Relevant bibliographies by topics / Painting and installation

Academic literature on the topic 'Painting and installation'

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Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Painting and installation"

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Authors, Collective. "Painting Trail in Installation." ti< 3, no. 1 (March 29, 2014): 45–53. http://dx.doi.org/10.26522/ti.v3i1.901.

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Shapovalov, Yu N., and I. E. Shabanov. "Installation for painting flat objects." Chemical and Petroleum Engineering 33, no. 2 (March 1997): 238–39. http://dx.doi.org/10.1007/bf02396054.

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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He, Yifei. "Contemporary painting, the ‘loop’ and the Chinese context." Journal of Contemporary Painting 7, no. 1 (October 1, 2021): 199–223. http://dx.doi.org/10.1386/jcp_00026_1.

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This article explores my own painting practice in relation to my pedagogical experience in both China and the United Kingdom, in order to see how traditional painting and the pedagogy of painting can be repurposed in forms of contemporary painting. Discussion in this article will be based on three examples of my expanded painting practice that engage with the notion of ‘the apparatus’ (Foucault) of painting in relation to the studio, as well as through different materials and mediums: painting, installation, performance, video and so on. The apparatus is, of course, not just about media but about the whole process of painting and its encounter. In these examples of practice, aspects of the apparatus of painting are revisited and re-visioned. Also, these examples demonstrate my thinking around the apparatus of painting’s relation to the loop. Importantly, as a painter, this article offers my practice’s response to the question: how does a contemporary (Chinese) painter go forward in the teaching and making of art? This question is vital, especially when there are (Chinese) traditions and histories that should be acknowledged and drawn on, in order to avoid simply repeating or adopting western modes of art practice.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (December 28, 2018): 81–104. http://dx.doi.org/10.15291/ars.2756.

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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Rusdin, Rusdin, Merlyn Mangopo, and Ruslan R. Yarkuran. "Pelaksanaan Pekerjaan Finishing pada WC dan Tempat Whudu Masjid A-Ikhlas Thumburuni Kab. Fakfak Papua Barat." Community Engagement and Emergence Journal (CEEJ) 2, no. 3 (December 15, 2021): 84–90. http://dx.doi.org/10.37385/ceej.v2i3.317.

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Al-Iklas Mosque is one of the public mosques in Fakfak City which is still active and has a fairly large number of worshipers, namely 300 people. However, currently the mosque has supporting facilities for building facilities, namely toilets and ablution places whose floors and walls have not been tiled and painted. As well as the damage to water channels and faucets where wudu. Therefore, the PKM team provided solutions to carry out work on installing ceramic floors, repairing drains and painting the walls of the WC and the ablution area of ??the Al-Iklas Thumburuni Fakfak Mosque. The method used is the first method, the ceramic installation service method is by immersing ceramics, installing ceramics by applying cement to the floor to which ceramics will be affixed and applying ceramic grout. The second method, the method of painting the walls, is by cleaning the walls first, mixing the paint with a water base or solvent, and using the zigzag technique in painting. The third method, the method of repairing the water channel where the wudu is located, is by welding the iron pipe which is damaged and leaking. So in this finishing work, collaborating using 2 disciplines from the POLINEF institution, namely civil engineering, namely ceramic installation and painting work, while machine maintenance techniques, namely plumbing repair work. Keywords: Ceramic Installation, Painting Work, Plumbing Welding Work. Al-Iklas Mosque, Fakfak
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Solina, Franc. "15 seconds of fame." Leonardo 37, no. 2 (April 2004): 105–10. http://dx.doi.org/10.1162/0024094041139274.

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15 seconds of fame is an interactive installation that every 15 seconds generates a new pop-art portrait of a randomly selected viewer. The installation was inspired by Andy Warhol's ironical statement that “in the future everybody will be famous for 15 minutes.” The installation detects human faces and crops them from the wide-angle view of people standing before the installation. Pop-art portraits are then generated by applying randomly selected filters to a randomly chosen face from the audience. These portraits are then shown in 15-second intervals on the flat-panel computer monitor, which is framed as a painting.
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Piovan, Valentina, Stefania Randazzo, and Melissa Conn. "Carpaccio’s Original Painting Installation in the Scuola Dalmata: Where and Why." Confraternitas 32, no. 1 (June 21, 2022): 6–25. http://dx.doi.org/10.33137/confrat.v32i1.38915.

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The original installation of Vittore Carpaccio’s narra­tive paintings in the Scuola Dalmata has long been assumed to have been in the upper chapter hall, following the practice used in other Venetian confraternities (Scuole). Studies and observations dur­ing the recent conservation campaign of the canvases have led to a new hypothesis that Carpaccio may very well have instead placed his paintings on the ground floor, as we see them today, due to a heated dispute with the Priory of the Order of Saint John of Jerusalem over the control of the upstairs premises.
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Chakravorty, Swagato. "Real Bodies in (Un)real Spaces: Space, Movement, and the Installation Sensibility in Lech Majewski’s The Mill and the Cross." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 7–27. http://dx.doi.org/10.1515/ausfm-2015-0013.

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Abstract Live-action bodies traverse digitally-constructed and digitized spaces in Lech Majewski’s The Mill and the Cross (Młyn i krzyż, 2011). Majewski, a Polish artist who has worked across media, imagines his film as an animation of the world represented in Pieter Bruegel’s painting, The Procession to Calvary. His unprecedented blending of real and painted bodies, spaces, and worlds in The Mill and the Cross draws attention to the necessity of acknowledging space and movement in contemporary approaches to embodied spectatorial experience. This essay considers how the film imagines and treats its space(s) and the relations it establishes between the film-as-text, painting-as-text, and the museal space that traditionally contains painting-but also, with increasing frequency, cinema. It proposes a reframing of the terms of discussion in intermediality, shifting from painting/cinema to installation/cinema. Finally, it explores a long-neglected notion of art and its space (and the possibility of inhabiting that space) as they (re-)emerge in contemporary expanded cinema.
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Dissertations / Theses on the topic "Painting and installation"

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Barbe, Majella. "Songs of silence: painting, phenomenology, aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10207.

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The aim of my research is to explore the aesthetic potentialities of gestural painting and reductive spatiality in two dimensional and three dimensional forms. I have conducted an investigation into aesthetic experience through the phenomenological framework of the French philosopher, Merleau-Ponty and the foundational thinking of American theorist, Ellen Dissanayake in relation to art. I have addressed gesture and materiality as both a communicative tool and an aesthetic strategy. The work of Katharina Grosse (b. 1961), Fabienne Verdier (b.1962) and Anish Kapoor (b.1954) is investigated, especially in relation to aspects of visual art practice such as large scale works; the use of gesture in painting; spatiality in two and three dimensions; attention to surface and the strategic use of colour. The void and the sublime is also addressed, especially in the works of Anish Kapoor and Fabienne Verdier. My studio work is based on an initial series of mark making experiments in ink/paint on paper. The emphasis was on the phenomenological experience and aesthetic dimensions of verticality, in relation to falling and floating. The gestural marks are improvised, repetitive and experimental in nature; and the spatial activation of the white ground and its surface is also a primary consideration in these experiments. Painting in three dimensional space emerged through the studio practice and its theoretical concerns. This culminated in gestural experimental painting on 4.5m vertically suspended drops of muslin using both viscous and watery paint. The muslin was also sculpted and draped in various ways which evoked a multitude of bodily and experiential associations.
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Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.

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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Strickler, Jason A. "Drift." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,78.

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Jones, Rachel. "Evolution: The Progress of a Painter." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/655.

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This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.
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Gu, Chen. "Everyday Rituals." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1441.

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This thesis traces the trajectory of Chen Gu’s work over a three year period, looking at major influences such as Bustos and Saville, on her painting and film projects. She explores the concept of childhood, memory, and portraiture.
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Yap, Kheng Kin. "PROJECT: SPANNING THE SPACE OF DISLOCATION." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1336.

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Studio work The Postgraduate Degree Show is held from 6PthP December 2005 to 17PthP December 2005 and my work is installed in the Sculpture Studio (as a gallery space) at Building 29 of Sydney College of the Arts, Sydney. There are three installations of work, each with a series of paintings and object-models. The media I am using are oil on canvas for the paintings and wood for the models. The titles of my exhibition pieces are Project Studio (Stairs), Project Rented Room (Chair), Project Rented Room (Bed), and Project Object. Together they are entitled Project: Spanning the Space of Dislocation. The project explores the perception of space and its representation through painting and installation. The starting point is the image of familiar architectural objects to which I displace the experience of it from one site (my painting studio) to another (the gallery space) through painting as index. I use the technique of ambiguous linear forms in painting and the reflexive reading of orthogonal projective planes in installation to further extend the viewer’s perception of space and objects. The aim is to show that space has a meaningful relationship to objects and bring about a renewed awareness of habitual practice in seeing and representing space. UResearch paperU I have divided my research paper in two chapters. Chapter one explores the issue of spatial representation through ambiguity of simple linear forms and painting as index. My concern is on space being less important to objects in the distinction between space as ground and object as figure. Within this chapter I argue for an extended and a reflexive mode of seeing and representing space and objects instead of for a ground-figure contrast. By mapping my experience on a usual working site and displacing it to another space, I show that my perception of space is extended such that the boundary between the familiar and foreign (that is, space-object distinction) is blurred. Chapter two explores the method of presentation through painting and installation in a gallery and addresses the viewer’s space of perception with the work. I also discuss possible reflexive readings on the projective planes of the work which further extend the perception of it.
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Yap, Kheng Kin. "PROJECT: SPANNING THE SPACE OF DISLOCATION." University of Sydney, 2005. http://hdl.handle.net/2123/1336.

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Master of Visual Arts
Studio work The Postgraduate Degree Show is held from 6PthP December 2005 to 17PthP December 2005 and my work is installed in the Sculpture Studio (as a gallery space) at Building 29 of Sydney College of the Arts, Sydney. There are three installations of work, each with a series of paintings and object-models. The media I am using are oil on canvas for the paintings and wood for the models. The titles of my exhibition pieces are Project Studio (Stairs), Project Rented Room (Chair), Project Rented Room (Bed), and Project Object. Together they are entitled Project: Spanning the Space of Dislocation. The project explores the perception of space and its representation through painting and installation. The starting point is the image of familiar architectural objects to which I displace the experience of it from one site (my painting studio) to another (the gallery space) through painting as index. I use the technique of ambiguous linear forms in painting and the reflexive reading of orthogonal projective planes in installation to further extend the viewer’s perception of space and objects. The aim is to show that space has a meaningful relationship to objects and bring about a renewed awareness of habitual practice in seeing and representing space. UResearch paperU I have divided my research paper in two chapters. Chapter one explores the issue of spatial representation through ambiguity of simple linear forms and painting as index. My concern is on space being less important to objects in the distinction between space as ground and object as figure. Within this chapter I argue for an extended and a reflexive mode of seeing and representing space and objects instead of for a ground-figure contrast. By mapping my experience on a usual working site and displacing it to another space, I show that my perception of space is extended such that the boundary between the familiar and foreign (that is, space-object distinction) is blurred. Chapter two explores the method of presentation through painting and installation in a gallery and addresses the viewer’s space of perception with the work. I also discuss possible reflexive readings on the projective planes of the work which further extend the perception of it.
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Kosovac, Ena. "Awkward formalism the role of objects in contemporary painting installation : this exegesis is submitted to Auckland University of Technology in partial fulfilment for the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/799.

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I am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
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McDevitt, Michael David. "The Shooting: A Cautionary Tale." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431008737.

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Angel, Marissa. "REMEMBRANCE: drink while the water is clean." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3069.

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This thesis paper supports the Artist’s Master of Fine Arts exhibition held at the Tipton Gallery, located in downtown Johnson City TN from November 30, 2015 through January 22, 2016. The works Included in the exhibition consists of a series of mixed media collage paintings, a large scale etching combined with clay and a site specific installation. The Exhibit features work that delves into the concept of nature as a subject of beauty, as well as a symbol of the resiliency of life. The work in this exhibit exposes the separation that exists between humanity and the natural world. Through an exploration of memory the importance of a connection between human beings and nature is revealed. The following further expands upon on the ideas, influences, techniques, and concepts that led to the formation of this exhibit.
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Books on the topic "Painting and installation"

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Förg, Günther. Günther Förg: Painting, sculpture, installation. Newport Beach, Calif: Newport Harbor Art Museum in association with the Renaissance Society at the University of Chicago, Chicago, Illinois, 1989.

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Lodato, Peter. Peter Lodato: From installation to painting : selected works from 1980 to 2000. Malibu, CA: Frederick R. Weisman Museum of Art, Pepperdine University, 2000.

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Liss, David. Heavyweight art installation : phase one: 1999 North American tour, live painting series. Montreal: Liane and Danny Taran Gallery, Saidye Bronfman Centre fo the Arts, 2002.

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Chong, Qin, ed. Qin Chong. Germany: Ammonal, 2005.

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1945-, Wu Hung, and Singapore Art Museum, eds. Cities here and now: Paintings and installation works by Lu Hao = Cheng shi xian zai shi : Lu Hao hui hua yu zhuang zhi yi shu zhan. Singapore: Singapore Art Museum, 2009.

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(Enugu, Nigeria) Alliance Française. Life in my city 2013: Art festival : theme: out of the box : painting, sculpture, photography, ceramics, textile, graphics, multimedia, installation : Enugu zone. 7th ed. [Enugu, Nigeria?]: [Alliance Française?], 2013.

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Sumukha, Gallery, and Wei-Ling Contemporary (Gallery), eds. Drawings, paintings, sculptures, installations. Bangalore: Gallery Sumukha, 2011.

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Morellet, Francois. Francois Morellet: Installation and paintings. London: Annely Juda Fine Art, 1990.

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Nigeria) Life in my city (7th 2013 Enugu. Life in my city 2013: Art festival : theme: out of the frame, out of the box : painting, sculpture, photography, ceramics, textile, graphics, multimedia, installation. 7th ed. [Enugu, Nigeria?]: Life in My City Art Iniative, 2013.

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Kalkhof, Peter. Peter Kalkhof: Paintings and installations. London: Annely Juda Fine Art, 1997.

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Book chapters on the topic "Painting and installation"

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Abad, Pio. "The Collection of Jane Ryan & William Saunders." In Cultural Inquiry, 37–46. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_05.

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This paper focuses on an ongoing project that began in 2012, entitled The Collection of Jane Ryan & William Saunders. This project is an attempt to reconstitute the Marcos Collection. Sourced from auction catalogues, museum archives, and scant government records, their lavish inventory of commissioned portraits, jewellery, Regency silverware, and old master paintings is reproduced as photographic installations, postcards, and three-dimensional prints. Reconstruction, in this instance, becomes a sustained democratic gesture, allowing an increasingly forgetful public to access a collection that has remained unavailable through a systemic failure by successive post-dictatorial governments to institutionalize collective acts of remembering.
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Elwes, Catherine. "Painting." In Installation and the Moving Image, 21–37. Columbia University Press, 2015. http://dx.doi.org/10.7312/columbia/9780231174503.003.0002.

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"Painting." In Installation and the Moving Image. New York Chichester, West Sussex: Columbia University Press, 2015. http://dx.doi.org/10.7312/elwe17450-003.

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Peleggi, Maurizio. "Rubbing the Past into the Present." In Monastery, Monument, Museum. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866068.003.0009.

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Chapter 8 looks at public memorials and artworks from the decades of the 1990s and 2000s in a variety of media (painting, photography, installation and video) that challenge social amnesia of Thailand’s recent history of political violence. Though special attention is paid to public monuments and artworks that commemorate the traumatic events of October 1973 and October 1976, the chapter also discusses works addressing the more recent violence of 2010.
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Ferris, Natalie. "A ‘World Out of Gear’." In Abstraction in Post-War British Literature 1945-1980, 1–10. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198852698.003.0001.

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According to the poet Edwin Morgan, antipathy towards abstraction persisted well into the second half of the twentieth century, but those misgivings had shifted from art to literature: ‘Abstract painting can often satisfy, but “abstract poetry” can only exist in inverted commas’. Where abstract art may have come to fulfil or fortify an impression of post-war taste, abstraction in literature continued to be treated with suspicion. The twentieth century was witness to a mounting fascination with the ways abstract art might be thought to constitute more than the progressive development of recognizable image to abstract structure, adopting an eloquence of its own. The perception of art was increasingly likened to the interpretation of a literary text, and vice versa, but on what terms, if at all, does the abstract work communicate? This book takes this question as its object, charting the course of abstraction in British visual culture from 1945 to 1980 to observe the ways in which certain aesthetic advancements initiated new forms of literary expression and readerly agency. It argues for recognition of the work conducted at a local level by individuals, groups, and institutions in Britain, and for an expansion of the critical parameters beyond the dichotomy of poetry and painting to include discussions of the novel, film, prose, screenplays, sculpture, installation, and kinetic literature. How did abstraction become a provocation for these writers?
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Bolat, Nursel. "Technical Structure of Fear in the Visual Narrative." In Advances in Media, Entertainment, and the Arts, 19–35. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch002.

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In the process of transferring meaning, visual narrative arts such as painting, theater, dance, architecture, photography, cinema, and television are built on language images. This language, which is called the visual language, makes sense with visuals, that is, the visual language. Lighting is one of the vital elements in the creation of images as well as natural light. The director makes formal arrangements on light and lighting, one of the important elements of cinematography, creating meaning and especially fear with images. Camera angles are also important in the installation of the fear element. These elements of fear are constructed from an artistic and aesthetic point of view. In the visual narrative, light and camera angles are revealed in aesthetic structure that provides desired effect besides obtaining a certain lighting and shooting process. The aim of this study is to investigate how two cinematographic elements such as illumination and camera angles are used to create meaning in images.
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"Installation Views." In Malangatana: Mozambique Modern, edited by Hendrik Folkerts, Felicia Mings, and Constantine Petridis. The Art Institute of Chicago, 2021. http://dx.doi.org/10.53269/9780865593138/07.

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This section documents the paintings, drawings, interpretive texts, and exhibition design for a display of early work by the pioneering artist Malangatana Ngwenya (1936–2011), a key figure in the emergence of modern art in Mozambique.
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Clay, Alexis, Jean-Christophe Lombardo, Nadine Couture, and Julien Conan. "Bi-Manual 3D Painting." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 423–30. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch038.

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The rise of gestural interaction led artists to produce shows or installations based on this paradigm. The authors present the first stages of the “Sculpture Numérique” (Virtual Sculpture) project. This project was born from a collaboration with dancers. Its goal is to propose bi-manual interactions in a large augmented space, giving dancers the possibility to generate and manipulate virtual elements on stage using their hands. The first set of interactions presented in this chapter is 3D painting, where the user can generate 3D virtual matter from his hands. The movement of the hand defines a stroke, and shape is controlled by the shape of the hand. Changing the shape and orientation of the hand allows switching between three interaction modes to produce volumes, surfaces, or curves in space. The authors explore the applicative case of dance, with the goal of producing a plastic creation from choreography.
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Seehafer, Michèle. "An Overlooked Landscape Installation : The Winter Room at Copenhagen’s Rosenborg Castle." In Landscape and Earth in Early Modernity. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729437_ch08.

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The chapter examines the so-called Winter Room at Rosenborg Castle in Copenhagen completed around 1620. This primary living room of Christian IV is preserved in its original state. The walls of this unique interior are decorated with ninety-five oil paintings. The majority of the paintings present landscape and hunting scenes. Rather than focusing on individual art works, the chapter discusses how the interplay of all the paintings achieves a comprehensive spatial order and creates its own independent ecosystem. It will be shown how a multisensory experience of the room and its technical devices, such as a drawbridge and sound channels, further enhanced the connection between internal and external space, allowing the room to be perceived as a landscape installation.
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Conference papers on the topic "Painting and installation"

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Clarke, Loraine, and Eva Hornecker. "Designing and Studying a Multimodal Painting Installation in a Cultural Centre for Children." In The 26th BCS Conference on Human Computer Interaction. BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/hci2012.89.

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Losq, Juliette. "Layered Visions In The Teleorama: Constructing Spaces Of Ruination Through An Expanded Drawing Practice." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.qpkd6594.

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Abstract This paper examines whether the form of the Teleorama or paper peep show can be used to generate new ways of making and exhibiting drawings of contemporary sites of ruination. The Teleorama will be used as a physical and conceptual vehicle for testing out a diverse range of investigations relating to form and content in drawing practice. Within my practice, paper ruins, inspired by Teleoramas, are constructed and used as maquettes from which to make two-dimensional drawings that are retranslated into large-scale, three-dimensional installations. Through the process of (re) construction, the research will develop an understanding of the Teleorama as a partially imagined, partially ‘real’ space that can transport the viewer conceptually from one place to another. I use the Picturesque, as a spatial and perceptual theory relating to painting and garden design, to explore how the Teleorama can be conceptualised as both a series of drawings on two-dimensional planes and a three-dimensional space, focusing on the fundamental ideas of ‘absorption’ and ‘theatricality’ as expounded by Michael Fried (1980), and ‘immersion’ as expounded by Arnold Berleant (2004). By identifying aspects of the Teleorama that cannot be compared to either paintings or gardens as spaces, I foreground its unique ability to represent the apparent collapse of space and time in a material form and enable an oscillation between two- and three-dimensional design and construction. By focusing on how space is created and experienced within selected contemporary installation practices, I aim to position my practice within the broader discursive fi eld of installation, distinguishing their use of space from my use of the Teleorama to create immersive drawn environments reinterpret ruin sites in gallery settings. Through interrogating and reconfi guring the historical form of the Teleorama, I aim to propose new models of installation practice within the field of contemporary drawing. Keywords: installation, drawing, space, picturesque, absorption, immersion
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Langley, Ray, John Hehir, and Ian Towler. "The Maintenance of Silver Jubilee Bridge, UK." In IABSE Conference, Copenhagen 2018: Engineering the Past, to Meet the Needs of the Future. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/copenhagen.2018.267.

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<p>The Grade II listed Silver Jubilee Bridge is a two-pinned steel arch bridge with continuous side spans spanning the River Mersey. With a main span of 330 metres, it is the seventh largest steel arch bridge in the world. Since original construction in 1961, Mott MacDonald has been employed on numerous commissions and frameworks on the bridge providing technical and commercial advice to the maintainer, currently Halton Borough Council.<p>This paper presents a case study highlighting challenges associated with maintaining a historical bridge. Maintenance works include painting the arch steelwork, protection and monitoring of the hanger cables, installation of shock transmission units and an innovative cathodic protection system.
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Barnett, Ralph L. "Characterization of Task Specific Force Systems and the Rational Selection of A-Frame Ladders." In ASME 2012 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/detc2012-70280.

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Because it is inexpensive, an A-Frame ladder is routinely chosen to perform specific aerial work tasks. Presently, these death defying activities cannot be evaluated a priori using information furnished by ladder manufacturers relative to the resistance of their ladders or by trade organizations who cannot define the reasonably foreseeable load environment for various construction tasks. This paper proposes a methodology for rationally evaluating the safety of A-Frame ladders for specific overhead work tasks. A force-plate, normally used in gait testing, is used to safely support workers engaged in a specific work task. The force-plate output can be used to characterize the loading environment for a menu of important operations such as tuck pointing, painting, installation of lighting fixtures, speakers, and ceiling fans. Using statics, the loading menu may be accessed to simulate the forces applied to any ladder under any user profile. The overturning resistance of A-Frame ladders must be established by testing; static stability calculations are unconservative. When the loading environment associated with the installation of a typical ductwork detail was compared to the resistance of a special duty A-Frame ladder, the applied forces sometimes exceeded its lateral resistance. This is consistent with our field experience involving six death cases of sheet metal workers.
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Magnafico, Erika, Arnaldo Casalotti, and Giulia Lanzara. "Electromechanical Characterization of an Innovative Painted Carbon Nanotube Strain Sensor Under Dynamic Loading." In ASME 2018 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/smasis2018-8035.

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Piezoresistive strain sensors can be manufactured by embedding carbon nanotubes (CNTs) in an insulating polymer matrix, by taking advantage of CNTs superior electromechanical properties. In particular, the electromechanical properties find their roots in the conductive network formed by the randomly dispersed CNTs, through which the current can flow. When a mechanical strain occurs the conductive network configuration varies, changing the overall material conductivity. In this study this concept is being exploited to form a CNTs-based functional paint that allows to monitor ultra-large structural areas, in multiple directions, with an easy to assemble and processing approach. In particular, CNTs are dispersed in a PolymethylMethacrylate (PMMA) matrix following a carefully designed process to achieve a proper viscosity for direct painting onto a large in scale structure. Electromechanical tests are performed to characterize the piezoresistive behaviour of the coating in static and dynamic loading conditions. The results showed the great sensitivity of the coating to strain. The proposed approach to directly paint a sensitive coating onto the structure to be monitored has the advantages of: ultra-low weight, direct contact with the structure to be monitored and an extremely simple installation procedure.
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Cohen, Lauro Arthur Farias Paiva, and Nubia Suely Silva Santos. "New demands on design education: from the research to practice." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.123.

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One of the contemporary challenges for research and practice in design and materials is the ability to associate technical information on properties and processing of materials with creative activities and applications. Currently, there is a return to artisanal practices and processes, in which there is a continuous dialogue between the designer, the material, and the project. This study demonstrates the relevance of practice-oriented design processes in the construction of knowledge. In an experience facilitated through post-consumer paper recycling workshops with students from the Bachelor of Design course at the State University of Pará (Brazil), ways of producing recycled paper tiles were investigated and the effects of this activity were discussed. The context of the activity is based on theoretical studies in materials and design, with a methodological approach focused on practical experiments in a research and teaching scenario.The research is classified as exploratory. The methodology adopted is based on the experimental method, considering the testing of new compositions and the response of materials to the processes. The recycling process consists of preparing post-consumer paper waste, producing cellulose pulp, and making paper tiles for subsequent painting. The tile alternative was inspired by the architecture of Belém (Pará - Brazil), bringing affective memories and a reinterpretation. In the methodological approach, the residue has its sensory and physical characteristics experienced after paper shredding. The homogeneity of the pulp is crucial for a good surface finish after drying. In the pulp molding step, after tests and research in the literature, silicone was selected as the most suitable material for the mold, also the possibility to form reliefs on the tile surface. During the workshops, each participant had the opportunity to interact with the material, from which the sensory analyzes are verbalized and discussed in the group, looking for alternatives for applications. In the course of the creation of the tiles, the participants expressed their feelings, references, and interests through painting. Different colors and textures worked during the activity give the artifact the characteristic of those who manipulate it. The activity provided a network of contacts and meetings in which students had the opportunity to reflect on waste disposal. One of the contributions to education in materials design is the possibility of dealing with awareness and critical concepts. Participants shared their experiences and stories related to the themes presented, as well as perspectives on sustainability. The workshop enabled the construction of new meanings and experiences with the production of products through the playful aspects of handcrafting, in addition to exemplifying the need to involve the understanding of sensory qualities in the design process. At the end of the activity, pieces with potential for indoor environments were obtained and a permanent art installation was designed at the State University of Pará. Through contemplation, the audience used touch to interact with the pieces, enhance the aesthetics and investigate the individuality of paper tiles. The installation transformed the space into a reference point, a place for meetings and interactions.
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Ferreira, Jean Carlos Nunes, Marcos de Freitas, and Fernando Cavalcanti de Albuquerque. "Combined Cycle Power Plant Long Term Preservation Program: The Arauca´ria Power Station Study Case." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50405.

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Arauca´ria Power Station, a 484 MW CCPP, is powered by two NG-fired Siemens 501FD2 Combustion Turbines and one Alstom DKZ2-2N34 Steam Turbine. Located in Southern Brazil, near Curitiba, the capital of the State of Parana´, Arauca´ria PS was tested and accepted in September 2002. Due to commercial issues, the plant remained shut down since its COD until 2006. Along four years, the O&M team developed and implemented a comprehensive plant preservation program aiming to keep the equipment safe from degradation. The purpose of this paper is to describe the program and the activities performed during this period. The OEM recommendations were strictly followed. All the operations, tests and inspections were performed according to the Long Term Standby Procedure. The preventive, predictive and corrective maintenance performed in conformity with the Plant Maintenance Manual. Such activities were controlled by means of the corporative Computer-based Operations Management System and the CMMS and always in compliance of the ES&H regulations. The wooden structured cooling tower was maintained wet, the circulating water system was kept in operation, the demineralised water treatment system was run monthly and water microbiology/chemistry control (including the chemicals dosing and weekly water analysis schedule) was kept in accordance with the program designed by GE Water & Process Technologies. In a totally outdoor plant, corrosion prevention is fundamental. For this reason, a painting program designed by LACTEC, a local institute of technology, was followed. By the Plant Valves Lubrication and Tests schedules, each manual and automatic valve was lubricated and tested. The two Aalborg HRSGs (including condensate and steam piping) were maintained at minimum 0.5 barg dry nitrogen atmosphere. Dehumidifiers and heaters were installed in both HRSGs gas side, so the ambient conditions between the CTGs air inlet and the HRSGs stack inlet were maintained with relative humidity below 40%. Similar system was provided for the Steam Turbine. Both systems were automatically controlled and supervised from the Plant Control Room. When Arauca´ria PS was re-commissioned in mid-2006, this strict program proved its effectiveness once no major problems were found and the plant start-up succeeded in a very short time. The plant was operated since June, 2007 through January, 2008 with an average availability in excess of 98%. The long-term preservation program is presently being reviewed and many improvements shall be implemented in order to achieve faster installation/removal of high performance preservation systems, so they shall be used for short-term shutdown periods as well.
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Shimasaki, Kyoichi. "Large paintings and art installations by joining hands. Art-workshops for intellectually disabled children to overcome ableism." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-26.

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