Charts the growth of sculpture from the era of British imports through the period of strong British influence to the more confident art of the twentieth century and beyond.

Completely revised and updated. Chapters have been rewritten. Also added in a substantial new chapter on contemporary Maori and Pacific Island painting, as well as an acknowledgement of the coming wave of Asian artists.

"Located on the Kaipara harbor in New Zealand, Te Tuhirangi Contour is one of Serra's latest site-specific works. The site is a vast open grass pasture with rolling elevations and curvilinear contours. The sculpture, made of hundreds of tons of steel, is located on one continuous contour, 843 feet long. Documented in Reinartz's black and white photography."--William Stout Architectural Books.

In One Day Sculpture, prominent critics, curators and scholars explore new considerations of public sculpture, temporality, performance, and curating art in the public realm. Conceived as both a document and critical expansion of the year-long One Day Sculpture temporary public art series in New Zealand (August 2008 ndash; March 2009), the book opens with an anthology of newly commissioned texts which expand conventional notions of encounter, performativity, publicness, photography, materiality, space and place in relation to contemporary public art. Set within this critical context, are in-depth considerations of each of the twenty projects, forming a new dimension to recent discussions on situation-specific art practices and commissioning public art. English text.

Summary: "The first important study of sculpture in New Zealand - well received by art lovers and educational institutions alike on its publication in 2002 - is now back in print in an updated edition. For the new edition, Dunn has added a chapter, ʻCrisis of Identity: Sculpture since 2000ʼ, in which he discusses New Zealand sculptureʼs international reach, its role at Venice Biennales and the importance of overseas-based New Zealand sculptors such as Francis Upritchard and Ronnie van Hout. Dunn also sees a new popularity for sculpture with the establishment of several outdoor sculpture walks. The book now charts the growth of sculpture from the era of British imports and influence to the more confident art of the twentieth and twenty-first centuries. It includes a general bibliography and reading lists for each major artist and fourteen new colour plates have been added to the original 76 black and white figures and 92 colour plates."--Publisher description.

Using minimal tools and a simple technique of bending, interweaving, and fastening together sticks, artist Patrick Dougherty creates works of art inseparable with nature and the landscape. With a dazzling variety of forms seamlessly intertwined with their context, his sculptures evoke fantastical images of nests, cocoons, cones, castles, and beehives. Over the last twenty-five years, Dougherty has built more than two hundred works throughout the United States, Europe, and Asia that range from stand-alone structures to a kind of modern primitive architecture--every piece mesmerizing in its ability to fly through trees, overtake buildings, and virtually defy gravity. Stickwork, Dougherty's first monograph, features thirty-eight of his organic, dynamic works that twist the line between architecture, landscape, and art. Constructed on-site using locally sourced materials and local volunteer labor, Dougherty's sculptures are tangles of twigs and branches that have been transformed into something unexpected and wild, elegant and artful, and often humorous. Sometimes freestanding, and other times wrapping around trees, buildings, railings, and rooms, they are constructed indoors and in nature. As organic matter, the stick sculptures eventually disintegrate and fade back into the landscape. Featuring a wealth of photographs and drawings documenting the construction process of each remarkable structure, Stickwork preserves the legend of the man who weaves the simplest of materials into a singular artistic triumph.