaus jewelry and West African textiles to contemporary portraiture and sculpture, this unique exhibition and accompanying full color catalog curated by celebrated fashion designer/curator Duro Olowu (b. 1965) explores the rituals of making that underpin an artists work. Olowu selected material by over 70 artists, including rarely seen works by Anni Albers, Alighiero Boetti, Wangechi Mutu, Alice Neel, Chris Ofili and Irving Penn as well as newer paintings by Lynette Yiadom-Boakye from the 1920s to the present. By setting up unexpected dialogues between historic and contemporary artists working in a myriad of mediatextile, painting, sculpture, photography and collageOlowu reveals a shared preoccupation with themes of gender, race, beauty, sexuality and the body. The volume includes an in-depth conversation between Olowu and Glenn Ligon, and texts by Jennifer Higgie and Shanay Jhaveri, which together highlight the intricate layers of history and place that influence the making of art.
Art ... Basel
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Cornford & Cross
A profile of the practice of Cornford and Cross, the collaboration of two UK artists Matthew Cornford and David Cross, who have carried out a number of significant context-specific projects across the UK and internationally. The work of Cornford and Cross has often emerged from living and working in cities. Their interest in urban patterns of social, political and economic organization has broadened to include engagement with power structures further afield. This book brings together for the first time the full range of encounters, actions and debates that make up their practice. Their work has been exhibited internationally in galleries in New York, Philadelphia, Rome, London and San Francisco.
