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The article discusses the trend towards see-through sculptures and features several see-through sculptors in the U.S. It explains that clarity and purity have been ideals forming the concept of perfection and that sculptors begun creating works that are literally as clear and pure as air or water in the past years. It also features sculptors such as Hans Breder from Iowa, Larry Bell of Los Angeles, California, and Bruce Beasley from San Francisco, California.

The article discusses the design development from concept to application of a large- scale sculpture. Topics include the concept from the artist's point of view and the origin of the design, the scale model that was used to eventually prepare the bigger piece and a description of the actual method and materials used to design and carve the sculpture with the help of tools like a chisel and mallet.

The article focuses on ceramic artist Marvin Sweet and his recent series, titled "Tree of Life." The series is based on many ancient myths and traditions and on the creation stories of many cultures. According to Sweet, the series is considered as an icon to the reaffirmation of life for multiple cultures and generations. He first encountered root art during one of his many trips to China. Similar to root art, his ceramics have the ability to suggest anthropomorphic and zoomorphic forms. His choice of materials and process become the embodiment of a conceptual and physical metamorphosis.

The article focuses on ceramic artist Stanton Hunter and his recent project, titled "Migration Grids." From his early creations to "Migration Grids," Hunter has been interested in mixing formal sculptural concerns with natural and organic materials in an attempt to explores the complexity and nature of contemporary reality. The project brings the use of multiples and grid-based forms. It represents his interest in natural elements, materiality of ceramics and the conceptual framework of site-specific projects.

Features the late artist Constantin Brancusi. Personal background; Interpretations of Brancusi's sculptures; Factor that affects Brancusi's work.

The article focuses on the works of ceramic artist Gilbert Portanier. It cites the plates Portanier made in the 1950s and some of his vases where a play on light and shade or on thickness and reserve is seen. His ceramic sculptures are also cited to have testified to his sense of fun. A so-called Mediterranean quality is seen in Portanier's work that is said to be visible in his sensuous love of color, his wealth of forms and his unrestrained emotion. The joyfulness of his ceramics is cited as evident from both the forms and the decoration.

The article cites the works of Russian ceramic artist Vladimir Tsivin and his neolithic figures. Tsivin's work is described as an abstract and an intellectual distillation of ancient forms and mythology. The patterns that Tsivin uses in his sculpture is seen to be consistent, utilizing patterns from rubber floor mats and cloth. A pair of pieces titled "Cain and Abel" is one of his neolithic figures cited and noted to have revealed how Tsivin's mind encapsulated the use of such material. The many forms taken by his work are said to have explored the relationship between the natural world and humanity.

The article features the sculptural works of Lauren Schaffer. It notes that in recent years she made works from office partitions, office chairs, gelatin, porcelain, fiberglass and rubber. It highlights the choice of materials used by the artist in her works such as molding of aluminum engine parts and then casting them in porcelain and a maze constructed out of government-surplus office dividers, as well as the meanings conveyed by her works. It also mentions the artist's view about copying, which for her is a way of possessing and a means of subverting. The article also views Schaffner's works as the idealized perfection of the art object.

The article examines the work of artist Patrick Siler. It is averred that Siler has explored in his ceramic products the relationship between art and life that has been described as everything from an intimate interaction to a barrier between exclusive entities. It is stated that his approach to image-making reveals the distinction between the additive process of painting and sculpture and the totality of a stenciled form. For Siler, the sequence of creative decisions and procedures is important. His work has evolved from pottery surfaces to be drawn upon to ceramic vessels that embody the stenciled imagery. He also considers the form-image relationship such that the axis of the freestanding clay form is usually askew to the axis of the image.

Presents an insight into various sculptures created by sculptor Naum Gabo. Comment on the art theories propounded by Gabo; Account of the evolution of sculptures by Gabo; Comparison of various works of Gabo with that of various other artists; Overview of various dominant forms represented in Gabo's sculptures; Information on an exhibition of sculptures by Gabo.

Features artist Ke Hegen and his Chinese art pottery. Career background; Characteristics of Chinese art; Techniques he used for his pottery; Description of his pottery.

Features artists Avital Sheffer and Margaurite Josephson and their technique of making vessels and sculptures that acknowledge and celebrate traditions. References to the Middle Eastern culture used by Sheffer and Josephson; Similarities between Sheffer and Josephson; Factor used by Sheffer as a departure point for her work.

In this article, the author reflects upon the work of the contemporary artist Thomas Houseago. Particular focus is given to his work in sculpture. Additional topics discussed include how masks are represented in his work, insights on Houseago's artistic techniques and his exhibition "The Medusa and Other Heads" at the Gagosian Gallery in New York City.

The article focuses on artist William Kentridge and his works. It states that Kentridge is a South African artist of Jewish descent and started making art in a South Africa still under the thumb of apartheid. It notes that Kentridge. has built sculptures out of improvised kitchen utensils and making prints. It indicates that his arts are recognizable and style-less.

The article profiles Indian sculptor and artist Manish Nai. Topics covered include his use of recycling material in his works, like wood and metal frames, his devotion to the state of compression and his return to things in a constant state of convolution, and on his spiritualising of his works and manipulation of textures.

The article focuses on Pennsylvanian artist Hilary Berseth and his work. The author discusses how he constructs forms of wax and wire and then lets honeybees alter the structures. Comments from Berseth are included, including on how he manipulates the bees' instincts. It is reported that Berseth is holding a show at Eleven Rivington through November 9, 2008.

The article features the transition of art works of Douglas Walker from sculpture to painting. It discusses how the artist used to make sculptures then that looked like models for architecture, as well as the techniques and materials he used in his sculptural works. It mentions that the artist shifted to painting as art medium for his landscapes, and it includes his technique and materials used. It also notes that the artist's style of painting lends irony to the fate of contemporary art painting.

The article examines the work of the contemporary Canadian artist Aganetha Dyck. Particular focus is given to her work in felt sculpture. Additional topics discussed include her previous work collaborating with bees and their hives, insights on her artistic techniques and her use of crochet in her sculptural artwork.