New Issue of Sculpture Journal: Technical innovation, artist networks, and contested memorials.

Dear colleagues,

Liverpool University Press is pleased to inform you of the latest content in SCULPTURE JOURNAL, the foremost scholarly journal devoted to sculpture in all its aspects across the globe. It provides an international forum for writers and scholars in the wider field of sculpture, including all three-dimensional art and monuments.

The contributions gathered in this issue do not share a single theme, but they do have a common interest in the kinds of evidence that can change how sculpture is understood. Each turns to something that might have seemed secondary: Thomas Woolner’s lectures on sculptural making, the flowers on Benvenuto Cellini’s Narcissus, or the local relationships through which Beverly Buchanan’s work was made and preserved. In doing so, the issue asks how sculpture becomes legible when these forms of evidence are brought into view.

You can read the full editorial for this issue for free.

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Table of contents

EDITORIAL
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Editorial
Charlotte Matter and Teresa Kittler

RESEARCH ARTICLES

Between ‘old’ and ‘new’ sculpture: Thomas Woolner and the making of Victorian portrait sculpture
Claire Jones

Florescence of power: Benvenuto Cellini’s Narcissus as a botanical allegory in the court of Cosimo I de’ Medici
Alexandra Dvorkin

Assemblage as a survival strategy: a conversation about Beverly Buchanan with Mo Costello and Katz Tepper
Charlotte Matter, Mo Costello, and Katz Tepper

REVIEWS
Peter Sherlock, The Monuments of Westminster Abbey: Power and Memory in Early Modern Britain
Susan Jenkins

Stella Rollig, Katharina Lovecky and Georg Lechner (eds), Franz Xaver Messerschmidt. Mehr als Charakterköpfe (Franz Xaver Messerschmidt: More than Character Heads)
Antonia Boström

Wotruba International
David Misteli

Caroline Fowler and Ittai Weinryb (eds), Plastics
Heather Davis

David Bourgarit, Jane Bassett, Francesca G. Bewer, Arlen Heginbotham, Andrew Lacey and Peta Motture (eds), Guidelines for the Technical Examination of Bronze Sculpture
Lisa Ellis

NOTES ON CONTRIBUTORS
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Contributors

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