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Статті в журналах з теми "Sculptural practice"
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Powell, Felicity. "Drawn from the Well: photographing sculpture, a sculptural practice." Sculpture Journal 15, no. 2 (December 2006): 278–81. http://dx.doi.org/10.3828/sj.15.2.9.
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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (June 1, 2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.
Повний текст джерелаАнотація:
As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically informed adoption of clay sketching, which is used to develop and inform an experimental polychromatic ceramic practice and virtual reality modelling techniques, my activities as a sculptor-architect critique the corporeal dismissals that marked the codifications of the Renaissance. Central to this is the capacity of disegno, which as a term was paramount for the era’s repositioning of architecture, painting and sculpture as liberal arts, to suggest broader approaches to design than an immediate reliance on drawing.
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WALSH, LINDA. "THE “HARD FORM” OF SCULPTURE: MARBLE, MATTER AND SPIRIT IN EUROPEAN SCULPTURE FROM THE ENLIGHTENMENT THROUGH ROMANTICISM." Modern Intellectual History 5, no. 3 (November 2008): 455–86. http://dx.doi.org/10.1017/s1479244308001765.
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The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to the observable, familiar world, while neoclassicism was too wedded to notions of clearly defined forms. This article explores sculptural practice and theory at this time as a site of complex debates around the medium's potential for specific concrete representation in a context of competing Romantic visions (ethereal, social and commercial) of modernity.
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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (December 1, 2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.
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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) experiment, imbricates the historical and the theoretical in choreographic practice, re-inscribing the archival traces of the Mahari as found in the sculptural traces of the Alasa-Kanyas by an inculcated deconstruction of Odissi dance vocabulary. According to philosopher Jacques Derrida, deconstruction destabilizes the hierarchy between the centres and margins of a given area of knowledge. This experiment questions the hierarchical construction of Odissi dance as technically elevated than Mahari performance. Theoretical deconstruction is complemented by an embodied investigation via structured studio improvisations using the Creative Articulations Process (CAP). Choreographic process and analysis of AK deconstructs the technicity in Odissi movement via engaging with the Alasa-Kanyas or the sculptural archives of the Maharis in Indian temples. In this way, the once marginalized interrupts the dominant historical narratives and disrupts the patriarchal construction of a male centre, in turn questioning the agency of the choreographer in the choreographic process.
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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.
Повний текст джерелаАнотація:
Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.
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Xiao, Wei. "CHINESE SCULPTURE IN THE NEW ERA." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 125–35. http://dx.doi.org/10.36340/2071-6818-2021-17-5-125-135.
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With the advent of a new era, universal social changes pose new challenges for the art of sculpture. In terms of cultural content and practice, sculpture needs to keep pace with time. Chinese sculpture should participate in the global processes of modern sculptural development, guided by the literary and artistic concept «do not forget the past, absorb the foreign, look into the future». Not only should it receive inspiration and stimuli for development from the West but find its voice, preserving Chinese cultural tradition and Chinese national spirit.
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De Melo, Marcelo José. "Occupying Time Occupying Space." Excursions Journal 6, no. 1 (January 24, 2020): 1–13. http://dx.doi.org/10.20919/exs.6.2015.195.
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In this article, I focus on the main concerns and influences in my art practice, considering how occupying time has led me to be concerned with time occupying space in sculptural practices. The main ideas discussed here are repetition of material activity and rhizomatic methodology in art.
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Avdeev, A. S., and N. N. Golovchenko. "The experience of using miniatures in the exposition work on the popularization of historical and cultural heritage." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 16 (2021): 176–83. http://dx.doi.org/10.37386/2687-0584-2021-16-176-183.
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The article considers the practice of using sculptural historical miniatures by the staff of the Museum of the Railway District of Novosibirsk and the laboratory «Historical Local Lore» of the Altai State Pedagogical University. It is noted that the sculptural miniature has been tested as the main and auxiliary object of the show, within the framework of the exhibition of one and several objects, thematic dioramas and fashion shows, interactive exhibitions, excursions. The authors come to the conclusion about the prospects of using sculptural historical miniatures to increase the immersive effect of scientific and popularization exhibitions.
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Стрельцова М. В. "РОЛЬ МАТЕРІАЛУ В ФОРМАЛЬНОМУ ТА ОБРАЗНОМУ ВИРІШЕННІ СИМПОЗІУМНОЇ СКУЛЬПТУРИ". World Science 2, № 2(54) (28 лютого 2020): 8–12. http://dx.doi.org/10.31435/rsglobal_ws/28022020/6933.
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On the example of creative work of the International Transcarpathian sculpture symposia, the article analyzes the relationship between the structure of the artistic image, the selection of forms and the material of the symposium sculpture. The conclusions about the influence of sculptural material on the disclosure of an image that uses its natural properties as signs of its own content (pattern, texture, hue, etc.) are made. It is proved that the material does not play a primary role in form and image projection, but it often directs the artist's opinion in a certain direction of form layout and embodiment of artistic image. Emphasis is placed on the practice of sculpture symposia and the associated technique of direct carving in stone, which have directly influenced the process of updating the image and plastic consciousness of Ukrainian artists since the second half of the 1980s.
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Parisi, Camilla. "Pioneering sculptural workshop techniques: Filippo della Valle and Francesco Cerroti in eighteenth-century Rome." Sculpture Journal 30, no. 2 (November 1, 2021): 153–314. http://dx.doi.org/10.3828/sj.2021.30.2.4.
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The recent blossoming of studies on central Italian sculpture of the first half of the eighteenth century has not yet focused on artistic technique. In this article, an attempt is made to introduce this subject by providing, through a series of examples, a first picture of the practice and skills of two fundamental figures of those years: the sculptor Filippo della Valle and the stonemason Francesco Cerroti. The article focuses on their technical knowledge of materials in order to highlight the production system of the sculptor’s workshop, which included the extensive use of measuring points and ruled copying frames, and the important skills of the stonemason, so as to shed new light on a type of specialization that is often little considered. This reconstruction, although very specific, raises an important issue: the semi-industrialization of sculptural practice, regarding both specific tools and the involvement of professional figures, has always been attributed to the context of Antonio Canova, but as this article shows, it has much deeper roots.
Дисертації з теми "Sculptural practice"
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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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Farrugia, John Michael Joseph. "Incredulity in practice : sculptural investigations into faith and doubt." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7822.
Повний текст джерелаАнотація:
My research considers one way in which contemporary sculptural art practice might reinterpret sculpture and painting, primarily from Catholicism as represented in Italian and Spanish Renaissance and Baroque art. The themes that are explored include: faith and doubt, divinity and human nature, miracles and materials. How can sculptural practice delve into the nature of faith and doubt through materials and processes, interpretative strategies, and a consideration of contexts? Can any sense of faith or belief in the unphysical be evoked in audiences through this practice-led research? The research employs inductive means and methodologies that are fundamentally practice-led and iterative. Rather than starting with a problem-based enquiry, a careful analysis of existing artworks, primarily by the painter Michelangelo Merisi da Caravaggio and the sculptor Gian Lorenzo Bernini, was undertaken. This study has led to the production of creative work that in turn has initiated further questions and more sculptural objects. The production of sculptural artefacts creates a snowballing effect that is a self-reflective, investigative cycle. This method draws upon the sculptural process itself and takes into account external and contextual considerations. My studio-based investigations have given rise to the sculptural work. These case studies reinforce an understanding that methods that are primarily based on the assessment of haptic means relating to touch, sight and other sensory perceptions can contribute to knowledge in meaningful and unique ways. The iterative process used in this research has thematic and metaphoric parallels to the ways in which Catholic stories are retold, interpreted, and examined – narratives that have themselves been continuously readapted to suit changing contexts and intended audiences. Such narratives have been disseminated throughout the history of Christianity, and continue to be circulated in modern-day Christianity. In our post-enlightenment world, the core theme of incredulity, as imagined through art, is explored. To this end, and to make wider connections with this enquiry, philosophical writings regarding ideas of truth and subjectivity, particularly the work of Søren Kierkegaard, are investigated. The historical sculpture and painting referenced and utilised as source material are themselves reinterpretations of pre-existing narratives and stories. This research strives to explore and expose the correlative relationship that exists between understandings of past and present day contexts and employs an examination of both historical and contemporary art works and practitioners. Rather than perceiving this research project primarily in the context of other contemporary art practices, the main focus is on how European artists from the early 17th century wrestled with imagining and imaging these stories and, in that context, how the same narratives might be reinterpreted today. A selection of contemporary artists has been used throughout the research in order to help situate this work within a contemporary cultural context. The primary output from the research is a selection of three sculptural groupings, referred to as case studies, presented in chronological order, taken from the larger body of sculptural artefacts created over the course of the entire research project. The three selected case studies encapsulate the key findings and principle discoveries. The case studies are supplemented by photographs of installed site-specific work, as well as the contextual and critical analysis contained in this thesis.
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Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.
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Tong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
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Huber, Robert. "Arranged space : the arrangement of spatial interrelations as sculptural practice." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593876.
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This PhD project aims to investigate the use of social formats in the realm of sculpture and consists of a theoretical reflection on my artistic practice. Since 2008, I run a company called PaintSyndicate, which produces oil paintings in the People's Republic of China. This thesis is an attempt to explain how setting up and running a company can be considered as sculptural practice. Within this research, PaintSyndicate stands exemplarily for my practice and serves as rationale and context. Sculpture today is an ambivalent term describing specifically three-dimensional, artistic objects in the tradition of the statue, while a somehow expanded concept of sculpture is used as an umbrella term to cover a wide range of spatial related art. My argument aims to contribute to a conceptual clarification and develops alongside two main references: firstly, Rosalind Krauss' 'Sculpture in the Expanded Fie/d', as a main reference in a 'post-formalist' discourse, and secondly, Joseph Beuys' 'Social Sculpture', as an example for an expansion of the concept of sculptw-e in the practical realm. Using Niklas Luhmann's systems theory, I define sculpture as social system, considering space as the medium of sculpture and sculptural form as an arrangement of spatial relations. Such a definition of sculptural form shifts the focus from materiality or programmatic tasks to the observer's understanding of space. During the last century, the conception of space has undergone fundamental changes, from being defined as an absolute value, to the existence of a plurality of 'species of space' today. If sculptural form is the result of an engagement of sculptor and space, the existence of multiple 'species of space' corresponds to the actual variety in sculptural form. In this context, my research aims to contribute to a reconsideration of sculpture as a category of contemporary art practice.
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Hopkins, Ana Rosa. "Back-story in contemporary sculptural practice : from materials to incorporation." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617733/.
Повний текст джерелаАнотація:
This ‘by practice’ research project explored the function of back-story in contemporary sculptural art. It was driven by an ongoing artistic practice and resulted in a series of new artworks accompanied by an analytical commentary. Gérard Genette’s concept of analepsis within narrative literature was taken as an initial theoretical framework to test to what extent it might be applied to sculpture. Analysis of selected works by Joseph Beuys, Felix Gonzalez-Torres and Doris Salcedo, artists who used back-story in the context of trauma, led to modifications of the theory to account for the relationship between artwork and its back-story, notably its expression in materials. The use of narrative in sculptural art to provide a storied reading acts in combination with the work’s biography, although the work remains non-narrative in form, even lacking a ‘main’ narrative. The study discusses the ways the selected artists disclosed their ‘authored’ back-story, through title, paratext, public biography and reiteration of themes within an oeuvre. Back-story invoked what Genette called retroception – compelling the viewer to look again from a different perspective. Here, the autonomy of the artwork from its back-story is upheld. However, I posit that reading the art work in conjunction with its back-story alters the viewers’ experience by offering a storied entry into the work, situating the viewer at the ‘right’ distance in terms of emotional connection, and extending the reading time allowing more complex meanings to emerge. Investigation through making was prioritised, conducted through a process of ‘improvisation’ that explored various storied connections within original glass sculptures. As a result of reflecting on the results of a traditional glass inclusion process in my work, a new approach surfaced which I call incorporation: the partial embedding of a material within another as it solidifies. This process is seen to embody the concept of retroception and signal the connection to back-story. The research contributes to knowledge by providing a framework for an understanding of back-story in contemporary sculptural practice; demonstrating how incorporation can evoke and embody back-story; and, creating a body of original work that provides material for further investigation of back-story.
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Sanders, Anne E. "Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall." Thesis, Canberra, ACT : The Australian National University, 2011. http://hdl.handle.net/1885/8756.
Повний текст джерелаАнотація:
The subject of this thesis is contemporary Australian sculptural practice. Within the limitations of a Master of Arts sub-thesis, it aims to provide an analysis of developments in contemporary Australian sculptural practice since 1980. This analysis is conducted within the context of the theoretical frameworks of postmodernism, feminism and postcolonialism.
The first chapter seeks to establish a general overview and context, both nationally and internationally, for the significant changes and developments in contemporary sculptural practice in Australia. Specifically, three key theoretical concepts are identified as major protagonists of these changes. The second and third chapters seek to provide specific examples of these theoretical concepts identified in chapter one within the context of two monographic case studies of mid-career sculptors, Hilarie Mais and Fiona Hall.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
Повний текст джерелаАнотація:
This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.
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This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
Книги з теми "Sculptural practice"
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Allen, Kate. To investigate and demonstrate through my sculptural practice the relation between "virtual" and "real" sculpture.. Wolverhampton: University of Wolverhampton, 2001.
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Kuhtz, Cleo. Sculpture: Materials, technique, styles, and practice. New York: Britannica Educational Publishing in Association with Rosen Educational Services, 2016.
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500 ceramic sculptures: Contemporary practice, singular works. New York: Lark Books, 2009.
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Nitenberg, Annelie. Liljestenar och stavkorshällar: Kulturmöten och social praktik i tidig medeltid = Early medieval stone slabs : culture meetings and social practice. Göteborg: Göteborgs universitet, 2009.
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1942-, Prigann Herman, Strelow Heike, and David Vera, eds. Ecological aesthetics: Art in environmental design : theory and practice. Basel: Birkhäuser, 2004.
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Bridges, Jerry. The Practice of Godliness. Colorado Springs, CO: Navpress Publishing Group, 1996.
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Kjellman-Chapin, Monica, ed. Kitsch: History, Theory, Practice. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2013.
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Funeral monuments in post-Reformation England. Cambridge, U.K: Cambridge University Press, 2000.
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Watkins, Raymond. Late Bresson and the Visual Arts. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.
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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.
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Saunders, E. Dale. Mudrā: A study of the symbolic gestures in Japanese Buddhist sculpture. Princeton, N.J: Princeton University Press, 1985.
Знайти повний текст джерелаЧастини книг з теми "Sculptural practice"
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von Hülsen-Esch, Andrea. "Romanesque Sculpture in Italy: Form, Function, and Cultural Practice." In Current Directions in Eleventh- and Twelfth-Century Sculpture Studies, 169–84. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.svcma-eb.4.6009.
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Dunnington, D. R., A. Saia, A. de Pennington, and G. L. Smith. "Constructive Solid Geometry with Sculptured Primitives Using Inner and Outer Sets." In Theory and Practice of Geometric Modeling, 127–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 1989. http://dx.doi.org/10.1007/978-3-642-61542-9_9.
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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.
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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Braysmith, Hilary A. "Public Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1)." In Socially Engaged Art History and Beyond, 143–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43609-4_11.
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Chen, Ze Zhong Chevy, and Xu Jing Yang. "A Practical Approach to Generating Accurate NURBS Tool Paths for CNC Machining of Sculptured Surface Parts." In Materials Science Forum, 500–503. Stafa: Trans Tech Publications Ltd., 2006. http://dx.doi.org/10.4028/0-87849-421-9.500.
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Petersen, Anne Ring. "The square, the monument and the re-configurative power of art in postmigrant public spaces." In Postmigration, 235–64. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839448403-014.
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This chapter explores how art in public spaces shapes, and is shaped by, disagreements and conflicts resulting from the need to tackle »togetherness in difference« (Ien Ang), and how contemporary artistic practices play out in postmigrant public spaces, understood as plural domains of human encounter impacted by former and ongoing migration, and by new forms of nationalism. The chapter focuses on two art projects in Copenhagen, Denmark. The first one is The Red Square, a part of the public park Superkilen in the multicultural Nørrebro district. Designed by the artist group Superflex (in collaboration with architects from Bjarke Ingels Group and Topotek1), Superkilen opened in 2012. The second project is Jeannette Ehlers and La Vaughn Belle's collaboration on the sculpture I Am Queen Mary. Installed outside an old colonial Warehouse in Copenhagen harbour in 2018, it is the first monument in the country to commemorate Danish colonialism and complicity in the transatlantic slave trade. Borrowing a term from Chantal Mouffe, these projects could be characterized as »agonistic« interventions into public urban space. The chapter argues that they may provide us with some much-needed answers to the important question of the much debated yet crucial role of public art in democratic societies, particularly how works of art may form a possible loophole of escape from dominant discourses by openly contesting, or subtly circumventing, monocultural understandings of national heritage and identity, thereby helping us to imagine national and urban community otherwise, i.e. as postmigrant communities. The chapter examines what the re-configurative power of art might accomplish in postmigrant public spaces by considering the following questions: How can public art open up a social and national imagination pervaded by anxieties about (post)migration to other ways of thinking about diversity and collective identity? Furthermore, is it possible to identify a common pattern - i.e. a particular postmigrant strategy - that underpins and interconnects various types of artistic interventions into public spaces and debates, which, on the surface, present themselves as radically different kinds of projects?
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Tobin, Claudia. "Still Life in Motion." In Modernism and Still Life, 76–123. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0003.
Повний текст джерелаАнотація:
This chapter explores two European movement practices of the early to mid-twentieth century: the Margaret Morris Movement, established c. 1910 by the British dancer, Margaret Morris (1891–1980) in partnership with the Scottish painter and sculptor, J. D. Fergusson (1874–1961); and eurythmy, the synthetic art form and system of spiritual movement established in 1912 by the Austrian scientist and philosopher, Rudolf Steiner (1861–1925). This chapter uncovers the contribution of movement practitioners to the project of re-imagining aesthetic categories through hybrid sculptural, pictorial and poetic forms that engaged the ‘moving stillness’ of the body. It argues that Morris’s dance system constituted a vitalist expression of ‘still life in motion’, which was informed by the influence of Bergsonian philosophy and the currency of ‘rhythm’ in her circle of artists. The second section of the chapter investigates sculptural stillness. It examines Fergusson’s understudied sculptural practice and Morris’s role as a model who sought to revaluate the gender politics of stasis and movement. The final part of the chapter examines eurythmy as a form of ‘moving sculpture’ that complicates the relationship between dance and sculpture.
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Quin, Jack. "Introduction." In W. B. Yeats and the Language of Sculpture, 1–16. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843159.003.0001.
Повний текст джерелаАнотація:
Abstract The introduction begins by offering a brief vignette about the centrality of sculpture to Yeats’s writing and thinking by recounting the unveiling of Henry Moore’s Standing Figure: Knife Edge sculpture in the Yeats memorial garden, St. Stephen’s Green, Dublin in 1967. The second section provides an outline of the monograph chapters; the third and final section surveys the relevant criticism and recent reassessments of Yeats’s ekphrastic poetry and inter-art collaborations in order to show the importance of a holistic re-evaluation of Yeats’s work. The introduction argues that the conflation of art forms in literary criticism under the aegis of “visual culture” or “the visual arts” risks marginalizing the art of sculpture. While documenting how poetic form draws analogies to sculptural form in a selection of poems, Yeats’s understanding of sculptural practice and his sustained conversations, at times collaborations, with particular sculptors, attest to a more complicated and less metaphorical use of the art of sculpture in his writings.
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Colby, Georgina. "Ekphrasis, Abstraction, and Myth: ‘From Psyche’s Journal’, Eurydice in the Underworld, ‘Requiem’." In Kathy Acker. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748683505.003.0006.
Повний текст джерелаАнотація:
The final chapter of the study examines Acker’s practices of ekphrasis and reappropriation of mythology in her final works. Chapter six offers a close reading of ‘From Psyche’s Journal’, Acker’s creative critical piece on Cathy de Monchaux’s sculptural work, examining the ekphrastic impulse of the work. Ekphrasis is read as enabling Acker to access the materiality of sculpture in her writing. Acker’s writing practices are placed within the context of postwar abstract sculpture by women, with a particular focus on Eva Hesse’s idea of absurdity that ‘is not a “thing” but, “the sensation of the thing.”’ Acker’s ekphrastic practice is brought into dialogue with her practice of the reappropriation of mythology, and the conceptual practice that is termed here ‘literary calisthenics’, which arises from her experiments with language and bodybuilding. Acker’s two later texts, Eurydice in the Underworld (1997) and Electra (1997) are addressed in light of Elaine Scarry’s work on the difficulty of expressing physical pain. Acker’s experiments that move towards a non-verbal language against ordinary language, and the silent languages of the body, facilitate the voicing of pain, and in particular the relation between physical pain and imagining.
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mowson, lynn. "Making and Unmaking Mammalian Bodies: Sculptural Practice as Traumatic Testimony." In Animaladies. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781501342189.ch-003.
Повний текст джерелаТези доповідей конференцій з теми "Sculptural practice"
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Marian, Ana. "Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.07.
Повний текст джерелаАнотація:
In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.
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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.
Повний текст джерелаАнотація:
ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Byrne, Valerie. "National Sculpture Factory." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.
Повний текст джерелаАнотація:
The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
Повний текст джерелаАнотація:
“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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García González, María Dolores. "El uso de Instagram en la formación del alumnado de arte como complemento a la docencia presencial y a la docencia online universitaria." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.12015.
Повний текст джерелаАнотація:
This communication exposes the results of an ongoing study related to the use and potential of the Instagram social network as a complementary tool in the acquisition of competences for the students of the Sculpture II subject in face-to-face and online teaching. The objective of this research is to establish the theoretical foundations of a working model based on the use of ICT and social networks as possible propelling and inspiring elements of artistic practices, especially those oriented to the sculptural field. For this study, the group_f52 Instagram account has been created in order to enhance the learning of the contents of the subject, based on the communicative power that the image has on this platform, the possibilities of interaction and multiple contents that it offers, thus as its accessibility. The study, which is in the Interaction and redirection phase towards online teaching, was well received by the reference group. The audiovisual materials have been viewed by 80% of the members who follow the account and it is expected that, after the closure of the facilities, Instagram will become a virtual space for coexistence for the group.
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Chang, Yin-Ren, and Martin Richardson. "Time within time: 3D printed sculptures within holographic art practice." In SPIE OPTO, edited by Hans I. Bjelkhagen and V. Michael Bove. SPIE, 2015. http://dx.doi.org/10.1117/12.2079448.
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Luo, Weian. "Course Teaching Reform Practice of “Sculpture Creation” Based on Digital Technology." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.110.
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Ge, Q. J., and Donglai Kang. "Kinematics-Based Geometric Design of Sculptured Surfaces." In ASME 1996 Design Engineering Technical Conferences and Computers in Engineering Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-detc/dfm-1298.
Повний текст джерелаАнотація:
Abstract Current practice in CAD/CAM separates the process of geometric shape design from that of CMC (Computer Numerically Controlled) tool path generation. Although successful for 3-axis machining, this strategy is not as effective for 5-axis machining of sculptured surfaces due to the difficulty in generating accurate and gouge-free 5-axis tool paths from the CAD models. This paper presents a framework for a new, kinematics-based methodology for geometric modeling that integrates sculptured-surface design with too-path generation for 5-axis CMC machining. In particular, sculptured surfaces are represented directly in terms of rational Bézier and B-spline motions of the cutting tool. The proposed framework brings together the fields of Kinematics and Computer Aided Geometric Design as well as the recent results in Computer Aided Motion Synthesis and Swept Volume Modeling and provides a basis for concurrent geometric shape design and manufacture.
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Košak, Karin, Deja Muck, Marjeta Čuk, and Tanja Nuša Kočevar. "3D printed jewellery design process based on sculpture inspiration." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p57.
Повний текст джерелаАнотація:
In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.
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Chen, Zezhong C., Zuomin Dong, and Geoffrey W. Vickers. "An Automated and Optimal Tool Path Planning System for the 3-1/2-1/2-Axis CNC Maching of Sculptured Parts." In ASME 2002 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/detc2002/cie-34485.
Повний текст джерелаАнотація:
Some sculptured parts with complex free-form surfaces usually require expensive 5-axis CNC machining. In this work, a cost-effective and practical solution to the 5-axis sculptured part machining – 3-1/2-1/2-axis CNC machining scheme – is discussed. An automatic and optimal tool path planning system for 3-1/2-1/2-axis CNC machining is introduced. The system uses fuzzy pattern recognition method and Voronoi diagram to subdivide a complex sculptured surface into an optimal number of uniform surface patches, finds the optimal cutter/part orientation for each surface patch, and plans 3-axis CNC tool paths for them. This type of machining is carried out by rotating the part to the cutter/part orientations discretely and sequentially using a tilt-rotary table attached to the 3-axis CNC machine. Under each orientation, the corresponding surface patch is machined using the 3-axis CNC tool paths. This tool path planning system can automatically generate efficient tool paths for sculptured parts and make the 3-1/2-1/2-axis CNC machining scheme as an applicable alternative of 5-axis CNC machining method.
Звіти організацій з теми "Sculptural practice"
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Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Edited by Gerhard Bruyns. FIUWAC, October 2020. http://dx.doi.org/10.31182/001.
Повний текст джерела
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Повний текст джерелаАнотація:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.