{"title":"Susan Quinnell","description":null,"products":[{"product_id":"erotic-object-book-susan-quinnell-9781861714091","title":"THE Erotic Object","description":"The Erotic Object: Sexuality in Sculpture From Prehistory to the Present \u003cp\u003e The power and eroticism of sculpture, form, volume and space are sensitively explored in this wide-ranging study, which takes in the history of sculpture from prehistoric times to contemporary art. \u003c\/p\u003e \u003cp\u003e Featuring discussions of many famous sculptors, including: Michelangelo Buonarroti, Antonio Canova, Auguste Rodin, Eric Gill, Andy Goldsworthy, Jasper Johns, Constantin Brancusi, Pablo Picasso, Barbara Hepworth and Gianlorenzo Bernini. \u003c\/p\u003e \u003cp\u003e Many contemporary artists are studied too, including installation and performance artists (Catherine Elwes, Karen Finley, Ana Mendieta, Carolee Schneemann), and women sculptors such as Alice Aycock, Mary Miss, Rebecca Horn, Nancy Graves, Eva Hesse, Kathe Kollwitz and Judy Chicago. \u003c\/p\u003e \u2028 \u003cp\u003e Regardless of what sculpture depicts, it can be seen as erotic. The surfaces, materials and forms are sensuous: wood, stone, marble, granite, clay, bronze. Touching is pleasure. It is a pleasure that is, perhaps, pre-institutional, pre-industrial and pre-political. \u003c\/p\u003e \u003cp\u003e Touching cuts through social and cultural constructs, such as art, ideology, education and war, and goes back to a primeval form of being. At same time, touching is a sense of the both personal and societal. John Keats said, 'touch has a memory'. Sculpture activates this fundamental relation with things. Sculpture renews contact with the simple but utterly crucial experiences such as touch, sight, and smell. \u003c\/p\u003e \u003cp\u003e Fully illustrated, with many rare and fascinating illustrations, including prints, paintings and buildings as well as sculptures and statues. \u003c\/p\u003e \u003cp\u003e This book has been revised and updated. ISBN 9781861714084. 296 pages. \u003c\/p\u003e www.crmoon.com","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51053027655953,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51053030179089,"sku":"NIN9781861714091","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52595973194001,"sku":"NLS9781861714091","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1861714092.jpg?v=1751314012"},{"product_id":"alison-wilding-book-susan-quinnell-9781861711694","title":"Alison Wilding","description":"ALISON WILDING \u003cp\u003e Alison Wilding is one of the best sculptors around. She deserves a much wider recognition that she receives at present. Wilding was born in Blackburn, Lancashire, in 1948. She went through the typical British art school education - Ravensbourne College of Art (1967-70) and the Royal College of Art (1970-73). Her one-woman shows have included Kelttle's Yard Gallery, Cambridge (1982), the Serpentine Gallery, London (1985), Hirschl \u0026amp; Adler, New York (1989), Bare at Newlyn Art Gallery (1993), and a major show (Immersion and Exposure) at both the Tate Gallery, Liverpool and the Henry Moore Trust studio in Halifax (1991). She has shown new work most years since the early 1980s at her galleries. \u003c\/p\u003e \u003cp\u003e There's something in Alison Wilding's sculpture which fascinates art lovers. It's difficult to say exactly what this quality of Wilding's sculpture is. Something 'magical', perhaps, or 'mysterious', or 'erotic'. These are the sorts of terms art critics employ when they are at a loss for words. Artists such as Mark Rothko famously get this treatment (Rothko's canvases are called 'transcendent', 'sublime', 'spiritual'). John McEwen writes of Alison Wilding: \u003c\/p\u003e \u003cp\u003e She is pleased when her work conveys a sense of the magical, and certainly it has a powerful sense of mystery. Mysteriousness does not lend itself to description, analysis or explanation; as she herself put it to me in conversation, her pieces do not demand to be talked about. That suggests that they do not demand to be written about either, I said. They don't mind, she said. \u003c\/p\u003e \u003cp\u003e Penelope Curtis writes of Wilding: 'Even the smallest of her often small sculptures has tremendous and commanding presence; there is a sense of levitation in her works.'\u003c\/p\u003e \u003cp\u003e Fully illustrated with many examples of Wilding's work, and that of her contemporaries. \u003c\/p\u003e","brand":"WoB","offers":[{"title":"US \/ NEW \/ INGRAM","offer_id":51249114087697,"sku":"NIN9781861711694","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52348078653713,"sku":"NLS9781861711694","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1861711697.jpg?v=1741192181"},{"product_id":"erotic-object-book-susan-quinnell-9781861714084","title":"THE Erotic Object","description":"The Erotic Object: Sexuality in Sculpture From Prehistory to the Present \u003cp\u003e The power and eroticism of sculpture, form, volume and space are sensitively explored in this wide-ranging study, which takes in the history of sculpture from prehistoric times to contemporary art. \u003c\/p\u003e \u003cp\u003e Featuring discussions of many famous sculptors, including: Michelangelo Buonarroti, Antonio Canova, Auguste Rodin, Eric Gill, Andy Goldsworthy, Jasper Johns, Constantin Brancusi, Pablo Picasso, Barbara Hepworth and Gianlorenzo Bernini. \u003c\/p\u003e \u003cp\u003e Many contemporary artists are studied too, including installation and performance artists (Catherine Elwes, Karen Finley, Ana Mendieta, Carolee Schneemann), and women sculptors such as Alice Aycock, Mary Miss, Rebecca Horn, Nancy Graves, Eva Hesse, Kathe Kollwitz and Judy Chicago. \u003c\/p\u003e \u2028 \u003cp\u003e Regardless of what sculpture depicts, it can be seen as erotic. The surfaces, materials and forms are sensuous: wood, stone, marble, granite, clay, bronze. Touching is pleasure. It is a pleasure that is, perhaps, pre-institutional, pre-industrial and pre-political. \u003c\/p\u003e \u003cp\u003e Touching cuts through social and cultural constructs, such as art, ideology, education and war, and goes back to a primeval form of being. At same time, touching is a sense of the both personal and societal. John Keats said, 'touch has a memory'. Sculpture activates this fundamental relation with things. Sculpture renews contact with the simple but utterly crucial experiences such as touch, sight, and smell. \u003c\/p\u003e \u003cp\u003e Fully illustrated, with many rare and fascinating illustrations, including prints, paintings and buildings as well as sculptures and statues. \u003c\/p\u003e \u003cp\u003e This book has been revised and updated. 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