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Setanta Book Store/Collections/An Abridged Dictionary of Sculpture
A book cover featuring a black and white photograph of a studio setup with a white backdrop, a small dark spherical object, and a pale green border around the edges.
An open book titled 'An Abridged Dictionary of Sculpture' by John Gossage. The left page is white with a small black-and-white photograph, and the right page features large black text.
An open book showing a black-and-white photograph on the right page and a blank interior spread on the left.
An open book showing a black-and-white photograph of a hand holding a bundle of roots on the right page.
An open book where the right page shows a black-and-white still life photograph of stacked boxes and a round object.
An open book, showing a black and white photograph of a small concrete block on the right page.
An open book showing two black-and-white photographic prints side by side.
An Abridged Dictionary of Sculpture
An Abridged Dictionary of Sculpture
Setanta Book Store/Collections/An Abridged Dictionary of Sculpture

by John Gossage

An Abridged Dictionary of Sculpture

2026

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$66.00
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Orders 20.01kg – 30kg: £16.00
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EU Shipping Costs - 2 - 7 Days

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Rest of the world Shipping Costs - 3 - 17 Days

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Orders 0.1kg–1kg: £20.00
Orders 1.01kg–1.5kg: £30.00
Orders 1.51kg–2kg: £50.00
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First edition of An Abridged Dictionary of Sculpture by John Gossage (2026)

First impression 

Large format hardback in new condition 

120 pages, 58 images

Clothbound hardcover with a tipped-in photograph and belly-band

21.6 x 26 cm

English

Co-published with The Agency, Hudson Valley

About

In An Abridged Dictionary of Sculpture John Gossage considers the changes objects (sculptures) undergo when they are photographed. His images transform these objects rather than transcribe them, altering their condition of being. For Gossage, to photograph is to ask one thing to become another kind of thing. Indeed, does a sculpture always need a pedestal or isolation to not just be another thing in the world? Whether a pile of archive folders, a dirty beaker, a heap of baseball caps, a plank of wood or a tuft of grass, he photographs these objects against the same background of white paper, their shadows often taking on as much presence as their concrete forms. With so much of the objects unclear (their volume, scale and weight, their three-dimensionality), and each having lost its original purpose or being about to die, how much has Gossage actually saved in his photographs: only his intentions? Is a good photograph always better than what it pictures—and how? This book is a dictionary because it describes the sculptures rather than being the sculptures: as every photograph does with everything.

Publisher: Steidl

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Richmond, Surrey
TW10 5EG

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