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Stone sculpture is an ancient art form that continues to be practiced today. Artists like Jared DeCelles, Cliff Fragua, Shayna Grandbois-Herrera, and Eddyz Shorty create unique and original stone sculptures using materials such as marble, alabaster, limestone, and calcite. Their work ranges from abstract to representational, exploring various forms and subjects. These artists have gained recognition and accolades for their skill and creativity in the field of stone sculpture. [Extracted from the article]

The article offers information on Zimbabwean sculptor Sylvester Mubayi's sculpture "Great Spirit, 1973" and its significance as a public artwork in Harare, Zimbabwe and in Zimbabwe's stone sculpture movement. Topics discussed include Mubayi's role in revitalizing stone sculpting traditions; the historical context of stone art in Zimbabwe; and the impact of colonial influences on the development of this artistic practice.

The article features the ancient Polynesian stone sculptures moai on Easter Island. Topics discussed include the creation of the moai from solidified basalt magma and condensed volcanic ash from Rano Raraku volcano, the human-like characteristics of the sculptures, and brief details about the initial discovery of the carvings by Western explorers, their conservation and restoration, and influence on several modern sculptors.

The article focuses on sculpted reverence in Bodhgaya, Rajgir, Kushinagar in India. In Rajgir, on the rocky outcrop of Gridhkuta, "Vulture Peak," it is said that the Buddha once taught by holding up a flower. Just one disciple smiled, receiving the transmission. Ajanta’s vihara monasteries or chaitreya prayer halls existed concealed in the undifferentiated bedrock before they were carved out.

Of artists of the second half of the 19th century who are today treated as masters, Auguste Rodin, a French sculpture is the only one who was internationally honored and officially considered illustrious during his working life. At the height of his career he employed ten other sculptors to carve marbles for which he was famous. Many of the marble carvings figures and heads are meant to look as if they have only half emerged from the uncut block of stone, but in fact they look as though they are being compressed into and are merging with the block.

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The article focuses on American sculptor and teacher Mark Mennin and his studio space in Bethlehem, Connecticut. Particular focus is given to Mennin's work ethic when it comes to stone carving and his use of former students as assistants. Various images of his stone sculptures are also presented including "Mogul," "Wayfairer I & II" and "Sleepy Hollow."

A biography of stone sculptor Billy Gauthier is presented. He was born on July 7, 1978 in Happy Valley Goose Bay, Nunatsiavut. His career started in 1996 under sculptor John Terriak and was first noticed by Herb Brown who introduced his work to Nigel Reading of Vancouver's Spirit Wrestler Gallery. Gauthier prefers working on human faces, with Inuit life on the land and shamanism as common themes, and uses serpentine, anhydrite, and alabaster on his works. His influences include John Terriak and Michael Massie.

This article reports that Garry Curry and Alistair Green are stone sculptors who each sustained spinal cord injuries in separate automobile accidents in Canada. Sculpting stone helped the artists manage the pain from their injuries. Each stone sculpture was a benefit to their courage, skill, confidence and hope.

The article focuses on the sculptural works of a Long Island native artist Chris Berti who now reside in east central Illinois. The 30 sculptural works in wood, stone and ceramic in Berti's 2002 exhibition at Robert Kidd Gallery in Birmingham, Michigan, U.S.A. acknowledges that each material has its own integrity. The author added that Berti strives to use the materials whose best qualities can accommodate and enhance his idea. According to the author to discover how to technically manipulated in a manner that harness its expressive potential it is also necessary to become aware of the ways in which others have used the material throughout history.

The article discusses the Gusii soapstone carvers of East Africa in comparison with Inuit Carvers. The author examines the relationship of indigenous artists and western arts through several ethnographic studies. A brief historical overview of Gusii is presented wherein the author mentions that they emigrated from Central Africa to Lake Victoria. It mentions that knowledge in carving was inherited by Gusii carvers from their ancestors that made this knowledge a part of Central African history and culture.

The article features James Washington, a Pacific Northwestern sculptor who works in stone. Washington surrounds his work area with animal skulls, stones, flowering plants, and chiming clocks. Starting his career as a little boy in Little Rock Arkansas, Washington was already an established painter when he shifted to sculpting. He works with granite river boulders. He was awarded an honorary Doctor of Fine Arts degree from the Center for Urban Black Studies of Graduate Theological Union in Berkeley, California.

The article features several stone sculptors and their thoughts on what inspires them in their creations. Jane Rickards has always been fascinated by sculpture. The overall theme in her work is the development of human consciousness. Angela Holmes says her passion is carving in stone. She aims to discover the latent energy within a stone during the sculpting process. Matt Gardner of Solid Creations has built a full-size suit of armour in fibreglass.

Presents an interview with Texas-based granite sculptor Jesus Bautista Moroles. Personal background; Military experience; History of Moroles' interest in arts; Critique of Moroles' works; Large-scale granite sculpture.

Profiles British sculptor Simon Verity. Work on the main portal of the Cathedral of Saint John the Divine in New York City; Verity's major patrons; Work on a memorial to Thomas Becket in the stone floor of Canterbury Cathedral; Verity's choice of materials; Verity's support for other stone carvers; Remarks about the stones out of which New York City was built.

The article discusses issues related to related to the relationship between artists and art galleries. A background of the case of a young stone sculptor who was told that a prestigious art gallery was interested in including him into the gallery's stable of artists is presented. Several conditions set by the sculptor, as well as the gallery owner's response to such conditions are cited. Questions and answers related to agreements between artists and art galleries are also presented.

An interview with sculptor Simona Bocchi in Italy is presented. When asked how she first developed an interest in sculpture, she answers that her interest started when she was very young where she would play with the dough, making it into different forms. She relates her sculpture to where it would be placed. Bocchi adds that she works with several materials and used different languages for each material.

The article focuses on traditional sculptors' use of many time-honored methods and materials despite the expanding category of sculpture. The permanence of bronze sculpture reflects people's response not only to the form and the concept, but also to the material. The diversity of themes and forms in traditional sculptors' work indicates the strength and appeal of traditional material. Other traditional media that appeal to sculptors and collectors include steel and stone.

The article offers information on sculptor Chaim Gross. It says that Gross, whose father was a lumber merchant, began his career as a wood sculptor, while his interests in sculpting stones and bronze set out after residing in the U.S. in 1921. It discusses several wood, stone, and bronze sculptures which were exhibited at the Duveen-Graham gallery in Manhattan, New York in April 1957. It also mentions his utilization of woods which originated in various countries.

Presents an article about a British stone sculptor. Work concept; Materials and tools used; Educational background and work environment.

Describes the technologies being used at the foundry Johnson Atelier Technical Institute of Sculpture in Mercerville, New Jersey. Information on the lost wax process in metal sculpture; Approach to sculpting at the stone division of the foundry; Details of the use of laser scanning in stone milling.

The article features Inuit sculptor Anilnik Peelaktoak. Peelaktoak was born at Avataqtuq, in the community of Pangnirtung, Nunavut. His family moved to Qiqiktarjuaq where he attended school and learned to speak English. In the early 1990s, he rediscovered his passion for carving. His sculpture has been included in exhibitions in Canada and the U.S. Peelaktoak held his first solo show at the Inuit Gallery of Vancouver, British Columbia in February 2001. According to him, when he start a carving, he first examine the stone shape carefully to visualize what it will look like. He enjoys making legends or stories and things that show traditions from the past.

The article focuses on sculptor David Ruben Piqtoukun from Paulatuk, Northwest Territories. Piqtoukun left home at an early age to attend school and stayed with various family members only during summers. His brother, Abraham Anghik introduced him to stone carving while living together in Vancouver, British Columbia in 1972. He took courses on the fundamentals of carving and worked primarily with jade. Due to the lack of knowledge on Inuit mythology, he carved realistic pieces such as animals and figures. He was asked by the Department of External Affairs to travel to Abidjan, Ivory Coast to demonstrate stone carving techniques. He also worked with several types of stone which include Brazilian soapstone and Italian crystal alabaster.

The article focuses on Ron Livingston and his career as a chalkstone artist. He decided to carve chalkstone as a creative outlet in preparation for his retirement. His materials came from torn down chalkstone buildings. An outline of the his process of carving chalkstone is presented. He has made 78 chalkstone pieces.

The article features the Navajo stone sculptor Larry Yazzie. His works include Indiana limestone, Italian marble, Virginia soapstone, and Utah alabaster that are stone representational and stylized human and animal forms depicting the traditional Navajo world. Yazzie believes that continuing life through a creative path requires enjoyment of the process and awareness of the sacred nature of the work. Despite his awards such as the Best of Class at the 2002 Santa Fe Indian Market, Yazzie admitted that he is still learning more of the beautiful stories of the Navajo world.

Information about several papers discussed at a symposium for Nunavik Carvers is presented. Topics include polishing, finishing, power tool and portfolio development sessions. The symposium was followed by a Fall Qaggiq which features artists' demonstrations by Mattiusi Iyaituk, Johnny Aculiak, and Thomassie Echalook.

The article profiles Susie Bevins "Qimmiqsak," an accomplished Inupiat sculptor in Anchorage, Alaska. Bevins works in stone, wood metal and contemporary materials and her work has been included in various exhibitions. She received her first place in the sculpture division at XXII All Alaska Juried Art Exhibition at the Anchorage Museum of History and Art. According to the article, Bevins was a member of the board of directors for the Visual Arts Center of Alaska from 1988-1990 and commissioner for the Municipality of Anchorage Arts Advisory Commission.

Reports on the design of the "American Woman" sculpture, a life-sized marble masterpiece by Francisco Sotomayor of the Marble Studio of Green Mountain Falls in Colorado. Weight of the sculpture; Number of cities to where the sculpture is being toured; National sponsors of Sotomayor's sculpture.