Relevant bibliographies by topics / Sculpture, Abstract 20th century

Academic literature on the topic 'Sculpture, Abstract 20th century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Sculpture, Abstract 20th century"

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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.

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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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Heavers, Nathan. "Marking Sacred Ground through Imported Trees and Medieval European Sculpture at the Washington National Cathedral." Acta Horticulturae et Regiotecturae 22, no. 1 (May 1, 2019): 19–22. http://dx.doi.org/10.2478/ahr-2019-0004.

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Abstract The landscape of the Washington National Cathedral contains a variety of sacred objects imported from Europe and Asia. They include stone sculptures and living flora. Many of the stone objects came from the collection of George Grey Barnard, an American sculptor, trained in Paris, who travelled Europe in the early 20th century purchasing medieval antiquities (Weinberger, 1941). How do we understand these displaced pieces incorporated into this new context? On the one hand, their use in the landscape brings it significance, a physical and tangible connection to the roots of Christianity. On the other hand, they remind us of the relative youth of this sacred landscape and the question of what makes places sacred. Is a place sacred because of something inherent to it or do we mark ordinary ground with significant objects to sanctify it? Largely, the Washington National Cathedral landscape seems to demonstrate the latter approach. Imported objects mark and validate the sacredness of the site from medieval stone archways to significant pairs of trees.
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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.
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Iaţeşen, Mihai –. Cosmin. "10. Creativity and Innovation in Visual Arts through Form and Space Having Symbolic Value." Review of Artistic Education 14, no. 1 (March 2, 2017): 207–16. http://dx.doi.org/10.1515/rae-2017-0026.

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Abstract The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (December 1, 2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.

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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.
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Paclíková, Klára, and Michal Preusz. "Paperless Archaeology on Castrum Novum." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (June 1, 2017): 27–35. http://dx.doi.org/10.1515/mmvp-2017-0043.

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Abstract Modern technology affects the development of the humanities, including the most traditional of the disciplines such as classical archaeology. We are looking for an answer to the question of whether high-tech could completely replace the basic tools without which we would not even imagine archaeology. Could pencil and paper completely disappear from the trench? We tested the principles regarding paperless archaeology on the exemplary research of the deserted Castrum Novum Roman Colony located in central Italy. The colony was founded in the 3rd century BC and disappeared in the 5th century AD. The discovery of the city occurred in the 18th century when the Pope decided to support the first excavations. Especially unique findings of sculptures became a feature of the Vatican Museums. After that the city was again forgotten. Only in the second half of the 20th century, have we managed to re-locate Castrum Novum. This resulted in the need for modern systematic archaeological research. Currently an extraordinary collaboration is bringing interesting discoveries and new perspectives for the Italian, the French and the Czech archaeologists.
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Rozmarynowski, Łukasz. "Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze." Artium Quaestiones 31, no. 1 (December 20, 2020): 401–36. http://dx.doi.org/10.14746/aq.2020.31.13.

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If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.
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Ermolenko, Elena V. "Daylighting of the Newest Christian Churches." Light & Engineering, no. 04-2021 (August 2021): 107–15. http://dx.doi.org/10.33383/2021-037.

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Semantic and spatial changes in the options for using daylight compared to tradition are presented, based on the analysis of the architectural solutions applied in a number of modern Christian churches. According to popular belief, sunlight is used in most modern temples only as an architectural technique proving the skill of an architect, and as a means of interior decoration. The study showed that behind the abstract modern methods of illumination a temple, there is a deep connection with the earlier cultural tradition. Sunlight was one of the key means used for decorating interiors of Christian churches. The light pouring from windows of the dome drum or cutting through the twilight of the extended naves, highlighting an apse with the altar, or emphasizing the beauty of the sculpture, was the conductor of the Divine on earth. The quintessence of the presentation of “divine light” in architecture, which clearly shows the connection between God and man, are the Gothic monuments. From the end of the 19th – the beginning of the 20th century, temple architecture was rapidly changing. Renowned innovator architects of the 20th century offered their own vision of a modern temple. The extreme degree of individualization of the new objects of cult was based on a common principle: the rejection of the symbolic language traditional for Christianity. The architects were not tied to metaphors and images of biblical subjects. They boldly changed both the external appearance of a temple and the construction of its internal space, hence, its system of daylighting. Traditionally, sunlight was the semantic filling of the temple space. As a result of the present study, it has been shown that in the newest Christian churches, daylighting techniques, in their essence, replace the pictorial filling of the temple space with religious content. At the same time, the same techniques function as a modern interpretation for a number of traditional architectural methods used for lighting design of the temple space. By the examples of the works by Studio Zermani e Associati, Mark Cavagnero Associates, Vicens + Ramos, Königs architekten, modern interpretation versions for the themes of retablo, glowing cross, highlighting the altar space, and illumination of gilded surfaces are shown, and the upper and side illumination features of the newest temples are revealed.
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Heroldová, Helena. "Tibetan Objects in the Náprstek Museum." Annals of the Náprstek Museum 39, no. 2 (November 1, 2018): 65–78. http://dx.doi.org/10.1515/anpm-2018-0013.

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Abstract The Náprstek Museum of Asian, African and American Cultures acquired two hundred items from Tibet in the 1950s: bronze sculptures, paintings and ritual implements. These items came from private collections confiscated after the Second War World according to the presidential decrees dealing with the post-war state reconstruction. Although the administration of the confiscated properties was meticulous, the transfer of items to the Náprstek Museum interrupted the history of ownership and meant the loss of the historical knowledge of its origin. As the result, the Tibet collection in the Náprstek Museum reveals more about the political and social history of post-war Czechoslovakia than about the perception of Tibetan culture in Czechoslovakia during the first half of the 20th century.
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Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.

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The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
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Dissertations / Theses on the topic "Sculpture, Abstract 20th century"

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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.

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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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Merkley, John. "Transitions : multi-media abstract sculpture." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305451.

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The first objective of this creative project was to create seven Non-figurative, abstract, multi-media (wood, metals, clay, concrete, glass) sculptures that attempted to express some of the feelings experienced during transitions in life. The second objective was to explore the continuum of abstract sculptural art: from art being simply aesthetically stimulating compositions to art that emphasizes meaning or purpose first, and being aesthetically pleasing or stimulating second.
Department of Art
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Andrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.

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Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.

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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.
Department of Art
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Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.

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This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural history. Beginning in the recent past as I prepared to write this thesis, the commentary moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed.
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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.

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Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.

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McGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.

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Despite the ‘post-media condition’ of contemporary practice, some materials continue to be more equal than others. Cloth has a problematic history in Western art, frequently dismissed for its perceived inability to convey meaning beyond its own materiality, or a narrow idea of identity. The following thesis reconsiders this perspective and argues that it arose from the concurrence of heterogeneous post-war groups such as Post-Minimalism, and Fiber and Tapestry Movements, and the plethora of textile-based work they created. I review the accompanying critical responses to demonstrate how they sought to differentiate the use of fabric within these movements through the entrenchment of boundaries between valourised ‘art’ and denigrated ‘craft’. The thesis analyses how these categories were further complicated by mismatched lexicons of textile terminology. While fibre movements referred overtly and directly to fabric, the coinciding art theory primarily described its functions and affectations. We talk about the ‘softness’ of Oldenburg’s sculptures, not the cloth that makes them. This research argues that while there has been increasing scholarship surrounding these suppressed ‘craft’ textile practices, there is little exploration of the parallel and distinct material history of fabric within Western canonical Fine Art. The project addresses this asymmetry by focusing on the unspoken instances of cloth in mainstream twentieth century sculptural work and identifying the particular ways that artists have used this material. Artists have long employed the quotidian and shifting nature of textiles to convey ideas of instability, an impulse that can be traced back to Marcel Duchamp's 1913 work 3 Standard Stoppages. In order to critically interrogate the existing histories of textiles in twentieth century sculptural practices, the historical narratives presented in a number of exhibitions and catalogues are investigated. These accounts are considered in relation to three case studies that examine instances of structural, spatial and temporal instability in which cloth disrupts and untethers notions of fixed forms and static spaces. Investigating these narratives highlights historical cloth omissions, allowing for an understanding of how amnesiatic textile gaps affect practitioners today. My own cloth-based sculptural practice gives me a material authority and alternative perspective with which to question these received art historical narratives, and that in turn allows me to re-contextualise my decision to consistently work with this medium. My research-led practice centres on fabric objects that reference architectural forms; pieces that explore and exploit the unstable nature of cloth through their unfixed nature, and that I constantly reposition, resisting a final placement. By documenting these movements through photography and video, different temporalities are suggested, and a series of works that fluctuate between stasis and fluidity, order and chaos, are created. Accompanying these works are passages in the dissertation that reflectively a ddress the process of making and contending with the legacy of cloth. This project argues that fabric has been under-recognised but widely used in sculptural practices for over a century. Through explicitly articulating this narrative, a richer historical context for works that use fabric can be ascertained, and the insufficient complement of textile language in contemporary artistic discourse can be redressed.
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.

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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.

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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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Books on the topic "Sculpture, Abstract 20th century"

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Gary, Indiana, ed. To whom it may concern. London: Violette Editions, 2011.

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Miró, Joan. Joan Miró: Sculpture. London: South Bank Centre, 1989.

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Henry Moore Institute (Leeds, England), ed. Sculpture in 20th century Britain. Leeds, England: Henry Moore Institute, 2003.

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Antonia, Boström, ed. Encyclopedia of 20th century sculpture. New York: Fitzroy Dearborn, 2004.

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Bourgeois, Louise. Louise Bourgeois: Emotions abstracted : Werke/works, 1941-2000. Zürich: Daros, 2004.

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Rabinowitch, David. David Rabinowitch: Skulpturen mit ausgewählten Zeichnungen, Plänen und Texten = sculptures with selected sketches, plans and notes. Tübingen: Kunsthalle, 1987.

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Colin, O'Brien, ed. Abstract realities: Images of 20th century industrial design. London: London College of Printing, 2001.

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Welded sculpture of the twentieth century. London: Lund Humphries, 2000.

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Sam, Hunter. Modern art: Painting, sculpture, architecture. 3rd ed. New York: Harry N. Abrams, 2000.

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M, Jacobus John, and Hunter Sam 1923-, eds. Modern art: Painting, sculpture, architecture. 2nd ed. New York: H.N. Abrams, 1985.

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Book chapters on the topic "Sculpture, Abstract 20th century"

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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture." In Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.

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Jaeger, Lars. "The New Boys’ Physics—A New Generation Discovers the Abstract World of Quanta." In The Stumbling Progress of 20th Century Science, 99–115. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09618-1_6.

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Christou, Prokopis A. "Tourism during the Contemporary Period (1945-early 2020s)." In The history and evolution of tourism, 76–123. Wallingford: CABI, 2022. http://dx.doi.org/10.1079/9781800621282.0006.

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Abstract The 1940s to 1960s witnessed a specific state of economic development of mass production and consumption characteristics of developed economies, known as 'Fordism', underpinning tourism development, supply and demand. This period witnessed the remarkable rise of the airline industry. Also, after the first half of the 20th century the world witnessed numerous amusement and theme parks that were largely influenced by the original Luna Park at Coney Island in New York and the first Disney theme park in Los Angeles that opened its doors to the public in the mid-1950s. Meanwhile, renowned academics and management consultants such as Deming, Juran, Ishikawa, Feigenbaum and Crosby attempted to explain the notion of 'quality'. Their views influenced practices and procedures in the tourism and hospitality industry.
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Fenwick, Alan, Wendie Norris, and Becky McCall. "Accelerating control of NTDs and schistosomiasis in particular, 2008-2020." In A tale of a man, a worm and a snail: the schistosomiasis control initiative, 224–36. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781786392558.0019.

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Abstract Public health in sub-Saharan Africa, even after COVID-19, has reached a critical mass that promises positive change for nearly a billion poorest in the world. This change is driven by the expansion interested in "neglected tropical diseases" or NTDs, ironically called, and the success of the built-in control programs for them. Now the removal of the disease in 2030, most consumers are in the spotlight due to continued community support: private partnerships for drug funding from pharmaceutical companies, bilateral sponsors (UK and US), fundraising organisations (GiveWell, GWWC, The END Fund), implementing NGOs (RTI, SCI, GAELF) and ministries of education and health care in endemic countries. There's still a lot of work to do resulted in elimination, but the word "forgotten" in the context of the tropics illness may no longer be true. NTD has since been practically unknown in the 20th century outside the poor and rural areas of the world, to a situation where, at the beginning of the 21st century, more than a billion treatments were performed each year.
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Belarmino, Amanda. "An examination of female exceptionalism in early leisure placemaking activities." In Women, leisure and tourism: self-actualization and empowerment through the production and consumption of experience, 13–23. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789247985.0002.

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Abstract Placemaking is defined as the intentional design of public space to benefit the health and happiness of the citizens. While this concept is generally considered to have originated in the 1960s with the work of Jones and Whyte, there is evidence that the basics of placemaking were present in the late 19th and early 20th century. The role of female pioneers in hospitality and leisure placemaking has remained relatively unexplored. These women who made industry-changing contributions to catering and culinary arts, food safety, hospitality architecture, and hotel operations helped to create both public and private spaces for leisure that promoted the basic tenets of placemaking. Their narratives will be examined in the context of historical benchmarking for leisure placemaking in this chapter, which details the lives, accomplishments, and lasting legacies of the foremothers of the hospitality industry. Provided in a case study format, this chapter provides leisure educators with materials for the classroom while examining the concept of placemaking from a historical viewpoint. This chapter provides insight for future research into the role of women in placemaking, both historically and in contemporary times.
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Cohan, Frederick M. "Genomes reveal the cohesiveness of bacterial species taxa and provide a path towards describing all of bacterial diversity." In Trends in the systematics of bacteria and fungi, 282–300. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789244984.0282.

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Abstract This book chapter argues that bacterial systematists of the mid-20th century fortuitously created a species-level systematics that actually fits an important universal theory of speciation by discussing taxonomy would allow us to infer the important characteristics of any unknown organism once we classify it to species. It turns out, unexpectedly, that bacterial species taxa share a species-like property with the species taxa of zoology and botany. While recombination within species taxa of all these groups fails to prevent diversification within species, recombination nevertheless appears to act universally as a force of cohesion within species taxa. That is, recurrent recombination within species limits neutral sequence divergence within species taxa of plants, animals, and bacteria; recombination also allows a sharing of generally adaptive genes across a species range. The 95% ANI criterion that demarcates the traditionally defined species taxa of bacteria fortuitously also yields groups of bacteria that are subject to the species-like property of cohesion, where recombination prevents neutral sequence divergence among ecotypes within a species. Use of the ANI criterion, then, not only provides an easily used algorithm for demarcating bacterial species; it also places bacterial demarcation on the same theory-based foundation as the species taxonomy of animals and plants.
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"Speared Heads. Portraits as Things in 20th–Century Sculpture." In Art History and Fetishism Abroad, 57–70. transcript-Verlag, 2014. http://dx.doi.org/10.14361/transcript.9783839424117-003.

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Körner, Hans. "Speared Heads. Portraits as Things in 20th–Century Sculpture." In Art History and Fetishism Abroad, 57–70. transcript Verlag, 2014. http://dx.doi.org/10.1515/transcript.9783839424117-003.

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Niederhuber, Christian. "Faustina." In Roman Imperial Portrait Practice in the Second Century AD, 47—C4.P19. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845658.003.0004.

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Abstract Chapter 4 is a brief combined analysis of all portrait types of Faustina the Younger in both media (coins and sculpture). Approximate dates for their creation and introduction in the mint are suggested and different reasons as to why the many types were conceived are explored.
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Niederhuber, Christian. "Marcus Aurelius." In Roman Imperial Portrait Practice in the Second Century AD, 71—C7.P24. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845658.003.0007.

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Abstract Chapter 7 discusses the correspondence and interaction of the portraits of Marcus Aurelius on coins and in sculpture. Dates for the creation and introduction in the mint of the portrait types of Marcus are suggested. The chapter also further pursues more comprehensive questions concerning the reasons for the creation of imperial portrait types and their dissemination.
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Conference papers on the topic "Sculpture, Abstract 20th century"

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Orlov, I. I., S. A. Shennikov, O. S. Pavlova, and A. V. Martinova. "Historiography of the problem of jewelry design of the 20-th century." In Global science. Development and novelty. НИЦ "LJournal", 2022. http://dx.doi.org/10.18411/gsdn-03-2022-07.

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Abstract: Jewelry is one of the most sought after destinations since ancient times. The article provides a brief overview of the historiography of the jewelry design problem of the second half of the 20th century. The search and development of technology that will allow you to create jewelry with elements of exact copies of plant material in metal is relevant in modern jewelry design.
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Shust, William, and Michael M. Palmieri. "A North American Historical Review of Three-Axle Freight Trucks." In 2020 Joint Rail Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/jrc2020-8109.

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Abstract At first glance, it seems appealing to suggest additional wheelsets under a given railcar type. From the track’s viewpoint, and in a simplistic analysis, trading a particular car’s four-axles for the use of six should allow half again more car weight. This paper will examine efforts to test this concept over the past century. Indeed, the railway marketplace has investigated the three-axle truck in both the freight and passenger car arenas multiple times over the past century. Except in heavy-duty flatcars, the record shows that each implementation has proven to be only temporary. In general, three-axle freight trucks were developed for use with steam locomotive tenders in the early 20th century. These designs were then adapted to other car types over several decades, involving thousands of individual cars. Today, three-axle trucks are nearly extinct. This paper will address the history and status of three-axle freight trucks (or bogies) as used in North American railcar operations. Various past 20th-century applications will be discussed. International efforts will be reviewed as well. The very limited and remaining current usage of three-axle trucks is also discussed.
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Pak, Y. Eugene. "Issues and Directions of MEMS Research for the Electronics Industry." In ASME 2001 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/imece2001/mems-23800.

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Abstract The 20th Century has witnessed breathtaking developments in the miniaturization and the large-scale integration of microelectronic devices that have had an enormous impact on human affairs. The same miniaturization paradigm can be applied to mechanical devices using MEMS technology leading to ultra small micromachines that cannot otherwise be fabricated using conventional machining and assembly techniques. The MEMS technology is expected to have a great impact in the 21st century by enabling many complex electromechanical systems to be fabricated and integrated. In this paper, applications of MEMS to many areas relating to information and biotechnology are discussed. These topics are presented in the context of ongoing research at the Samsung Advanced Institute of Technology (SAIT). SAIT is the central research laboratory for the Samsung Corporation whose charter is to develop breakthrough technologies to be th leader in the 21st century.
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Huchin, J. P. "The Place of Thermal Spraying in Industry Today and the Prospects for the Future." In ITSC 1998, edited by Christian Coddet. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.itsc1998p0925.

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Abstract In 1913, in the dawning years of the 20th century, Doctor Schoop published a process for "depositing metal under an air flow" in the Scientific American, opening new horizons to surface treatment techniques. Therefore, surface treatments were taken into account right from the design stage by engineers, and their performances became input for devising objects right from the time they were conceived. There is a constant acceleration in the means employed, ever greater system automatisation and a continuous broadening in the applications
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.
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Livesey, Graham, and Antony Moulis. "From Impact to Legacy: Interpreting Critical Writing on Le Corbusier from the 1920s to the Present." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.712.

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Abstract: As a major figure of international modernism, Le Corbusier’s work has been subject to extensive critique and review both during his lifetime and since, to the extent that he has become the world’s most studied 20th century architect. While numerous attempts have been made to assess Le Corbusier’s works and ideas in their meaning and influence, little attention has been given to understanding the phenomena of critical writing and research that continues to surround the architect. Drawing upon research by the authors in preparing a 4-volume anthology of writings on Le Corbusier’s work for a major British publisher in 2016, the paper will trace critical reaction to the architect’s practice through a survey investigation of research and writing produced mainly in English from the 1920s to the present. The paper will give a chronological account of the issues, ideas and approaches that have emerged in critical writings on Le Corbusier and his architecture, reporting on the historiographic questions that have presented themselves in undertaking such a large-scale survey work. Reviewing the work of well-known critics the survey has also sought out lesser-known voices whose presence reflects Le Corbusier’s impact around the world, providing new interpretations through fresh perspectives on his work. Keywords: Architectural criticism; Architectural historiography; 20th century architecture, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.712
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LIAO, QINSI, and RONG HU. "ON THE TEACHING DESIGN AND TEACHING PRACTICE OF IDEOLOGICAL AND POLITICAL EDUCATION IN COLLEGE ENGLISH COURSE BASED ON “STUDENT-CENTERED”." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35962.

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Abstract. Education is a human activity and a social activity with human as its object. This “People-oriented” educational philosophy is a trend of thought that has influenced the world since modern times, especially since the middle and late 20th century. Students are the foundation of university, but also the object of university education and the center of university development. The paper, adhering to the “Student-centered learning” approach, designs and practices the ideological and political education in College English curriculum from a multi-dimensional perspective, and discusses how to promote the ideological and political education in College English course.
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Godbole, Hrushikesh, Marcos Esterman, Shridhar Palekar, and Alvaro Rojas Arciniegas. "Successes and Challenges in Implementing Lean Product Development." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-98078.

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Abstract Lean thinking is a successful management philosophy that originated in the production dominated mid-20th century. More recently, these principles have been contextualized in a product development setting. However, few companies have successfully adopted lean product development. The gap between the existing knowledge within the academic community and the current practices within the industry motivated an industry-academia research roundtable to identify the successes and challenges in implementing lean product development. This paper shares the successful practices, and the implementation challenges that industry faces in the context of lean product development, which include nomenclature, visual management and metrics, knowledge repository and lean education & training. The paper concludes with a roadmap of research required to enable the adoption of lean product development in the industry.
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Kashanskiy, S. V., E. K. Kovalevskiy, and N. O. Milovankina. "CHRYSOTILE-RELATED ASBESTOSIS IN THE POST-EXPOSURE PERIOD. STUDY DESIGN AND PRELIMINARY RESULTS." In The 16th «OCCUPATION and HEALTH» Russian National Congress with International Participation (OHRNC-2021). FSBSI “IRIOH”, 2021. http://dx.doi.org/10.31089/978-5-6042929-2-1-2021-1-246-249.

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Abstract: Abstract. A retrospective case-control study among former workers of PJSC Uralasbest has been launched to establish the main clinical features of the disease as well as causes and structure of mortality in patients with chrysotile-related asbestosis in the post-exposure period taking into cumulative dust exposure. First, we collected information about 850 asbestosis cases diagnosed in the Yekaterinburg Medical Research Center for Prophylaxis and Health Protection in Industrial Workers in 1946-2000. Control group of workers without asbestosis, matched by sex, duration of work, working conditions, cumulative dust exposure, social and living conditions, was set up as a control group. All primary information was entered in a specially developed database. Second, we established the vital status of the cases and the controls as of January 1, 2020. A considerable improvement of working conditions for the main jobs at PJSC Uralasbest in the second half of the 20th century leading to a statistically significant decrease in the cumulative exposure both by total dust and respirable chrysotile asbestos fibers. Improved working conditions have influenced increasing the duration of work until the development of the disease as shown by the rise in the proportion of workers with diagnosed asbestosis, mainly stage I, workers with 20 or more years after the first exposure.
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