000			03583cam a2200481 i 4500
001			21442170
003			OSt
005			20220128153422.0
008			200221t20202020enka b 001 0 eng d
010			_a 2020933740
015			_aGBC0D3313 _2bnb
016	7		_a019927570 _2Uk
020			_a9780500022672 _q(hardback)
020			_a0500022674 _q(hardback)
035			_a(OCoLC)on1197770539
040			_aUKMGB _beng _erda _cDTI _dERASA _dBDX _dOCLCO _dTOH _dNZAUC _dOCLCF _dYDX _dOKX _dOCLCO _dOWS _dUKOBU _dMYA _dJYJ _dEAU _dCUV _dUKTTE _dDLC
042			_alccopycat
050	0	0	_aNB60 _b.GOR 2020
080			_a73.01 GOR
082	0	4	_a730.9 _223
100	1		_aGormley, Antony, _eauthor. _9348
245	1	0	_aShaping the world : _bsculpture from prehistory to now / _cAntony Gormley & Martin Gayford.
264		1	_aLondon ; _aNew York : _bThames & Hudson, _c2020.
264		4	_c©2020
300			_a391 pages : _billustrations (chiefly color) ; _c29 cm
336			_atext _btxt _2rdacontent
336			_astill image _bsti _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_aIncludes bibliographical references (pages 382-383) and index.
505	0		_aBodies in space -- Off the wall -- Mounds, fields & standing stones -- Trees & life -- Light & darkness -- Clay & modelling -- Voids -- The body & the block -- The age of bronze -- Bodies & buildings -- The Colossus & the slave -- Time & mortality -- Drapery & anatomy -- Actions & events -- Fear & fetishism -- Collecting & selecting -- Industry & heavy metal -- Shaping a changing world.
520	8		_aSculpture is the universal art. It has been practised by every culture throughout the world and stretches back into the distant past. The first surviving shaped stones may even predate the advent of language. The drive to form stone, clay, wood and metal into shapes evidently runs deep in our psyche and biology. This links the question 'What is sculpture?' to the question 'What is humanity?' In this wide-ranging book, two complementary voices - one belonging to an artist who looks to Asian and Buddhist traditions as much as to Western sculptural history, the other to a critic and historian - consider how sculpture has been central to the evolution of our potential for thinking and feeling. Sculpture cannot be seen in isolation as an aesthetic pursuit; it is related to humankind's compelling urge to make its mark on the landscape, build, make pictures, practise religion and develop philosophical thought. Drawing on examples from thousands of years BCE to now, and from around the globe, the authors treat sculpture as a transnational art form with its own compelling history. They take into account materials and techniques, and consider overarching themes such as space, light and darkness. Above all, they discuss their view of sculpture as a form of physical thinking capable of altering the way people feel and of inviting them to look at sculpture they encounter and more broadly the world around them in a completely different way.
650		0	_aSculpture. _9349
650		7	_aART / Sculpture. _2bisacsh _9350
650		7	_aSculpture. _2fast _0(OCoLC)fst01109483 _9349
650		7	_aSculpture, Ancient. _2fast _0(OCoLC)fst01109536 _9351
655		7	_aHistory. _2fast _0(OCoLC)fst01411628 _915
700	1		_aGayford, Martin, _d1952- _eauthor. _9352
906			_a7 _bcbc _ccopycat _d2 _eepcn _f20 _gy-gencatlg
942			_2lcc _cREF _n0
999			_c127 _d127