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Books on the topic 'Sculptural practice'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

Allen, Kate. To investigate and demonstrate through my sculptural practice the relation between "virtual" and "real" sculpture.. Wolverhampton: University of Wolverhampton, 2001.

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2

Kuhtz, Cleo. Sculpture: Materials, technique, styles, and practice. New York: Britannica Educational Publishing in Association with Rosen Educational Services, 2016.

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3

500 ceramic sculptures: Contemporary practice, singular works. New York: Lark Books, 2009.

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4

Nitenberg, Annelie. Liljestenar och stavkorshällar: Kulturmöten och social praktik i tidig medeltid = Early medieval stone slabs : culture meetings and social practice. Göteborg: Göteborgs universitet, 2009.

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5

1942-, Prigann Herman, Strelow Heike, and David Vera, eds. Ecological aesthetics: Art in environmental design : theory and practice. Basel: Birkhäuser, 2004.

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6

Bridges, Jerry. The Practice of Godliness. Colorado Springs, CO: Navpress Publishing Group, 1996.

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7

Kjellman-Chapin, Monica, ed. Kitsch: History, Theory, Practice. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2013.

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8

Funeral monuments in post-Reformation England. Cambridge, U.K: Cambridge University Press, 2000.

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9

Watkins, Raymond. Late Bresson and the Visual Arts. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.

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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.
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10

Saunders, E. Dale. Mudrā: A study of the symbolic gestures in Japanese Buddhist sculpture. Princeton, N.J: Princeton University Press, 1985.

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11

Jonietz, Fabian, Mandy Richter, and Alison G. Stewart. Indecent Bodies in Early Modern Visual Culture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463725835.

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The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered ‘decent’ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.
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12

Norman, John Paxton. The law and practice of the copyright, registration, and provisional registration of designs, and the copyright and registration of sculpture: With practical directions : the remedies, pleadings & evidence in cases of piracy : with an appendix of tables of fees, statutes, and the rules of the Board of Trade. Littleton, Colo: F.B. Rothman, 1996.

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13

Mills, John S. Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture : preprints of the contributions to the Brussels congress, 3-7 September 1990. London: International Institute for Conservation of Historic and Artistic Works, 1990.

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14

The ushebtis from early excavations in the necropolis of Asyut, mainly by David George Hogarth and Ahmed Bey Kamal: With remarks on ushebti iconography and related burial practices in Asyut from the New Kingdom to the Ptolemaic Period. Wiesbaden: Harrassowitz, 2013.

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15

Murphy, Catherine. See saw: Exploring the balance in rural Australia between Aborigines and Anglo-Europeans using Community Cultural Development (CCD) practice and process. Edited by Sleep Bronwyn Coleman and McInerney Kunyi June Anne. Ceduna, S. Aust: C. Murphy, 1998.

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16

Shafer, Jeremy. Origami Pop-Ups: To Amaze and Amuse. North Charleston, South Carolina: CreateSpace, 2013.

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17

Lurrtjulu-la Palyanma: Let's keep doing it together. Kalgoorlie, W.A: Wilurarra Creative, 2010.

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18

Jacobs, Steven, Susan Felleman, Vito Adriaensens, and Lisa Colpaert. Screening Statues. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.001.0001.

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Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.
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19

Counts, Derek B., Erik Walcek Averett, Kevin Garstki, and Michael K. Toumazou. Visualizing Votive Practice: Exploring Limestone and Terracotta Sculpture from Athienou-Malloura through 3D Models. The Digital Press at the University of North Dakota, 2020. http://dx.doi.org/10.31356/dpb011.

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Visualizing Votive Practice is an innovative, open-access, digital monograph that explores the limestone and terracotta sculptures excavated from a rural sanctuary at the site of Athienou-Malloura (Cyprus) by the Athienou Archaeological Project. Chapters on the archaeology of the site, the historiography of Cypriot sculpture, and perspectives on archaeological visualization provide context for the catalogue of 50 representative examples of votive sculpture from the sanctuary. The catalogue not only includes formal and contextual information for each object, but also embeds 3D models directly onto the page. Readers can not only view, but also manipulate, measure, zoom, and rotate each model. Additionally, links at the bottom of each entry unleash high-resolution models with accompanying metadata on the Open Context archaeological data publishing platform and on via the Sketchfab 3D viewing platform as well. This innovative monograph is aimed at a variety of audiences, from Mediterranean archaeologists and students to specialists interested in 3D visualization techniques.
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20

Slobodkin, Louis. Sculpture, Principles & Practice. Peter Smith Publisher Inc, 1987.

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21

Bird, Terri. Forming. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0003.

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The aim of art for Deleuze and Guattari is to render perceptible forces that lie beyond perception and to capture, in what is given, the forces that are not given. They task artists with producing compounds of sensation, heterogeneous assemblages of affects and intensities, extracted from forces lying at the limits of sensibility. This chapter explores the forming of these assemblages through processes of capture orientated around practices employing sculptural methodologies. Although Deleuze and Guattari have little to say about sculpture in general or specific works, they refer to the sensations of stone and metal as vibrating according to the order of strong and weak rhythms. Drawing on the writing of Gilbert Simondon these rhythms are discussed as dynamic modulations that emphasise temporal appearance. And examined in relation to Jack Burnham’s use of systems thinking identified in the artworks, by artists such as Hans Haacke and Public Share, that register complex flows of matter-energy exchanges.
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22

Curtis, Penelope. Patronage and Practice: Sculpture on Merseyside. National Museums & Galleries on Merseyside, 1989.

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23

(Editor), Jane Havell, Tig Sutton (Illustrator), and Angus Massy (Illustrator), eds. Sculpture, the Art and the Practice. 3rd ed. Verrocchio Arts, 2002.

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24

Kuhtz, Cleo. Sculpture: Materials, Techniques, Styles, and Practice. Rosen Publishing Group, 2016.

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25

Conservation of Medieval Polychrome Wood Sculp Ture - History, Theory, Practice. Getty Publications, 2020.

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26

Anguissola, Anna. Supports in Roman Marble Sculpture: Workshop Practice and Modes of Viewing. Cambridge University Press, 2018.

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27

Anguissola, Anna. Supports in Roman Marble Sculpture: Workshop Practice and Modes of Viewing. Cambridge University Press, 2018.

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28

Anguissola, Anna. Supports in Roman Marble Sculpture: Workshop Practice and Modes of Viewing. University of Cambridge ESOL Examinations, 2018.

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29

Racz, Imogen. British Art of the Long 1980s: Diverse Practices, Exhibitions and Infrastructures. Bloomsbury Publishing Plc, 2020.

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30

Racz, Imogen. British Art of the Long 1980s: Diverse Practices, Exhibitions and Infrastructures. Bloomsbury Publishing Plc, 2020.

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31

Stirling, Lea, and Troels M. Kristensen. Afterlife of Greek and Roman Sculpture: Late Antique Responses and Practices. University of Michigan Press, 2016.

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32

Clay: Medium-based practices : Dalhousie Art Gallery, 8 March-28 April 1996. Halifax, Nova Scotia: Dalhousie Art Gallery, 1996.

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33

S, Mills John, Smith Perry, and International Institute for Conservation of Historic and Artistic Works., eds. Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. London: International Institute for Conservation of Historic and Artistic Works, 1990.

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34

The Afterlife of Greek and Roman Sculpture: Late Antique Responses and Practices. University of Michigan Press, 2016.

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35

Niederhuber, Christian. Roman Imperial Portrait Practice in the Second Century AD. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845658.001.0001.

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Abstract The creation of centrally defined imperial portrait types and the first ‘step’ of their dissemination in metropolitan Rome in the second century AD is the main focus of this study. Through systematic case studies of Faustina the Younger’s and Marcus Aurelius’ portraits on coins and in sculpture, new insights into the functioning of the imperial image in Rome have been gained that move a difficult, much-discussed subject forward decisively. It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All of this, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it. The new evidence presented in the present study has made it necessary to adjust this model in certain ways. More flexibility than currently allowed for is needed to describe the ancient processes and practices behind the phenomenon of ‘repeated’ imperial portraits. Norms have been investigated, and an adjusted and more flexible model of how the imperial image worked in the mint of Rome and in the metropolitan marble workshops in the second century AD has been outlined.
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36

Colin, Haselgrove, and Wigg-Wolf David, eds. Iron Age coinage and ritual practices. Mainz am Rhein: Von Zabern, 2005.

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37

Bridges, Jerry. The Practice of Godliness. Hovel Audio, 2005.

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38

Bridges, Jerry. The Practice of Godliness. 3rd ed. Hovel Audio, 2005.

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39

Bridges, Jerry. The Practice of Godliness. Blackstone Audio Inc., 2006.

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40

Norman, John Paxton. The Law and Practice of the Copyright, Registration and Provisional Registration and Provisional Registration or Designs; The Copyright and registrati. Fred B. Rothman & Company, 1996.

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41

(Collaborator), Vera David, and Heike Strelow (Editor), eds. Aesthetics of Ecology: Art in Environmental Design: Theory and Practice. Birkhäuser Basel, 2004.

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42

Fister, Patricia. Visual Culture in Japan’s Imperial Rinzai Zen Convents. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469290.003.0006.

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This chapter focuses on the lives and creative output of two Rinzai nuns, Daitsū Bunchi (1619–1697) and Tokugon Rihō (1672–1745). They both served for decades as abbesses of imperial convents, and both created chinzō portraits, paintings and/or sculptures of Kannon, Bodhidharma, Ś ākyamuni, and other images that distinguished them from their male counterparts (e.g., images made of needlework, hair, and other bodily relics). Relying on their own written accounts, this chapter demonstrates that these two women were motivated to create votive objects, images, and calligraphies themselves as an integral aspect of their practice, rather than commissioning them from professional artisans, which as imperial nuns they had the financial means to do.
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43

Knowles, Kim, and Marion Schmid, eds. Cinematic Intermediality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.001.0001.

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As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
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44

Green, Alexandra. Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.001.0001.

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This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.
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45

Brundin, Abigail, Deborah Howard, and Mary Laven. The Devotional Eye. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816553.003.0007.

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The chapter explores how the residents of Italian Renaissance homes responded to religious images in devotional practice. It discusses the differences between paintings and sculptures as the focus of prayer and meditation. The fundamental changes in pictorial art during the Italian Renaissance—greater realism through the use of perspective, more naturalistic settings, and the delineation of physical detail—have generally been regarded as strategies for making religious images more worldly and approachable. This book questions such an interpretation. Many families clung to older icons of the Virgin and Child, with their flattened features and gold backgrounds, long after they had fallen out of fashion artistically. Meanwhile, innovations in modes of representation helped devotees to experience meditative or visionary states of mind.
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46

Llewellyn, Nigel. Funeral Monuments in Post-Reformation England. Cambridge University Press, 2001.

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47

Pérez, Laura E., and Ann Marie Leimer, eds. Consuelo Jimenez Underwood. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022930.

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Consuelo Jimenez Underwood’s artwork is marked by her compassionate and urgent engagement with a range of pressing contemporary issues, from immigration and environmental precarity to the resilience of Indigenous ancestral values and the necessity of decolonial aesthetics in art making. Drawing on the fiber arts movement of the 1960s and 1970s, Chicana feminist art, and Indigenous fiber- and loom-based traditions, Jimenez Underwood’s art encompasses needlework, weaving, painted and silkscreened pieces, installations, sculptures, and performance. This volume’s contributors write about her place in feminist textile art history, situate her work among that of other Indigenous-identified feminist artists, and explore her signature works, series, techniques, images, and materials. Redefining the practice of weaving, Jimenez Underwood works with repurposed barbed wire, yellow caution tape, safety pins, and plastic bags and crosses Indigenous, Chicana, European, and Euro-American art practices, pushing the arts of the Americas beyond Eurocentric aesthetics toward culturally hybrid and Indigenous understandings of art making. Jimenez Underwood’s redefinition of weaving and painting alongside the socially and environmentally engaged dimensions of her work position her as one of the most vital artists of our time. Contributors. Constance Cortez, Karen Mary Davalos, Carmen Febles, María Esther Fernández, Christine Laffer, Ann Marie Leimer, Amalia Mesa-Bains, Robert Milnes, Jenell Navarro, Laura E. Pérez, Marcos Pizarro, Verónica Reyes, Clara Román-Odio, Carol Sauvion, Cristina Serna, Emily Zaiden
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48

Lopes, Dominic McIver. Shikinen Sengu. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0004.

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An ontology of art specifies the category of being to which works of art belong. Most philosophers accept that works in different art forms belong to different categories of being—e.g. sculptures are objects but symphonies are events. Some go further: also ontology varies by cultural context because practices of art appreciation vary enough from one culture to the next that they imply different ontologies. This chapter examines the continuous plan of architectural renovation and restoration in the Shinto shrine complex of Ise Jingu in Japan as a case study in Japanese traditional architectural aesthetics. In doing so, it illustrates how empirical studies of culture can be used to construct an ontology of art.
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49

Kasfir, Sidney. Visual Cultures. Edited by John Parker and Richard Reid. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.013.0023.

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The first collectors of African art and artefacts were nineteenth-century explorers. The second were modern art collectors and dealers, fascinated by an art, primarily sculpture, which was in every way opposite to academic European teaching. As fieldwork expanded the knowledge base of African art and performance, masquerades became a major research subject and vehicle for both African history and social theory. However, African visual culture encompasses not only these aesthetic practices but also the visual environment reproduced in print and electronic media. This wider array of imagery has affected indigenous aesthetics since the beginning of its availability in the early stages of European colonization, giving rise to modern African photography and painting.
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50

Digby, Wyatt M. Fine Art: A Sketch Of Its History, Theory, Practice And Application To Industry. Kessinger Publishing, LLC, 2007.

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