The metal artist offers tips on tools, the creative process, and life as an artist and includes color photographs of selected works from his thirty-plus years of sculpting.5NjBwBT

A metal sculptor for over 30 years, Henry Harvey has created works that reside in public and private collections around the world. Now, with wit and style, Harvey divulges a rare, no-holds-barred accounting of the world of metal sculpting, from the lighting of a torch, to techniques, patinas, and a candid insight into the genesis of his sculpture. A number of projects are illustrated and explained in exquisite detail, making this an absolute must for everyone contemplating becoming a sculptor. It is richly illustrated.

"The first female Japanese metalwork artist designated by Japan as a Living National Treasure for her high level of mastery of artistic skills tells her life story and describes in detail the traditions, techniques, and tools of her craft. Includes color and black and white photos and extensive glossary"--

With fresh insight into what the great works meant when they were created and why they appeal to us now, here is a vivid tour of painting, sculpture, and architecture, past and present. "Illuminating . . . a notable accomplishment".--The New York Times. Illustrated.

156 pages of metal sculpture techniques explaining, in detail, how over 300 plus art commission contracts were completed, including gallery shows and relations, architecture, and model (maquette) building, and commission contract suggestions that you can take to a your lawyer to personalize for you.-from Amazon.com.

"This book offers a detailed presentation of Richard Serra's entire career, from his early experiments with materials like rubber, neon, and lead to the environmentally scaled steel works of recent years, including three monumental new sculptures created for the exhibition that this book accompanies."--BOOK JACKET.

Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains his particular approach to the landform. Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes - identity, patterns of nature, death and the power of life - but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. Other designs include sharp comments on recent events: a water garden of war in France critiques the 2003 invasion of Iraq using 'waterpults' and 'hose-guns' among other interactive features; a white garden made from birch trees, flying bones and computer graphics deals with some fatal consequences of modernity. Jencks addresses, with wit and irony, some of the strange possibilities that arise with extra-large landforms. Northumberlandia, perhaps the largest human figure ever made, presents the question of which body parts one can walk on safely, which are dangerous and which need to be suppressed. What became perhaps the heaviest work of art in the world, at 20 million tons, was also the opportunity to transform a large open-cast mine into a dynamic landscape of giant mounds and sculpted lakes. As in his The Garden of Cosmic Speculation, to which this book is a sequel, Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature's laws, some of which have been recently discovered. To see a world in a grain of sand was a poetic quest of William Blake and, in a different sense, to find the universe in a ritual landscape was a goal of prehistoric cultures. Jencks allies these spiritual affinities with the view of science that stresses the common patterns that underlie all parts of the cosmos, thus making them like our home planet, and the universe in a landscape.