Space is a formative factor in the production of sculpture. Phenomenological thought interprets sculptural work in relation to the immersive experience of the viewer, situating it within its environment. But what possibilities lie beyond this unitary position? What is the political potential of a sculptural object? How can its spatial relations and movements be reconfigured beyond its immediate environment? Spatial Politics of the Sculptural investigates the concept of space and its role in the production of the sculptural form from a multidimensional perspective. Engaging with the work of Krauss, Fried, Merleau-Pony, Deleuze and Guattari, and using case studies of urban development in Paris, New York and Seoul it reinterprets and dislocates the sculptural form in terms of the political dynamism of space proposing a new methodology for reading, producing and expanding sculptural practice. Drawing on David Harvey’s theory of capital, it scrutinizes the idea of the spatial in the process of urbanization. It examines the interrelationship between capital flow and accumulation, and explores the production and destruction of space in relation to the creation of three-dimensional works of art. In doing so, it expands the idea of the sculptural object in relation to the urban environment.

Monuments and Site-Specific Sculpture in Urban and Rural Space presents a collection of essays discussing works of art whose formal qualities, content and spatial interactions expand our idea of creation and commemoration. By addressing projects that range from war memorials to commemorations of individuals, as well as works that engage real and virtual environments, this book brings to light new aspects concerning twentieth and twenty-first century monuments and site-specific sculpture. The book addresses the work of, among others, Günter Demnig, Michael Heizer, Thomas Hirschhorn, Dani Karavan, Costantino Nivola, Melissa Shiff and John Craig Freeman, Robert Smithson, and Micha Ullman. A lucid, thought-provoking discussion of creative processes and the discourse between site-specific sculpture and its publics is provided in this collection. As such, it is vital and indispensable for historians, art historians and artists, as well as for every reader interested in the interrelations of art, urban and rural spaces, community and the makings of memory.

This book analyses the spatial politics of a range of British novelists writing on London since the 1950s, emphasizing spatial representation as an embodied practice at the point where the architectural landscape and the body enter into relation with each other. Colombino visits the city in connection with its boundaries, abstract spaces and natural microcosms, as they stand in for all the conflicting realms of identity; its interstices and ruins are seen as inhabited by bodies that reproduce internally the external conditions of political and social struggle. The study brings into focus the fiction in which London provides not a residual interest but a strong psychic-phenomenological grounding, and where the awareness of the physical reality of buildings and landscape conditions shape the concept of the subject traversing this space. Authors such as J. G. Ballard, Geoff Dyer, Michael Moorcock, Peter Ackroyd, Iain Sinclair, Geoff Ryman, Tom McCarthy, Michael Bracewell and Zadie Smith are considered in order to map the relationship of body, architecture and spatial politics in contemporary creative prose on the city. Through readings that are consistently informed by recent developments in urban studies and reflections formulated by architects, sociologists, anthropologists and art critics, this book offers a substantial contribution to the burgeoning field of literary urban studies.

In Alien Capital Iyko Day retheorizes the history and logic of settler colonialism by examining its intersection with capitalism and the racialization of Asian immigrants to Canada and the United States. Day explores how the historical alignment of Asian bodies and labor with capital's abstract and negative dimensions became one of settler colonialism's foundational and defining features. This alignment allowed white settlers to gloss over and expunge their complicity with capitalist exploitation from their collective memory. Day reveals this process through an analysis of a diverse body of Asian North American literature and visual culture, including depictions of Chinese railroad labor in the 1880s, filmic and literary responses to Japanese internment in the 1940s, and more recent examinations of the relations between free trade, national borders, and migrant labor. In highlighting these artists' reworking and exposing of the economic modalities of Asian racialized labor, Day pushes beyond existing approaches to settler colonialism as a Native/settler binary to formulate it as a dynamic triangulation of Native, settler, and alien populations and positionalities.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.

Jay Pather, Performance and Spatial Politics in South Africa offers the first full-length monograph on the award-winning choreographer, theater director, curator, and creative artist in contemporary global performance. Working within the contexts of African studies, dance, theater, and performance, Ketu H. Katrak explores the extent of Pather's productive career but also places him and his work in the South African and global arts scene, where he is considered a visionary. Pather, a South African of Indian heritage, is known as a master of space, site, and location. Katrak examines how Pather's performance practices place him in the center of global trends that are interdisciplinary, multidisciplinary, collaborative, and multimedia and that cross borders between dance, theater, visual art, and technology. Jay Pather, Performance and Spatial Politics in South Africa offers a vision of an artist who is strategically aware of the spatiality of human life, who understands the human body as the nation's collective history, and who is a symbol of hope and resilience after the trauma of violent segregation.

In her innovative study of spatial locations in postcolonial texts, Sara Upstone adopts a transnational and comparative approach that challenges the tendency to engage with authors in isolation or in relation to other writers from a single geographical setting. Suggesting that isolating authors in terms of geography reinforces the primacy of the nation, Upstone instead illuminates the power of spatial locales such as the journey, city, home, and body to enable personal or communal statements of resistance against colonial prejudice and its neo-colonial legacies. While focusing on the major texts of Wilson Harris, Toni Morrison, and Salman Rushdie in relation to particular spatial locations, Upstone offers a wide range of examples from other postcolonial authors, including Michael Ondaatje, Keri Hulme, J. M. Coetzee, Arundhati Roy, Tsitsi Dangarembga, and Abdulrazak Gurnah. The result is a strong case for what Upstone terms the 'postcolonial spatial imagination', independent of geography though always fully contextualised. Written in accessible and unhurried prose, Upstone's study is marked by its respect for the ways in which the writers themselves resist not only geographical boundaries but academic categorisation.

Public sculpture is a major draw in today’s cities, and nowhere is this more the case than in New York. In the Big Apple, urban art has become synonymous with the municipal “brand,” highlighting the metropolis as vibrant, creative, tolerant, orderly, and above all, safe. Sculpture in Gotham tells the story of how the City of New York came to be committed to public art patronage beginning in the mid-1960s. In that era of political turbulence, cultural activists and city officials for a time shifted away from traditional monuments, joining forces to sponsor ambitious sculptural projects as an instrument for urban revitalization. Focusing on specific people, agencies and organizations, and both temporary and permanent projects, from the 1960s forward, Michele H. Bogart reveals the changing forms and meanings of municipal public art. Sculpture in Gotham illustrates how such shifts came about at a time when art theories and styles were morphing markedly, and when municipalities were reeling from racial unrest, economic decline, and countercultural challenges—to culture as well as the state. While sculptural installations on New York City property took time and were not without controversy, Gotham’s processes and policies produced notable results, providing precedents and lessons for cities the world over.

Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

This book investigates and re-evaluates the remains of the two most important sanctuaries in ancient Greece.