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Tate: Barbara Hepworth Sculpture Garden
Wall Calendar 2026 (Art Calendar)

Tate: Barbara Hepworth Sculpture Garden Wall Calendar 2026 (Art Calendar)

Charting Auguste Rodin’s relationships with the dancers who shaped his signature style and his mythic persona. Juliet Bellow&nbsp;traces Rodin’s interactions with dance makers and performers during his late career (1890-1912) through a series of interrelated case studies. His exchanges with Loïe Fuller, Vaslav Nijinsky, and members of the Cambodian Royal Ballet troupe were central to Rodin’s development of a modern sculptural aesthetic and the construction of his artistic celebrity. But this was not a simple case of one-way influence. These performers actively courted an affiliation with Rodin, wielding sculpture’s cultural authority to move dance from the realm of commercial entertainment to that of “high art.” &nbsp; Bringing together art history and performance studies, Rodin’s Dancers demonstrates that in their search for innovation, dancers and sculptors experimented with one another’s means of expression, sites of display, and techniques of publicity. The book provides more than a new interpretation of Rodin’s art: it considers how and why the name “Rodin” came to stand for a powerful constellation of ideas about art, authorship, and creative genius within the vibrant spectacle culture of Belle Époque Paris. &nbsp; &nbsp;

Art and Performance in Belle Époque Paris

Rodin's Dancers

Atem, Lehm-the German words for "breath" and "clay", a title inspired by a poem by Paul Celan-is the first monograph dedicated to Latvian artist Daiga Grantina.
Grantina's solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space.
The book's structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York's New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist's sculptural environments seem to shift their locus of perception.

Atem, Lehm
 —the German words for “breath” and “clay”, a title inspired by a poem by Paul Celan—is the first monograph dedicated to Latvian artist Daiga Grantina.
Grantina’s solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space.
The book’s structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York’s New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist’s sculptural environments seem to shift their locus of perception.

Atem, Lehm

Daiga Grantina

Alchemy: Court of the Black Rose Wall Calendar 2026 (Art Calendar)

Flame Tree Notebooks

Unser langlebiges Hardcover-Notizbuch mit geradem Buchrücken übertrifft die Grenzen klassischer Notizbücher. Mit 176 Seiten aus hochwertigem cremefarbenem Papier bietet das für den täglichen Schreibgebrauch unentbehrliche Notizbuch viel Platz, um den Überblick über die täglichen Aufgaben stilvoll zu bewahren. Die Seiten sind liniert. Ein Magnetverschluss sowie Lesebändchen und eine kleine Tasche am inneren Einbanddeckel runden das Produkt ab. Das Titelbild ist fünffarbig bedruckt, geprägt, doppelt foliert und auf Silber- oder Goldpapier gedruckt. 

Produkteigenschaften:
Maße: 21 cm Hoch x 14,8 cm Breit und 2 cm Dick
176 linierte cremefarbene Seiten.

Art of Drag: Portrait of a Golden Queen (Foiled Journal)

Tate: Women Artists Wall Calendar 2026 (Art Calendar)

Routledge Research in Art History

This study considers the performativity of sound-producing sculptures made in the twenty-first century through a cultural history of certain works.

This study considers the performativity of sound-producing sculptures made in the twenty-first century through a cultural history of certain works.

Sounding Things Out

Sonic Sculpture and the Performative Impulse

TVBOY: Love & Resist! Wall Calendar 2026 (Art Calendar)

"A memoir of journal notes, early drafts of poems, and short meditations by Marianne Boruch" --

Life Drawing, Poetry, The Cadaver Lab; A Year in Pieces

The Figure Going Imaginary

The first ever critical biography of Helen Chadwick, who died tragically young but is now revered as a pioneering feminist artist.

Life Pleasures

Helen Chadwick

IMAGINES – Classical Receptions in the Visual and Performing Arts

This book examines the reception of Graeco-Roman sculptures of Venus and their role in the construction of the body aesthetics of the "fit" American woman in the decades around the turn of the 20th century. In this historical moment, 19th-century anthropometric methods, the anti-corset dress reform movement and early fitness culture were united in their goal of identifying and producing healthy, procreative female bodies. These discourses presented ancient statues of Venus - most frequently, the Venus de Milo - as the supreme visual model of a superior, fit, feminine physique. An America of such Venuses would herald the future prosperity of the "American race" by reviving the robust health and moral righteousness of the ancient Greeks.
 
 Venuses had long been symbols of beauty, but the new situation of Venus statues as an aesthetic and moral destination for women set up a slippage between ideal sculpture and living bodies: what did it mean for a woman to embody - or to try to embody - the perfect health and beauty of an ancient statue? How were women expected to translate this model into flesh? What were the political stakes to which this vision of a nation of American Venuses was bound? Who was believed to conform to this ideal, and who was excluded from it? In taking on these questions, Franks engages with physical culture and dress-reform media, modern artwork that adapts Graeco-Roman traditions, anthropological texts, art histories of ancient Greece, film, advertising and medical reporting on women's health.

This book examines the reception of Graeco-Roman sculptures of Venus and their role in the construction of the body aesthetics of the “fit” American woman in the decades around the turn of the 20th century. In this historical moment, 19th-century anthropometric methods, the anti-corset dress reform movement and early fitness culture were united in their goal of identifying and producing healthy, procreative female bodies. These discourses presented ancient statues of Venus – most frequently, the Venus de Milo – as the supreme visual model of a superior, fit, feminine physique. An America of such Venuses would herald the future prosperity of the “American race” by reviving the robust health and moral righteousness of the ancient Greeks.
 
 Venuses had long been symbols of beauty, but the new situation of Venus statues as an aesthetic and moral destination for women set up a slippage between ideal sculpture and living bodies: what did it mean for a woman to embody – or to try to embody – the perfect health and beauty of an ancient statue? How were women expected to translate this model into flesh? What were the political stakes to which this vision of a nation of American Venuses was bound? Who was believed to conform to this ideal, and who was excluded from it? In taking on these questions, Franks engages with physical culture and dress-reform media, modern artwork that adapts Graeco-Roman traditions, anthropological texts, art histories of ancient Greece, film, advertising and medical reporting on women’s health.

Venus Envy

Ancient Sculpture and Twentieth-Century American Womanhood

The Book Lover's Wall Calendar 2026 (Art Calendar)

An intricate monograph for a major retrospective of fine artist and cartoonist Guy Colwell's figurative paintings, each teeming with life, sparkling with color, rich in observational and sharp social commentary.

Figurative Social Surrealist Paintings

Go Figure

Tate: Barbara Hepworth Sculpture Garden Wall Calendar 2026 (Art ...

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