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1
Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture". Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.
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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.
2
Dubrion, Véronique. "Sculptures membranes : de la sculpture comme objet de désir". Paris 1, 2008. http://www.theses.fr/2008PA010705.
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Cette recherche allie pratique artistique et réflexion théorique. Elle concerne un ensemble de sculptures en matériaux souples assembles par couture, s'insérant dans une perspective ouverte par les avatars de la sculpture contemporaine. La diversité des suspensions pour les accrochages, souvent en extérieur, favorise le déploiement des sculptures durant un court instant. Le recours au médium photographique intervient en contrepoint de cette recherche, comme continuum, capture, suspension de la furtivité des formes. Les matériaux, le rituel de création et de mise en scène photographique, la suspension dans l'espace et l'anxiété qui prépare à l'acte artistique constituent des allusions au fétichisme. Les opérations mentales, d' association et de renversement anthropomorphique lors de la conception des oeuvres évoquent les mécanismes de condensation et de déplacement de la dynamique du rêve. Ces échanges de dans/dehors, intérieur/extérieur, proximité/éloignement, conduisent à l'étrange, à la confusion, à l'absurde et à l'improbable. L'exploration de l'idée de métis transposée du monde animal au monde humain, de l'instinct de survie à l'effet sophistique, ainsi que le parangon de Baubô, permettraient à l'artiste d'accéder à de nouvelles machinations (jeux malicieux, fictions, feintes, palinodies et procédés captieux) aussi bien dans ses intentions que dans ses inventions.
3
Perotto, Émilie. "La sculpture contemporaine envisagée comme une situation : modes de production, usages et objets". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3052.
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Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvreThis doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art
4
Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080064.
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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier“Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium
5
Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080064.
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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier“Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium
6
Charvet, Célia. "Sculpter l'habitat : les dimensions de l'habiter dans la sculpture contemporaine". Besançon, 2010. http://www.theses.fr/2010BESA1010.
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Penser l’habiter du point de vue de l’art contemporain – et plus précisément de la sculpture contemporaine – c’est engager la réflexion dans une analyse des formes tridimensionnelles. C’est donc envisager l’habiter dans ses dimensions visibles et tangibles, dans une concrétisation de ses implications et dans une cristallisation des notions de corps, d’espace et de temps. Donner forme(s) à l’habiter, ce n’est pas seulement mettre au jour les phénomènes de l’habiter, c’est également en fabriquer les dimensions spatio-temporelles à la mesure de l’existence humaine. C’est structurer, orienter, qualifier les multiples relations que l’individu entretient avec ses différents lieux d’existence, que ceux-ci soient d’ordre privé ou public. C’est considérer l’habiter comme un acte – et particulièrement comme un acte de résistance – et non simplement comme un fait. C’est enfin définir des territoires de l’habiter dans lesquels les portions d’espace-temps convoquent l’habitance de l’homme, c’est-à-dire sa potentialité d’habiter. À partir des œuvres des sculpteurs d’habiter – tel est le terme générique que nous proposons pour définir les artistes étudiés –, il s’agit de repérer ce qui façonne, révèle et questionne les dimensions de l’habiter. Articulée en quatre moments définissant la nature de ces dimensions, la réflexion fait percevoir tout à la fois les spécificités sculpturales de l’habiter et ses enjeux dans le champ de l’existence. Ainsi, l’art est-il non seulement le point de départ d’une pensée de l’habiter mais une ouverture signifiante permettant de réévaluer les définitions communes. La dichotomie de l'intime et du public est ainsi remise en question dans ces œuvres qui font se rejoindre les données essentielles et existentielles. La mesure humaine détermine les dimensions de l’œuvre – physiquement, mais aussi symboliquement et idéologiquement. Cette mesure est définie par le corps – celui de l’artiste, celui du spectateur – , et par le mur, envisagé comme un référent, comme un point d’articulation entre corps et architecture. Mais au-delà du corps et au-delà des catégories, c'est l'individu qui est en question(s) – et particulièrement l’individu dans son être intime. Les espacements ménagés par le mur pour le corps, par l’œuvre pour l’individu, traduisent les diverses signifiances de l’habiter et indiquent que celles-ci relèvent davantage de la hantise que de l’habitabilité. Sculpter l’habiter, c’est non seulement lui donner une visibilité, une corporéité, mais c’est aussi résister, pour affirmer des singularités, donner du sens à l’existence et ne pas oublier que l’habiter conjugue identité et dignitéThinking about "inhabiting" from the viewpoint of contemporary art – contemporary sculpture, to be precise – means engaging in an analysis of three-dimensional forms, and thus looking at inhabiting in its visible, tangible dimensions, in a concrete instantiation of its implications, and crystallising the concepts of body, space and time. Giving form(s) to inhabiting does not only mean elucidating the phenomena associated with it, but also generating its spatio-temporal dimensions on the scale of human existence. It means structuring, orientating, qualifying the multiple relationships between individuals and their different places of existence, whether in the private or the public sphere. It means looking at inhabiting as an act – and an act of resistance – rather than simply a fact. It means, finally, defining territories of inhabiting, where the different parts of space-time induce the inhabitance of human beings, in other words their potentiality to inhabit. Starting with works by sculptors of inhabiting (this being the generic term we will use to define those whose work we discuss), the aim is to identify that which fashions, reveals and probes the dimensions of inhabiting. Centred on four aspects of space-time that define the nature of these dimensions, the analysis brings out the sculptural specificities of inhabiting, and its consequences in the field of existence. In this respect, besides constituting a point of departure for an analysis of inhabiting, art can provide a way of reassessing commonly-held definitions. The dichotomy between private and public is called into question by these works, which syncretise essential and existential elements. The human scale determines the dimensions of sculpture, not only physically but also symbolically and ideologically, in that it is dictated by the body – that of the artist, that of the viewer – and by the wall qua referent and point of articulation between body and architecture. But beyond the body, and beyond categories, it is the individual who is in question(s); and particularly the individual's innermost being. The spacings reserved by the wall for the body, and by the work for the individual, express the different significances of inhabiting, which have more to do with haunting than with inhabiting. In the end, sculpting inhabiting does not just mean giving it visibility or corporality, but also resisting, so as to assert its singularities, confer sense on existence and remain aware that inhabiting combines identity and dignity
7
Ferley, Eric. "Sculpture virtuelle". Phd thesis, Grenoble INPG, 2002. http://tel.archives-ouvertes.fr/tel-00004393.
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Cette thèse concerne la construction de formes tridimensionnelles. Nous utilisons une métaphore de sculpture virtuelle, c'est à dire une manipulation directe de la surface, sans structure de contrôle et où la représentation utilisée pour la surface demeure invisible. Notre travail est basé sur une représentation volumique. La surface modelée est représentée comme l'iso-surface d'un champ potentiel scalaire tridimensionnel échantillonné, qui permet de gérer de manière transparente les connexions et déconnexions. Un premier prototype, utilisant un échantillonnage régulier, nous a permis de valider les concepts d'interaction directe avec la surface via un outil contrôlé avec un périphérique d'entrée 3d. La surface évolue de manière indirecte à travers les modifications du champ potentiel induites par l'outil, mais du point de vue utilisateur, l'outil dépose ou repousse de la matière librement dans l'espace. Via la sélection et les opérations de copier/coller, il est possible de construire des outils de formes quelconques. Nous nous sommes également intéressés aux aspects importants de visualisation (stéréovision, reflets) et de retour haptique pour améliorer la perception, donc l'évaluation de la surface en cours de construction. Notre second prototype utilise une représentation hiérarchique adaptative permettant la construction de détails à différentes échelles et assurant l'interactivité de la mise à jour et de l'affichage. L'échantillonnage se raffine ou se simplifie dynamiquement et automatiquement, guidé par l'outil utilisé. La gestion proposée par file d'attente avec priorités autorise des extensions à plusieurs outils simultanés, éventuellement distribués sur des machines distantes.
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Moulton, Marc. "Making sculpture". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303236154.
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Teneul, Thierry. "La sculpture intouchable : méditation sur la sculpture "ennemie" du toucher !" Paris 1, 1995. http://www.theses.fr/1995PA010606.
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Le but de cette these est de reflechir au statut du toucher dans ma pratique de la sculpture. Dans un premier temps, j'ai repere en quelles circonstances il se manifestait dans ma production et dans celle de quelques sculpteurs. J'ai egalement analyse le fonctionnement physiologique du toucher et propose d'echapper a son pouvoir par le regard. La nature et le vegetal etant a l'origine de mes sculptures, celles-ci ne sont plus destinees a etre vues pour elles-memes mais a faire voir ce qui en est la cause. Apres des recherches sur l'interdit virtuel du toucher, j'ai ensuite explore les ressources de l'interdit psychologique. Ce qui m'a conduit a analyser comment la sculpture communique avec le sacre et devient un objet tabou. Une explication sur mes rapports au "primitivisme" s'est alors imposee. Enfin, reperant les limites de l'existence materielle de la sculpture, j'ai propose quelques moyens pour la rencontrer sans la toucher. J'ai aussi montre comment son image ou son souvenir peut suffire a la rendre presente. . .
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Hannold, Allan. "Sculpture and environment". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724982.
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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects.Department of Art
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BRITTO, ANA BEATRIZ RODRIGUES DE. "RICHARD SERRA: SCULPTURE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35327@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Cet article a l intention d analyser l ouevre du sculpteur nord-américain Richard Serra à partir de sa formation aux États-Unis et du contexte culturel de la deuxième moitié du XXème siècle, lorsqu il il a commencé sa carrière à New York. Cette étude propose également de mettre en valeur l importance de la materialité dans les ouevres de Richard Serra, la présence affirmative de ses sculptures, ainsi que la notion spatiale en tant que extension sociale et les liens avec son environment. Cela montre un regard contemporain en reaffirmant les aspects de l espace réel de son ouevre. Cette étude etablit des rélations entre ses sculptures et des métiers divers, ainsi, l art devient porte-parole critique de son propre temps et lieu d experimentations de nouvelles propositions artistiques. La recherce chemine à cotè de la thématique à propos du sujet de l espace qui traverse toute l ouvre de l artiste. Pour autant, la pensée de Richard Serra sur la sculpture est celle autour de l espace comme place de l experience perceptive et politique du monde. Voici le propos principale de mes arguments et ce qui conduit cette recherche.
Esta dissertação pretende analisar a obra do escultor norte-americano Richard Serra tomando como ponto de partida sua formação na América e o contexto cultural da segunda metade do século XX quando iniciou sua trajetória em Nova York. O estudo também propõe evidenciar a importância da materialidade das suas esculturas, da noção de espaço como extensão social e as articulações decorrentes da obra com o seu entorno. Isto denota uma posição contemporânea redefinindo aspectos do espaço real. O estudo estabelece relações entre suas esculturas e várias áreas do conhecimento, o que se insere no contexto histórico de arte como experiência crítica de seu tempo e experimentação de novas propostas artísticas. A pesquisa multidisciplinar acompanha, em seus desdobramentos, a questão do espaço que, de um modo ou de outro, atravessa toda a dinâmica da obra do artista. O pensamento de Richard Serra sobre escultura é um pensamento sobre espaço enquanto lugar da experiência perceptiva e política do mundo. É esta a linha de argumentação apresentada.
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Reas, Casey (Casey Edwin) 1972. "Behavioral kinetic sculpture". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62356.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001."September 2001."
Includes bibliographical references (p. 129-132).
As we enter the 21st century our culture has been significantly changed by the arrival of the internet and the proliferation personal computing and digital communications. As the decades progress, we will find ourselves interacting with machines more and more frequently, but what will be the qualities of these interactions? Through integrating information processing technologies into kinetic sculpture we are able to explore new methods of interaction. The concepts and experiments presented in this thesis as behavioral kinetic sculpture are the intellectual progeny of cybernetic art as evolved over the last thirty years through the development of interactive software, behavioral robotics, artificial life, and modern sculpture. This thesis defines the concept of behavioral kinetic sculpture as a unique category of expression through providing context, terminology, and a conceptual structure for its discussion and evaluation. This is supported through discussing the author's experiments in interaction and the behavioral kinetic sculpture, Trundle.
Casey Reas.
S.M.
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Suits, Julia Halyburton. "Experiments in sculpture". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303326764.
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Sévigny, Michel. "Sculpture et bruit /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Liao, Jui-chang. "Sculpture in space /". Online version of thesis, 1992. http://hdl.handle.net/1850/11680.
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Zvénigorodsky, Pierre. "Un sculpteur dans l'équipe : réflexion sur une pratique de la sculpture en milieu urbain". Paris 1, 1998. http://www.theses.fr/1998PA010604.
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Trente ans de pratique sculpturale en milieu urbain ne permettent pas de démontrer la nécessité de l'art urbain, ni de cerner des choix esthétiques. Ce travail de réflexion propose de faire prévaloir un protocole pour mettre la ville en mouvement. Le projet urbain induit le diagnostic et la conduite des opérations par des équipes pluridisciplinaires. Un art urbain se fonde sur la synergie d'arts fondamentaux. Sans sculpture il n'est pas d'art urbain. Mais, l'implication dans le projet impose à la sculpture de se saisir de la dimension de l'utile. Comment garder l'authenticité de chaque art tout en travaillant en équipe et en inventoriant le fonctionnel ? C'est un des enjeux de cette réflexion. Dès les premières expériences de grande taille, telles les villes nouvelles, les grands traces naissent d'une expertise artistique. La sculpture devient équipement et mise en scène des sensations si l'habitant en est l'acteur. Mais cette analyse montre les limites dues au privilège accordé à l'utile. Un espace de contrôle remplace un lieu d'échange. Le développement du projet de sculpture d'une autoroute s'arrête quand disparait la prise en compte des relations du voir et de l'entendre. Un processus de transgression doit alors, s'élaborer. La sculpture s'inscrit hors du programme et parfois hors de l'équipe. C'est dans la recherche fondamentale en atelier que furent dépassées ces contraintes. À Dunkerque la mémorisation des gestes de la maquette commandait ceux de l'installation sur le chantier. Sérialité et variation devinrent les déterminants de l'inscription des colonnes du pont Iris dans le parc. Et c'est à l'occasion d'une commande de tombe pour un particulier, au sein d'une école d'art, que se révéla l’efficacité des rituels de l'atelier. Si l'art urbain fait appel à la recherche fondamentale, la forme du travail d'équipe en est modifiée. Les avants projets d'un cimetière, en cours d'étude, esquissent des partages. Des règles du jeu s'imposent qui valorisent l'autonomie de chaque art dans un parcours convergent et recherchent une forme de sculpture expérimentale, de terrain. La relation des techniques entre elles donne mouvement et sens à la ville pour peu qu'actions et réflexions soient sollicitées dans le champ du travail artistiqueA thirty-year experience of sculpting in urban environment entitles neither to demonstrate the necessity of urban art, nor to work out aesthetic choises. This reflexion work aims at drawing up an agreement to " set the town in motion. " townplanning means pluridisciplinary teams identifying and supervising the operations. Urban art is based on the synergy of fundamental arts. Without sculpture there is no urban art. But joining in the project makes it necessary for the sculptor to take into account the range of usefulness. How shall we preserve the authenticity of each art while doing teamwork and reckoning with every functional element? That is one of the stakes of this reflexion. Since the first full-scale experiments - such as the new towns -, wide layouts have spring from artistic expertise. Sculpture has become both a facility and a staging of sensations, provided the inhabitants are the actors. However this analysis revealed the limits due to the usefulness prerogative. An aera of controle replaced a place of exchange. The development of a sculpture project for a motorway was checked when the relation of seeing and hearing was not allowed for. A process of trangression had to be worked out then, and sculpture was withdrawn from the project and occasionally from the team. Fundamental research in the worshop enabled to overcome these restraints. In dunkirk the memorizing of the model moves commanded those of the building site installations. Serial elements and variations became the determining factors in framing the columns of pont ids in the park. A commission for a private tomb, within an art school, was the occasion that revealed the effectiveness of the workshop rituals. If urban art requires fundamental research, the teamwork is modified. The drafts for a graveyard that are being stutied involve work sharing. Some rules of the game are imperative, enhancing the autonomy of each art in a convergent course and seeking a form of experimental sculpture on the field. The relation between techniques brings motion and sense to the town, in so far as actions and reflexions are called for within the scope to artistic work
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Bailey, Rowan. "The philosophy of sculpture : the sculpture of philosophy : casting bodies of thought". Thesis, University of Leeds, 2009. http://eprints.hud.ac.uk/16898/.
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This thesis explores both the conceptual register and tropic play of sculpture as a fine art in some of the key writings of Plato, Immanuel Kant, Johann Gottfried Herder, and Georg Wilhelm Friedrich Hegel. It serves to show how sculpture is both shaped by and reshapes in turn philosophy's explicit register of sculpture as an art form. The central argument within this thesis is that sculpture turns its back on philosophy as soon as philosophy casts sculpture out of its mould. Registering sculpture as a fine art within philosophy reveals that whilst specific examples of sculpture may appear to confirm the conceptual meanings ascribed to it by the philosophers Kant, Herder and Hegel, can equally show its unreliability and inconsistency as an art form. The title of this thesis The Philosophy of Sculpture: The Sculpture of Philosophy serves as a heading for an engagement with an explicit reading of sculpture as a fine ati and the sculptural as a trope. Therefore, the sculpture of philosophy is read as a heading for the presentation of sculpture as an object or art form in the writings of Kant, Herder and Hegel. The philosophy of sculpture appeals to an engagement with the use of the sculptural through the tropes of casting, moulding, sculpting, carving, modelling, shaping and forming in the writing of philosophy. This will show that there is something specifically philosophical about sculpture as a practice. Furthermore, the crossovers between these two approaches highlight the effects they give place to, particularly in the context of reading sculpture through a case study. Therefore, the latter half of this thesis engages with the ways in which the sculptural appears within architectural formations and explores an alternative reading of sculpture in relation to some of the themes generated out of a collaborative project between the philosopher Jacques Derrida and the architect Peter Eisenman.
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Grande, John K. "Armand Vaillancourt's social sculpture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0003/MQ40227.pdf.
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Tokar, Cynthia. "Garments as living sculpture /". Online version of thesis, 1990. http://hdl.handle.net/1850/11254.
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Powell, John William. "Specific light in sculpture". Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76873.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Vita.
Includes bibliographical references.
Specific light is defined as light from artificial or altered natural sources. The use and manipulation of light in three dimensional sculptural work is discussed in an historic and contemporary context. The author's work with metal arc light sources is presented and documented with developmental drawings and photographs. The use of light sources in space to define volume and mass is seen as the natural development of artificial light as a viable material in art.
by John W. Powell.
M.S.V.S.
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Yong-Joon, Kwon. "Apollinaire et la sculpture". Paris 3, 1996. http://www.theses.fr/1996PA030132.
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Notre etude a pour objet d'elucider la position d'apollinaire comme critique de sculpture, en ressentant un fort besoin d'eclairer ses idees sur cet art pratiquement jamais etudiees, a la difference de sa vision sur la peinture discutee sous divers angles. Nous avons developpe la perspective eclectique du poete sur la sculpture, qui ne se limita jamais a la categorie contemporaine, d'avant-garde, mais s'etendit aux tendances apparemment perimees, soit conventionnelles soit academiques, c'est-a-dire aux "bonnes traditions". Il prend au serieux l'originalite personnelle de chaque artiste, due a l'esprit nouveau, au sens general, tourne vers une autre forme artistique. Cependant, dans la vision du poete, la nouvelle maniere de l'epoque - l'avant-garde-est primordiale, si bien que nous nous appuyons sur son idee du cubisme et de l'orphisme. Nous avons regarde le travail sans prejuges d'apollinaire sur cet art, a travers plusieurs tendances sculpturales, fortement appreciees par lui : l'art negre, l'esprit independant - rude et rodin -, l'idee d'avant-garde - archipenko, duchamp-villon et boccioni-, la bonne maniere academique- bouchard, bourdelle, despiau, etc. Dans ces tendances, apollinaire voit l'aspect interieur comme expression de l'idee ou de la conception, qui merite un nouveau realisme, classique, ayant le sens poetique de la creationTo elucidate apollinaire's position as a critic in sculpture, is the subject of our study, feeling a high want to enlighten his ideas about this art, practically never looked at, unlike his vision of the painting, already discussed under different angles. We have developed the eclectic viewpoints of the poet upon sculpture, which did never limit to the contemporary category of the vanguard, but expatiated upon apparently out-dated tendencies, either conventional or academical ones, that is to say "good traditions". He takes seriously the personnal orginality of each artist, due to the new sense, generally speaking, turned towards another artistic figure. Neverthless, in the poet's view, the new style of the time the vanguard - is primordial, so we rely upon his choice of cubism and orphism. We have looked at the apollinaire's free from prejudices works upon this art, through several sculptural tendencies, much esteemed by him : the negro art, the independant spirit-rude and rodin-, the vanguard idea-archipenko, duchamp-villon and boccioni -, the "good academic manner"- bouchard, bourdelle, despiau and so on. Among all these tendencies, apollinaire perceive the inwardness, as an expression of the idea or of the conception, which earns a new realism, a classical one, with a poetical sense of the creation
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Basnett, Brian David. "Brian Basnett's sculpture thesis". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413285691.
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Smal, Eugene. "Automated brick sculpture construction". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1621.
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080002.
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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
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Leka, Evridiki-Evdokia. "L' entretien et la restauration des sculptures en Grèce ancienne : le cas de la sculpture archaïque". Paris 1, 2008. http://www.theses.fr/2008PA010689.
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L' étude consiste à systématiser et à compléter nos connaissances sur les mesures de protection, les opérations d' entretien et les techniques de réparation appliquées aux sculptures archaïques, dans le but de comprendre les motifs qui poussaient les Anciens a procéder à des interventions destinées a la sauvegarde de ces oeuvres. La recherche porte sur deux types de documents, les sources textuelles et les oeuvres existantes, sur lesquels reposent les deux parties de l' exposé. Les sources textuelles contribuent à l'exploration a) des mesures de protection préventive prises par les Anciens pour épargner aux oeuvres les altérations des matériaux et de la forme, b) des opérations d'entretien matériel pratiquées des la mise en place des oeuvres, qui visaient à les maintenir en bon état. L' examen direct des oeuvres existantes nous permet d' observer concrètement les procédés de la réparation et de la restauration mais aussi les modalités du déplacement et du remploi des sculptures archaïques dans l' Antiquité
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Kirton, Joanne. "Sculpture and place : a biographical approach to recontextualising Cheshire's early medieval stone sculpture". Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620393.
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Researching early medieval stone sculpture has long been enabled and constrained by approaches devised and subsequently honed over the last century focusing on form and ornamentation. These approaches largely prioritise the physical appearance of sculptural fragments, often distancing them from the physical and cognitive contexts in which they operated from their creation to the present. This thesis brings together popular strands of research from other areas of archaeology - landscape, biography, materiality and monumentality - to explore how early medieval stone sculpture operated in place and time, from their construction through processes of use and reuse. The study recognises that sculpture did not function independent of physical location or the socio-political context with which it was connected and that many sculptures have life-histories which can be charted through individual monuments, assemblages of sculpture, and regional patterns. Using a tenth-/eleventh-century assemblage from Cheshire, the biographies of the county’s early medieval monuments and architectural fragments are explored in relation to their physical location and the local historical frameworks with which they are connected. Through this original and distinctive approach, Cheshire's corpus of early medieval stone sculpture is both revisited and reinterpreted to emphasis the power of place and the biographies of stone sculpture.
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Wright, Jeanne. "Colour and sculpture : an investigation into the use of two dimensional media in sculpture". Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004783.
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From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach in sociological frameworks and the examination of colour as a metaphysical element in the presentation of three dimensional media.
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Cravenho, David M. "Conscious/Unconscious /". Online version of thesis, 1989. http://hdl.handle.net/1850/11514.
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Bosley, Brianna Laura, e Brianna Laura Bosley. "Sculpture, environments, and conservation treatments". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626730.
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The overall question that this thesis attempts to answer is: how do the surroundings of a sculpture
and its setting effect a sculpture’s conservation efforts. In this thesis four case studies of works of sculpture of various materials, displayed in different settings in the Tucson area, each experiencing varying conditions depending on their environment, will be discussed. Their preservation plans and conservation treatments will be outlined and compared, showing the varying conservation/preservation approaches to these sculptures, depending on their material and setting. This will all be related to the importance and role of preventative conservation in modern conservation practices.
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Jalil, Abdul Rahim. "Sculpture : exploration with Islamic calligraphy /". Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1224613475.
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O'Brien, Kelly A. "Putting Lipstick on a Sculpture". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/107.
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Putting Lipstick on a Sculpture is a mixed body of sculptural and two-dimensional work investigating our society’s superficial expectations of beauty. The glitzy covers of glitter and spandex are used over more traditional structural materials to confuse the viewer’s expectations, much like labels categorizing usual fine art. The sculptures are on display for the audience’s aesthetic judgments, while paintings blur lines of what is classified as traditional and acceptable for emphasis.
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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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Calik, Ayse. "Roman Imperial sculpture from Cilicia". Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/roman-imperial-sculpture-from-cilicia(52fdf4d0-393f-42f3-8373-470393fac704).html.
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Cooper, Martin I. "Laser cleaning of stone sculpture". Thesis, Loughborough University, 1994. https://dspace.lboro.ac.uk/2134/6841.
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This thesis is concerned with different aspects of laser cleaning of stone sculpture including the interaction of laser radiation with stone, evaluation and monitoring of the cleaning process and the development of a practical cleaning tool. Results show that a Q-switched Nd:YAG laser is the most suitable type of laser for the removal of black encrustations from marble and limestone surfaces. Measurements of the absorptivity of polluted and clean stone surfaces at 1.06 itm show that a typical black crust, resulting from atmospheric pollution, absorbs 2.5-3.5 times as much of the incident radiation as typical clean limestone and marble surfaces. This is shown to lead to the controlled removal of black crust material, by several thermal and mechanical mechanisms, without damaging the underlying stone. Measurements of ablation thresholds, by deflection of a probe beam, reveal that material is removed from a black crust at a fluence approximately half that required to remove material from a clean limestone or marble surface. Monitoring of the acoustic pulse generated during the laser beam/stone interaction is used to characterise the cleaning process. Results also show that cleaning is more efficient when a thin layer of water is applied to the surface prior to irradiation. Surface analysis techniques show that if cleaning is carried out below the damage threshold of the stone there is no modification to its physical or chemical structure. Cleaning of limestone sculpture from Lincoln Cathedral and terracotta sculpture from the Victoria and Albert Museum shows laser cleaning to be more refined than conventional cleaning techniques and to have considerable advantages in the area of health and safety.
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Loehr, Alf. "Environmental sculpture in urban landscape". Thesis, Royal College of Art, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294963.
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Curtis, Penelope Jane. "E.A. Bourdelle and monumental sculpture". Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265200.
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Greenwood, Martin. "Victorian ideal sculpture 1830-1880". Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289031.
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Elliott, Patrick Daniel. "Sculpture in France 1918-1939". Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390334.
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Piot, Élisabeth. "Légereté-pesanteur : trajectoire de sculpture". Amiens, 2013. http://www.theses.fr/2013AMIE0015.
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C'est par le prisme de ma propre pratique de la sculpture que j'aborde le présent essai. Par le biais de matériaux mous, je positionne ma sculpture dans une perspective d'expérience éprouvée en subissant les mêmes contraintes que mon propre corps, qui lui aussi cherche son équilibre et sa position. Sous l'égide de la dialectique de légèreté et de pesanteur, je réinvestis dans mon discours théorique des gestes et des directions au centre de mon propre travail plastique par le biais de termes et de concepts qui me sont familiers. Ces termes, je les éprouve au travers d'une histoire choisie de la sculpture du XXe siècle. J'y perçois une communauté d'attitude, de gestes et de choix devant la forme visant à affirmer sa présence à l'espace et au temps. Dans la première partie, les enjeux de la dichotomie corps et esprit sont approchés par le biais d'une trajectoire entre la sculpture, le regard et le discours portés sur elle. Dans un deuxième temps, j'aborde la question de la présence contre celle de la représentation en analysant la question de la répétition ainsi que les oeuvres qui témoignent du choix de laisser aller ou de laisser faire le propre comportement du matériau. Ces gestes qui impliquent un dessaisissement tendent parfois à décrire ce que c'est de tenir bon et de résister. C'est sur ce paradoxe que s'ouvre la troisième partie dans laquelle est interrogés le processus de mise en oeuvre et sa réactualisation dans la présentation de l'oeuvre. Elle se conclut par l'étude de la notion de présence au sein de la phénoménologie de Merleau-Ponty, en vue de cerner les conditions de l'expérience phénoménologique propre à la sculpture. Cette thèse pense la création de la sculpture et sa perception comme un faisceau de « trajectoires de pesanteurs » [Krauss, 1994]This thesis is approached through the prism of my own practice of sculpture. My sculpture is positioned through soft materials in a perspective of proven experience in undergoing the same constraints as my own body, which also seeks balance and position. Under the auspices of the dialectic of lightness and heaviness, I reinvested in my theoretical discourse gestures and directions as the center of my own artistic work through terms and concepts that are familiar to me. These concepts are experienced through a selected history of the sculpture of the twentieth century. I perceive a community of attitude, gestures and choices to form the aim of its presence in space and time. In the first part, the problem of the mind-body dichotomy is approached through a path between the sculpture, the look and the speech carried on it. On the second part, I address the issue of presence against that of representation by analyzing the question of repetition as well as the work that reflects the choice to let go or let the proper behavior of the material be. These actions which involve a dispossession sometimes tend to describe what it is to hold on and to resist. This paradox opens the third part in which the process of implementing and updating the presentation of the work is questioned. Finally, in order to identify the conditions of the phenomenological experience specific to the sculpture, the work of this thesis concludes with the study of the concept of presence in the phenomenology of Merleau-Ponty. This thesis conceives the creation of the sculpture and its perception as a bundle of "trajectories of gravities" [Krauss, 1994]
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Keffer, Mark. "Sculpture < painting < boxing". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314217573.
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Caudill, Ross Steven. "Ross Caudill MFA Sculpture 2006". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1407.
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This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.
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Tomović, Miodrag. "Roman sculpture in Upper Moesia /". Beograd : Archeological institute, 1993. http://catalogue.bnf.fr/ark:/12148/cb38945209q.
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Lyle, Valarie G. "Figurative sculpture in paper clay". [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0601101-132934/unrestricted/LyleV0822a.pdf.
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Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.
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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture.
Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written work of Milan Kundera, as well as the painting of Marlene Dumas, the early printmaking of Paul Klee, and the work of John Currin.
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Henley, Marty Clinton. "Figurative Sculpture and Social Commentary". Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2215.
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This thesis supports the Master of Arts exhibition entitled "Figurative Sculpture and Social Commentary" at the Slocumb Gallery located on the campus of East Tennessee State University in Johnson City, Tennessee, from April 10 - April 14, 2006. This is an exploration of human form in sculpture and the use of representational human form to make comments about society.
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080002.
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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
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Allen, Kate. "To investigate and demonstrate through my sculptural practice the relation between 'virtual' and 'real' sculpture". Thesis, University of Wolverhampton, 2001. http://hdl.handle.net/2436/96307.
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Relin, Lois. "La sculpture assemblée en France de 1880-1918 : de la sculpture traditionnelle aux constructions cubistes". Paris 1, 1987. http://www.theses.fr/1987PA010574.
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Relin, Lois. "La Sculpture assemblée en France de 1880-1918 de la sculpture traditionnelle aux constructions cubistes /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376092619.
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Pinkney, Valerie J. "Mark Di Suvero's Sculpture: From the Found-Object Sculpture of the Nineteen Sixties to the Monumental Sculpture of the Nineteen Eighties, A Study in Continuity". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500326/.
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This thesis analyzes technical and stylistic aspects of Mark di Suvero's nineteen sixties found-object works, and his monumental I-beam sculptures of the nineteen seventies and eighties to demonstrate their consistency despite the apparent contrasts in form, materials, and process. Primary data, sculpture of Mark di Suvero. Secondary data obtained from major art periodicals, newspapers, and exhibition catalogs. The artist was interviewed by author at the retrospective exhibition in Nice, France, Septermber, 17, 1991. Examination of primary and secondary data reveals a strong continuity by the artist in his approach to his work despite obvious external changes in materials and process.