Lucian Freud: The Painter’s Etchings (M Freud .F77 F53 2007)
“One of the foremost figurative artists working today, Lucian Freud has redefined 
portraiture and the nude through his unblinking scrutiny of the human form. Although he is best known as a painter, etching is integral to his practice. This volume accompanies a major Museum of Modern Art exhibition that will present the full scope of Freud’s etchings, along with a critical selection of related paintings and drawings. Written by exhibition curator Starr Figura, it includes more than 70 etchings-from the artist’s rare early experiments of the 1940s to the increasingly complex compositions he has created since rediscovering the medium in the early 1980s-juxtaposed with some 23 paintings and 7 drawings. Includes 120 color illustrations.”
Martin Puryear (M Purye .P84 A4 2007)
“Over the last 30 years, Martin Puryear has created a body of work that defies 
categorization, creating sculpture that examines identity, culture and history. This book accompanies a November 2007 exhibition at The Museum of Modern Art that follows Puryear’s development from his first solo show, in 1977, to new works that will be presented for the first time. In 2008 the exhibition will travel to the Modern Art Museum of Fort Worth, Texas, The National Gallery of Art, Washington, D.C., and the San Francisco Museum of Modern Art. Includes 165 color illustrations.”
Edit: Someone brought a camera into the MoMA exhibit. See below.
This gorgeous book, the first of a four-volume definitive catalogue, features Chase’s stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase’s oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase’s paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase’s work during the artist’s lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase’s innovative pastel technique.
oil. Each is gorgeously reproduced, and many are published in color for the first time. Finding many of his portraits was especially difficult, as no log book of sitters has been located and no other records exist for those works that were not publicly exhibited. Nevertheless, Ronald G. Pisano’s meticulous research has uncovered more than six hundred portraits in private and public collections.
Baptistery in Florence—called the Gates of Paradise—now in the Museo dell’Opera del Duomo, is nearing completion. 
the newly restored bronze panels, the extraordinary work of the conservators and restorers who cleaned the priceless doors. In a series of fascinating chapters, expert contributors capture Ghiberti’s world, his remarkable talent at representing human emotion in rich illusionistic settings, the relationships between Renaissance patrons and artists, and the collaborations and rivalries among artists. Other chapters explore the challenging craft of bronze sculpture, Ghiberti’s casting and finishing techniques, and the painstaking process involved in documenting and restoring the treasured doors. A chronology of Ghiberti’s life completes this lavishly produced volume”
Santa Maria della Roccella. Here Das Boot, his vessel 8 meters long and weighing 5 tons, has made landfall. Sculpted in wood, it has two figures, one male, the other female, on its two sides. Almost a legendary evocation of an ancient ship. Das Boot appears like a wreck that has surprisingly returned to light in a context extraneous to it. Next to a series of characteristic works in painted wood and bronze that counterpoint the Basilica, the German artist has sought to pay homage to Scolacium, a place preserved for centuries by the olive trees. He symbolically crowns the Park of La Roccelletta with his Krone, a crown made up of 22 pieces in concrete with nine heads likewise in concrete. The project is completed by the retrospective exhibition in the nearby Olive Press Museum with a selection of works from the late nineties down to the present.
which his chosen style acquires a wholly extraneous allegorical and paradoxical force. Working on this theme, the Belgian artist has already presented his works in different contexts, but the project set in the Park of Scolacium is surely one of the most impressive and ambitious. Delvoye has created a true construction site in which each machine is transformed into a work of art frozen in its inactivity. The two mysterious Caterpillars nine meters tall have an extraordinary impact, as does the Dump Truck, another nine-meter vehicle: they transform the Park into a permanent construction site, opened during the exhibition with excavators, signals and barriers all strictly laser cut in corten steel with tracery patterns in which the fourteenth and fifteen centuries are blended with industrial design.
fragment and uses the context of the Roman Theater as the setting for Flesh, a series of bronzes with a black patina in which the British artist investigates the organic element by presenting on the stage meat carcasses that, within the archaeological context, acquire the semblances of truly spectral figures. For the first time, he here exhibits two very recent works in concrete, the Hoxton Venus of 2006 and Totem of 2007, true fragments of contemporaneity. The installation is continued conceptually within the Archaeological Museum of Scolacium, which he uses as the setting for three white marble sculptures, Alexandra Westmoquette, Tom Yendell and Peter Hull. In this case the fragment underlies a new unity and is directly related to the headless ancient Roman sculptures, so creating a series of comparisons and richly productive relationships.
“Unmonumental” is an exhibition about fragmented forms, torn pictures and clashing sounds. Investigating the nature of collage in contemporary art practices, “Unmonumental” also describes the present as an age of crumbling symbols and broken icons. Inspired by the art it presents, “Unmonumental” grows over time like an assemblage. It starts as a survey of recent sculpture, and morphs as layers of images, sounds, and Internet-based art are added in three subsequent parts.
The first exhibition in the cycle, “
“A unique anthology of articles on contemporary sculptors drawn from the 25-year history of Sculpture magazine, A Sculpture Reader offers a valuable overview of three dimensional art since 1980. Focusing on individual artists rather than themes or movements, the 42 essays in A Sculpture Reader capture the wide-ranging possibilities that characterize contemporary sculpture.”
