Статті в журналах з теми "Sculptural practice"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Sculptural practice.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Sculptural practice".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
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.
Повний текст джерела
2
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.
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
5
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.
6
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.
Повний текст джерелаАнотація:
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.
7
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.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерелаАнотація:
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.
10
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.
Повний текст джерелаАнотація:
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.
11
Veal, Clare. "Water Is Never Still: Araya Rasdjarmrearnsook’s Sculptural and Installation Practice." Afterall: A Journal of Art, Context and Enquiry 47 (March 2019): 88–103. http://dx.doi.org/10.1086/704201.
Повний текст джерела
12
Greeley, Robin Adèle. "The Logic of Disorder: The Sculptural Materialism of Abraham Cruzvillegas." October 151 (January 2015): 78–107. http://dx.doi.org/10.1162/octo_a_00209.
Повний текст джерелаАнотація:
Two models of object experience dominate definitions of sculpture today. One argues that commodification is a universally uniform experience of relentless violence that frames all materialities everywhere within the demands of the globalized market. The second argues that the "unruliness of things" can still disrupt the "rule of the commodity." The autoconstrucción sculptural practice of Abraham Cruzvillegas, argues Greeley, marks a third position. Derived from the "self-building" architecture of the squatter settlement on the edge of Mexico City where he grew up, Cruzvillegas’s work is located in the dialectic between object experience in developing countries and object experience in the hegemonic 'centers' of developed countries and the market-driven international art circuit. Under the rubric of autoconstrucción, Cruzvillegas exploits this dialectic, not to claim any utopian redemptive space outside the world market system, nor to insist on a universally uniform experience of commodification within it, but rather to assert the asymmetries of object experience induced by global economic integration.
13
Moskaliuk, Marina V. "Polychromy in Modern Russian Sculpture." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 61–74. http://dx.doi.org/10.17516/1997-1370-0876.
Повний текст джерелаАнотація:
This publication analyzes the possibilities of using polychromy in the creative practice of Russian sculptors. The emphasis is on highlighting the main criteria for the use of color. Hermeneutical and analytical approaches are used in combination with induction and comparison. In general, formal stylistic analysis prevails in the research methodology. The novelty of the study is due to the low level of study of the work of Russian sculptors and the weak elaboration of the problem of polychromy in the theory of sculpture as a whole. Having briefly demonstrated the experience of using polychromy in sculpture throughout the history of the development of world cultures, the authors, based on the analysis of modern sculptural compositions, draw conclusions about the relevance and diversity of the use of polychromy in domestic sculpture of the twenty-first century. Two functions of using color in sculpture are highlighted, namely: imitation/animation and symbolic/sacred. The characteristics of these functions are considered on the basis of concrete examples, in conclusion, the prospects for the development of polychromy as one of the most expressive compositional techniques of plastics are evaluated
14
Nitka, Maria. "Semantyka marmuru w teorii i praktyce polskiej rzeźby sakralnej w drugiej połowie XIX wieku." Sacrum et Decorum 13 (2020): 28–47. http://dx.doi.org/10.15584/setde.2020.13.3.
Повний текст джерелаАнотація:
The article is an attempt to present the semantics of marble in the sacred Polish sculpture of Romanticism. Taking as its starting point the modern theory of art, it first emphasizes the special role of white marble in modern sculptural theory and practice, and then outlines the foundation of this judgment in the art of the classicist era, especially in the theory of J.J. Winckelmann. Together with the spread of classical tastes, the significance of this view for Polish modern sculpture is shown, in which, in accordance with Winckelmann’s taste, white marble was perceived as the noblest raw material, worthy of the images of the gods. In the Romantic era, following G. W. Hegel, marble was regarded as “spiritual” stone, the most suitable for the depiction of the sacred. This was expressed in the theory and practice of sculpture by such artists as Cyprian Norwid and Teofil Lenartowicz, who went to Rome – the capital of sacred art – to sculpt in this material. They were followed by other Polish sculptors who also went to Rome to work in marble. The article shows their struggles, which ended successfully only for T.O. Sosnowski. In his works, however, white marble from “animate” stone went on to become material suitable for making repetitive compositions in the spirit of Italian Purism. Marble evolved from being material suitable for the representation of gods to one used for commercial objects, which was perfectly illustrated by Norwid in his short story „Ad leones!”
15
Givens, Jean A. "The Fabric Accounts of Exeter Cathedral as a Record of Medieval Sculptural Practice." Gesta 30, no. 2 (January 1991): 112–18. http://dx.doi.org/10.2307/767054.
Повний текст джерела
16
Dobrolyubov, Petr V. "School of sculptor Alexander Terentyevich Matveev and his students." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 29–43. http://dx.doi.org/10.36340/2071-6818-2022-18-4-29-43.
Повний текст джерелаАнотація:
This article is dedicated to the “School of sculptor Alexander Terentyevich Matveev and his students.” A.T. Matveev had a profound influence on the development of Russian and Soviet sculpture both through his creativity and his purposeful teaching activities. The beginning was laid by the sculptor while studying at the Bogolyubov School (modeling classes with blind children). The pedagogical experience of A.T.Matveev is measured by half a century, and the official one is only thirty years, due to the fact that this practice was interrupted. But the connection of generations of masters of sculptural craft has not completely frozen. The students who studied with the artist-teacher A.T.Matveev developed them in turn with their followers and students and in their own creative search, turning to the teacher for advice in moments of artistic searches, searches and doubts. Russian Russian sculpture. The author of the article points out that Alexander Terentyevich Matveev is the founder of the Russian school of sculpture, a master and teacher of a whole galaxy of remarkable Russian, Soviet sculptors, who exerted a huge influence on the development of modern Russian plastic art by his example, his method and creativity. He was one of the organizers, ideological inspirers and active participants of many creative associations of the first third of the XX century. The author notes that some researchers of the creative path of the sculptor-innovator A.T.Matveev in their scientific works on the work of the sculptor, pointed out that A. T. Matveev did not leave any theoretical works that could be the key to his work. His works themselves are all that remains of the author. But even these works of the sculptor-teacher give us the opportunity to get an idea of his views, worldview, his attitude to the creative process and, in general, to the profession of an artist-sculptor-teacher and about his personal considerations on this topic. This article presents conversations with him preserved in the notes and memoirs of students, his statements, as it seems to the author, have an exceptional relation not only to the tasks of teaching in the field of sculptural craft, but also to the worldview of the master sculptor as a teacher at the head of his school. The author analyzes and convincingly proves by concrete examples that the school of Alexander Terentyevich Matveev is an understandable, logically competently built pedagogical system based on the experience and skill of previous generations of artists coming from antiquity and Byzantium and related to heuristics and maieutics, from Western European aesthetics and traditions and foundations of the Russian plastic school, its basic foundations and principles dating back to N. F. Gillet and to P. P. Chistyakov. In the early forties, A. T. Matveev compiled a "Sculpture Program" that complemented the established method of teaching sculpture, which earlier and now, of course, is rightfully called as the School of Sculptor Matveev. The author analyzes the process of learning from the teacher and sculptor A.T.Matveev, names the main dates of his work, reveals the details of sculptural craft, talks about the variety of moves in the plastic of the master, analyzes the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the whole course of historical milestones in the creative biography of the sculptor.
17
Heim, Wallace. "The Times of Caring in a Nuclear World: Sculpture, Contamination and Stillness." Arts 11, no. 1 (December 31, 2021): 7. http://dx.doi.org/10.3390/arts11010007.
Повний текст джерелаАнотація:
Care takes time. Caring, whether with, for, or about a living being or entity that is more-than-human, disrupts expectations of how a linear, human time should progress. To practice care for the contaminated, the lands, waters, and animate life altered by human industry, is to extend that indeterminacy into distant, deeper time. Aesthetic representation of the affective and ethical dimensions of care, in this extreme, offers an experience that can transfer the arguments about nuclear contamination into more nuanced and sensed responses and contributes to current thinking about care in the arts worlds. I was commissioned to make a sculpture exhibition in 2020 as part of an anthropological study into the future of the Sellafield nuclear site in West Cumbria, UK. The exhibition, ‘x = 2140. In the coming 120 years, how can humans decide to dismantle, remember and repair the lands called Sellafield?’, consisted of three sculptural ‘fonts’ which engaged with ideas of knowledge production, nuclear technologies, and the affective dimensions of care about/for/with the contaminated lands and waters. This article presents my intentions for the sculptures in their context of a nuclear-dependent locale: to engage with the experience of nuclear futures without adversarial positioning; to explore the agential qualities of the more-than-human; and to create a stillness expressive of the relationality of the human and the contaminated through which one could fathom what care might feel like. These intentions are alongside theories of time, aesthetics, and care across disciplines: care and relational ethics, science and technology studies, and nuclear culture.
18
Macsotay, Tomas. "The Tortoise and the Hare: Extempore Performance and Sculptural Practice in Eighteenth-century France." Journal of Modern Craft 3, no. 3 (November 2010): 293–308. http://dx.doi.org/10.2752/174967810x12868890612240.
Повний текст джерела
19
Tsiang, Katherine Renhe. "A Revisionist Reading of the Transition of Buddhist Cave-Making from Yungang to Longmen." Archives of Asian Art 71, no. 2 (October 1, 2021): 131–70. http://dx.doi.org/10.1215/00666637-9302484.
Повний текст джерелаАнотація:
Abstract This study reexamines images and textual materials that can be related to the dating and iconography of caves at Yungang and Longmen and the historical transition between them. The transition is associated with the move of the Northern Wei capital from Pingcheng to Luoyang, and the beginnings of the Longmen caves is widely believed to coincide with the establishment of the capital at Luoyang in 495. Inscriptions in the Guyang Cave have been interpreted to support the widely held belief that it was created at the time of the move of the capital. Visual evidence of sculptural practice and transitions in sculptural art that can be observed broadly between caves and cave site can also be seen in micro-environments within a single cave or a single niche that offer new insights. Through comparative analysis of the caves' images and artworks found in other contexts, and their consideration in conjunction with textual materials, the author proposes a revisionist reconstruction of the early work in the Guyang Cave.
20
Dobrolyubov, Peter V. "Unforgotten Names. Mikhail Belashov and Georgy Kranz." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 37–63. http://dx.doi.org/10.36340/2071-6818-2022-18-6-37-63.
Повний текст джерелаАнотація:
The article “Unforgotten Names. Mikhail Belashov and Georgy Kranz” is the first in the cycle “VKHUTEIN, VKHUTEMAS. Sculptors. Teachers and Students”, dedicated to the unique creative and educational project, VKHUTEMAS - VKHUTEIN, which laid the foundation and within the framework of which a galaxy of outstanding Russian sculptors, who brought fame to our Fatherland in the fine arts immediately after the end of the Civil War in the country, was prepared. The author analyzes the work of outstanding sculptors. These masters of plastic art had a profound positive impact on the development of Russian and Soviet sculpture both through their creativity and their purposeful teaching activities. A start was made by some sculptors who were then students still studying at the Russe Studio in Paris in 1909. The VKHUTEMAS and VKHUTEIN sculptors-teachers’ pedagogical range was measured by the highest level of knowledge, teaching methods, laid down by the Russian Imperial Academy by taking into account relevant at that time new trends in art, sometimes extremely radical. Fortunately, this basic, main fundamental practice of studying sculptural craft was not interrupted but only improved. The invisible connection of generations of sculptural craft masters did not dissapear completely; it moved forward. The students who studied with the VKHUTEMAS and VKHUTEIN artist-teacher developed the methodology with their followers and students; in their own creative search, they addressed their teacher for advice in moments of artistic searches and doubts. The author of the article points out that such bright teachers-sculptors were the founders of the Russian, Soviet school of sculpture. They were masters and teachers of a whole galaxy of remarkable Russian sculptors who, by their example, their method and creativity, made a huge impact on the development of modern Russian plastic art not only in the USSR but throughout the world. They were organizers and ideological inspirers, active participants in many creative associations of the first third of the 20th century. The author notes that the works of sculptors-teachers and their talented students give us the opportunity to get an idea of their views, worldview, attitude to the creative process and, in general, to the profession of an artist-sculptor. This article presents the dialogues with teachers preserved in the notes and memoirs of students, their statements, which the Author believes is of exceptional relevance not only to the tasks of teaching in the field of sculptural craft, but also to the formation of the worldview of master sculptors and the concept of the school. The author analyzes and convincingly proves by concrete examples that the school of Vkhutein and Vkhutemas is a logically competently built pedagogical system based on the experience and skill of previous generations of artists, going from antiquity and Byzantium and related to classicism to Western European aesthetics and traditions and foundations of the Russian plastic school, its basic foundations and principles, ascending to the geniuses of the Quatrechento era. In this work, the author highlights the creative and pedagogical activities of these teachers and students of I.Efimov, S.Bulakovskiy, B.Korolev, V.Favorskiy, I.Tchaikov, V.Mukhina, N.Nisse-Goldman, M.Aisenstadt, N.Slobodinskaya, D.Schwartz, M.Belashov, A.Zelenskiy, E.Herzenstein, A.Grigoriev, G.Krantz, E.Belashova, I.Slonim, L.Pisarevskiy, A.Arendt, E.Abalakov. The author analyzes the learning processes of teachers-sculptors, names the main dates of their work, reveals the details of sculptural craft, talks about the variety of moves in plastic methods and principles of work in sculpture, shows the attitude of students to their teachers, and highlights the whole course of historical milestones in the creative biography of the sculptor. Today, the article is dedicated to two remarkable sculptors, classmates, peers, sculptors Mikhail Belashov and Georgy Krantz who went missing in the war.
21
Mitchell, Claudine. "Style/Ecriture. On the classical ethos, women's sculptural practice and pre-First-World-War feminism." Art History 25, no. 1 (February 2002): 1–22. http://dx.doi.org/10.1111/1467-8365.00300.
Повний текст джерела
22
Raengo, Alessandra, and Lauren McLeod Cramer. "“There Is No Form in the Middle”." liquid blackness 5, no. 2 (October 1, 2021): 121–51. http://dx.doi.org/10.1215/26923874-9272822.
Повний текст джерелаАнотація:
Abstract Across his vast body of multimedia art, Kevin Jerome Everson pursues sophisticated formal exercises that deploy representational devices with the aim of achieving “massive abstractions.” Focusing on the sculptural potential of film as a time-based medium, Everson crafts his films as sculptural objects. It is a process that works toward a point of critical density in which time's material effects on a space, a body, or the screen are rendered visible. In order to reach this point, Everson has developed a rigorous practice that includes casting his own solid rubber props, carefully choreographing films that repeat formal and bodily gestures, and making oblique references to cinematic history and its foundational relationship to factory labor. In this interview the liquid blackness editors speak with Everson about his “massive” creative project; its pursuit of layered self- referentiality; the work's sheer size (measured in labor hours, custom props molded, and film titles); his fine art training; artistry as the mastery of craft; the high art of Richard Pryor; his hesitant, delicate approach to blackness; and the possibility of a midwestern, or specifically Mansfield, Ohio, artistic sensibility.
23
Михайлова, Р. Д., та С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ". Art and Design, № 3 (5 грудня 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.
Повний текст джерелаАнотація:
Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.
24
Niehaus, Kiona Hagen, and Rebecca Fiebrink. "Making Up 3D Bodies." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (July 30, 2021): 1–9. http://dx.doi.org/10.1145/3468779.
Повний текст джерелаАнотація:
This paper describes the process of developing a software tool for digital artistic exploration of 3D human figures. Previously available software for modeling mesh-based 3D human figures restricts user output based on normative assumptions about the form that a body might take, particularly in terms of gender, race, and disability status, which are reinforced by ubiquitous use of range-limited sliders mapped to singular high-level design parameters. CreatorCustom, the software prototype created during this research, is designed to foreground an exploratory approach to modeling 3D human bodies, treating the digital body as a sculptural landscape rather than a presupposed form for rote technical representation. Building on prior research into serendipity in Human-Computer Interaction and 3D modeling systems for users at various levels of proficiency, among other areas, this research comprises two qualitative studies and investigation of the impact on the first author's artistic practice. Study 1 uses interviews and practice sessions to explore the practices of six queer artists working with the body and the language, materials, and actions they use in their practice; these then informed the design of the software tool. Study 2 investigates the usability, creativity support, and bodily implications of the software when used by thirteen artists in a workshop. These studies reveal the importance of exploration and unexpectedness in artistic practice, and a desire for experimental digital approaches to the human form.
25
Anisimov, K. V. "The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry." Critique and Semiotics 38, no. 1 (2020): 186–206. http://dx.doi.org/10.25205/2307-1737-2020-1-186-206.
Повний текст джерелаАнотація:
The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.
26
Krivoshapko, Sergey N., and Mathieu Giloulbé. "Tangential developable surfaces and their application in real structures." Structural Mechanics of Engineering Constructions and Buildings 18, no. 2 (July 20, 2022): 140–49. http://dx.doi.org/10.22363/1815-5235-2022-18-2-140-149.
Повний текст джерелаАнотація:
A class of developable surfaces contains cylindrical, conical, and tangential developable surfaces. Tangential developable surfaces are ruled surfaces of zero Gaussian curvature with cuspidal edges. They give great opportunities to architects and engineers for realization of their creative projects. Both the theoretical researches in the area of geometry of torses and strength analysis of shells and the influence of these researches on the application of torses in practice are shown. A presented research demonstrated that torses found the application in shipbuilding, aircraft construction, mechanical engineering, in architecture and building, engineering equipment and communications, in road building, in anti-erosive banks, topography, and cartography, clothing articles of light industry, in sculptural forms, and in modelling with developable surfaces. It was confirmed by the references on great number of published works on the subject, real examples from practice, and by handing in 14 illustrations of real objects.
27
Williams-Beck, Lorraine A. "THE PENINSULAR MAYA’S UNFINISHED SPIRITUAL CONQUEST." Contributions in New World Archaeology 14 (June 30, 2020): 201–34. http://dx.doi.org/10.33547/cnwa.14.06.
Повний текст джерелаАнотація:
Do Maya sacred artistic manifestations in sixteenth to eighteenth-century Franciscan convents, churches, and chapels reflect native ideological persistence, a Maya and Christian amalgamation, or a European Catholic subsumed spiritual meld? This study explores the sculptural and painted expressions that adorn Colonial religious architecture found in the Yucatan Peninsula. Ethnohistoric sources, historic documents, physical geographical location, and spatial layout for these buildings, their sculptural programs and mural painting iconographic motifs, and spiritual spaces surrounding those edifices erected by natives subsequent to European contact, conquest, and colonization provide a more complete basis from which to address such philosophical and anthropological concepts of religious permanence, syncretism, and/or fusion. These particular evidentiary aspects assess Maya sacred built space environments found in the Cehpech, Cochuah, Cupul, and Tases provinces prior to European contact and conquest. This paper will focus on twospecific areas: the municipal seat church and convent complex in one autonomous political jurisdiction near the Spanish viceregal administrative seat in Mérida, and will then compare/contrast those area-specific religious representations with built spaces and interior/exterior embellishments near the Spanish viceregal enclave at Valladolid, Yucatan, as well as in other indigenous community visita churches under this and Tizimin’s Missions ecclesiastical jurisdiction in the northeastern rural peninsular Maya hinterlands. Combined data sets from both regions suggest a more autonomously derived divine substrate to characterize viceroyalty period Maya religious practice, rather than a Roman Catholic and Maya syncretism or Catholic synthesis of autonomous ideological philosophy, and point to an unfinished evangelical conquest that flew under the ecclesiastical and Spanish administrative radar at that time. In some select cases these same hallowed essence and practices continue to present. Those spiritual expressions that embellish built environments with autonomous religious undercurrents also help to explain the repeated yet unsuccessful Franciscan endeavors to ultimately quash idolatry in the peninsular region.
28
Oliveira, Ana Balona de. "Decolonization in, of and through the archival “moving images” of artistic practice." Comunicação e Sociedade 29 (June 27, 2016): 131–52. http://dx.doi.org/10.17231/comsoc.29(2016).2413.
Повний текст джерелаАнотація:
This essay investigates the ways in which contemporary artistic practices have been working towards an epistemic and ethico-political decolonization of the present by means of critical examinations of several sorts of colonial archives, whether public or private, familial or anonymous. Through the lens of specific artworks by the artists Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca and Raquel Schefer, this essay examines the extent to which the aesthetics of these video, photographic and sculptural practices puts forth a politics and ethics of history and memory relevant to thinking critically about the colonial amnesias and imperial nostalgias which still pervade a post-colonial condition marked by neo-colonial patterns of globalization and by uneasy relationships with diasporic and migrant communities. Attention will be paid to the histories and memories of the Portuguese dictatorship and colonial empire, the liberation wars / the “colonial” war fought in Angola, Mozambique and Guinea-Bissau between 1961 and 1974, the Carnation Revolution in Portugal in 1974, the independence of Portugal’s former colonies between 1973 and 1975, and the mass “return” of Portuguese settlers from Angola and Mozambique in 1975, without losing sight of apartheid South Africa and the ways in which the Cold War played out on the African continent.
29
Owczarek, Piotr. "Prace konserwatorskie przy kamiennej rzeźbie Matki Boskiej autorstwa Andrzeja Pruszyńskiego z elewacji kościoła pw. Matki Bożej Pocieszenia w Żyrardowie – wybrane zagadnienia historyczne i technologiczne." Artifex Novus, no. 3 (October 1, 2019): 158–67. http://dx.doi.org/10.21697/an.7072.
Повний текст джерелаАнотація:
SUMMARY
The stone sculpture of the Virgin Mary from the facade of the church Our Lady of Consolation in Żyrardów is one of the numerous sculptural implementations of Andrzej Pruszyński workshop. In 2018 the monument was under conservation and restoration works. Preliminary macroscopic examination of the monument showed that under the numerous secondary layers of paint on the stone sculpture there is a dark green, multi-deck colour layer that could imitate a statue had made in bronze casting technique. As a result samples were taken and subjected to laboratory analysis. The research carried out allowed us to conclude that the described layer is kind of a secondary nature and is a testimony to the restoration of the monument probably after the end of World War I. It was decided not to remove the patina and to fill in the gaps in the course of the ongoing restoration and conservation works. This layer had historical and documentary value and was a testimony to the popular in the 19th century and probably known at the beginning of the 20th century practice of patinating sculptures made in less noble and less durable material than bronze. Moreover, in the course of conservation works later layers of paint and cement repairs were removed. Then the structure of weakened limestone rock was strengthened and numerous small losses of stone were filled in. As a witness the defect on the left knee of the figure was left without filling in. It is a trace of the bullet that was probably created during World War I. Moreover, the missing figure’s right hand was reconstructed. A reconstruction of the gilded halo was also made. The design of the conservation work programme is always a very complex process as it requires the simultaneous consideration of many factors. The aesthetic and historical interpretation of the work is important, the understanding of the author’s concept and the essence of the destructive processes. In the case of the described sculpture from Żyrardów it was also necessary to take into account the technical possibilities, take into account the expectations of the owner and users, or customers in general, as well as the conservation community. Preservation and restoration solutions adopted in the work programme, including hand reconstruction and unveiling of the following items and the restoration of a painting layer imitating a green patina, restored historical artistic values to the monument. The aesthetic effect achieved this way brings a new quality to work that can be the object of criticism but by restoring the sculpture’s lost aesthetic values it is possible to continue to function as an object of religious worship.
30
Allen, Jess. "Tracktivism: Eco-activist walking art as expanded choreography in rural landscape." Choreographic Practices 10, no. 2 (December 1, 2019): 175–95. http://dx.doi.org/10.1386/chor_00002_1.
Повний текст джерелаАнотація:
Abstract This article offers a reflexive account of my journey from dance into walking art through a methodological examination of tracktivism: the rural, eco-activist, pedestrian performance practice I have developed over the past eight years. My dancer's perception of walking art in the sculptural tradition had always been as choreography on an expanded scale: bringing attention to spatial patterns in landscape through the 'stylus' of the walking body. Here I examine the ways in which the growing oeuvre of tracktivist works have employed this choreographic device to (re)frame walking art as eco-activist performance. I consider how an art walk may be shaped in such a way as to foreground the spatial nature of ecological dis/connection in working agricultural landscapes, giving examples from my practice. I also propose that as patterns or routes expressly designed to be walked, the performer's material body becomes a 'measurant' to calibrate human scale against planetary scale. Thus the practice might be perceived to function as emancipated eco-activist choreography that offers a means of revealing and embracing our ecological enmeshment with/in complex more-than-human flows.
31
Bastiansen, Sofie Olesdatter Dennig. "Overleveringer – kropslige erfaringer på tværs af tid." Periskop – Forum for kunsthistorisk debat, no. 19 (May 30, 2018): 28–45. http://dx.doi.org/10.7146/periskop.v0i19.114003.
Повний текст джерелаАнотація:
The article “Handing on – Bodily Experiences Across Time” investigates how body and time are significant elements in the sculptural practices of the Danish artist Kirsten Justesen (b. 1943). The article presents a methodical approach to Justesen through the embroidered body-map made by the Danish artist Gudrun Hasle (b. 1979). The body-map is a “handover” of Justesen’s body; scars, marks of life and the body as a tool in works of body-art. It sets a different focus than that of a linear and chronological structured storytelling: it becomes sensual and bodily in an aesthetic processing of political and feminist experiences. The article finds its theoretical grounds in a concept of feminism’s timing and queer temporalities, and articulates how knowledge production and the raising of a feminist consciousness can be handed over through a bodily approach. Questioning the thinking of “feminism” in waves and generations, the article discusses how both artists relate and articulate a storytelling about women’s and art history, situated from the common grounds of being “woman”, “artist” and “pregnant”, with all the privileges and challenges that Justesen and Hasle each have had. The main focus of the article lies in an analysis of Justesen’s work CIRCUMSTANCES (1969-) and how it can be mapped out; how time and body in space can be connected over and across time as a quality within CIRCUMSTANCES, as well as an issue which continually challenges the concept of the “work of art” as an closed entity. Justesen’s use of the body as a tool and sculptural material linked to the political circumstances of the 1970’s paved the way for a different viewpoint and representation of the female body. As Hasle builds on these bodily and gendered experiences in her own practice as an artist and in her exhibition THOSE BEFORE ME, she sets new grounds for the art historical narratives to be told from.
32
Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.
Повний текст джерелаАнотація:
Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
33
AJADI, Michael Olaniyi. "Eclecticism Style in Ceramic Art Practices of Ife Art School." Journal of Education and Practice 5, no. 2 (August 2, 2021): 45–58. http://dx.doi.org/10.47941/jep.630.
Повний текст джерелаАнотація:
Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation.
Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence.
Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice.
Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.
34
Ibarlucía, Ricardo. "The The Bride Machine: Duchamp’s Theory of Art Revisited." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (January 25, 2022): 135–45. http://dx.doi.org/10.36253/aisthesis-13216.
Повний текст джерелаАнотація:
It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the historical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory principle, both in the mechanical reproduction of the work of art and in the aestheticization of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimension of a sculptural object as the Large Glass, coming back to Arthur Danto’s interpretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that provides the basis for the notion of a work of art”.
35
Magomedov, Amirbek Dzhalilovich. "FROM THE HISTORY OF ART SCULPTURE OF THE VILLAGE OF KUBACHI." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 80–87. http://dx.doi.org/10.31029/vestiyali21/14.
Повний текст джерелаАнотація:
The attitude of Islam to the visual arts is an insufficiently explored topic. The article by an orientalist O. G. Bolshakov on this topic, published a long time ago, is well known to researchers. In recent decades, due to re-Islamization, this topic has attracted increased public attention. So in 1997 in Dagestan, due to the position of the clergy of the republic, a monument to the leader of the national liberation movement of Dagestan Imam Shamil was not erected in Dagestan. The task is to study the history and practice of implementing such bans. The article attempts to identify the causes of damage to the sculptural images of living beings, known from medieval art of Kubachi. The researchers expressed different points of view on the causes and time of their damage. We want to present one of the points of view on these events.
36
Milovanović, Jovana. "Between national memory and oblivion: Monuments to Heroes of the sword József Schweidel in Sombor and Karađorđe Petrović in Belgrade." Nasledje, no. 23 (2022): 121–46. http://dx.doi.org/10.5937/nasledje2223121m.
Повний текст джерелаАнотація:
The removal of monuments from the public space - commemorating vožd Karađorđe Petrović and General József Schweidel in Belgrade and Sombor respectively - followed by the subsequent physical dematerialization of the sculptural solutions, for example the repurposing of the Sombor plinth, points to a civilizational practice known as damnatio memoriae (condemnation of memory) that has existed for millennia. The manifestation of this practice can serve as a basis for analysing Hungarian-Serbian relations in the period of the Great War and its immediate wake. At the dawn of the 20th century, a cult of memory came to be formed around the national hero József Schweidel, one of the Thirteen Martyrs of Arad, the story of whose suffering grew over time to become an important topos in Hungarian national ideology. General Schweidel was born in Sombor at the end of the 18th century, and it was for this reason that, in 1905, a monument was erected to commemorate him in front of Sombor's County Hall. The responsibility for the creation of this work was entrusted to the Hungarian sculptor Mátrai Lajos György. The erection of the Schweidel monument was preceded by a multi-stage process of mythologizing the hero-martyr who laid down his blood for the life of the Hungarian nation. The first of these stages was a concerted effort to gather the General's personal belongings, viewed as 'relics', with this being followed by the unveiling of a memorial plaque at the location where the General's house had once stood; all with the aim of establishing a memory of the national hero within the community from which he came. Simultaneous to this, a tender was announced for the erection of a monument to the leader of the First Serbian Uprising on the site of Belgrade's Kalemegdan Park, which was awarded to Paško Vučetić. After numerous vicissitudes, the sculptural ornamentation, with Karađorđe at the summit, would finally be inaugurated as part of the ceremony to welcome the return of the Serbian Army from the Balkan Wars in 1913. However, both monuments would prove to be short-lived. Karađorđe's monument was probably demolished by Austro-Hungarian soldiers in the first months of the occupation of Belgrade, most likely in the autumn of 1915, while Schweidel's monument was removed from the city area in 1920 and completely destroyed some time after 1925. The final collapse of the Austro-Hungarian monarchy in the autumn of 1918 brought the realization of the concept of a Hungarian political nation to an abrupt halt, and opened the way for the rival ideological practice of creating and unveiling new, Yugoslav, symbols on the territory of former southern Hungary.
37
Lancaster, Sydney A., and John W. F. Waldron. "Boundary|Time|Surface: assessing a meeting of art and geology through an ephemeral sculptural work." Geoscience Communication 3, no. 2 (September 4, 2020): 249–62. http://dx.doi.org/10.5194/gc-3-249-2020.
Повний текст джерелаАнотація:
Abstract. Boundary|Time|Surface was an ephemeral, site-specific sculpture created to draw attention to the construction of social, political, scientific, and aesthetic boundaries that divide the Earth; one such practice is the scientific subdivision of geologic time. The sculpture comprised a 150 m fence along the international stratotype separating Ordovician from Cambrian strata in Gros Morne National Park, Canada. The fence was constructed by hand within 1 d, on a falling tide, from materials found on site, with minimal environmental impact. During the following tidal cycles, it was dismantled by wave and tide action. This cycle of construction and destruction was documented with time-lapse photography and video and brought to the public through exhibitions, public talks, and a book. Exhibitions derived from the documentation of ephemeral works function as translations of the original experience. In this case, they provided opportunities for public interaction with media that served both as aesthetic objects and as sources of information about the site's geological and sociopolitical history. We assess the role of the installation, and its documentation, in drawing public attention to boundaries, and examine responses including attendance records and written visitor comments as indications of the viewers' engagement with the concepts presented. Of several thousand visitors to exhibitions, 418 written comments reflected the viewers' engagement with both the location and the underlying concepts. Both the original installation and the subsequent work allowed audiences to explore human understanding and acquisition of knowledge about the Earth and how world-views inform the process of scientific inquiry.
38
Кузнецова, І. О., О. В. Лільчицький та М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва". Art and Design, № 4 (15 лютого 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.
Повний текст джерелаАнотація:
Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.
39
Khattri, Om. "Art in nature: Shifting trends in Nepali sculpture." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 35–43. http://dx.doi.org/10.3126/jfac.v3i1.42494.
Повний текст джерелаАнотація:
Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new genre as an alternative discipline of sculpture. A significant sculpture, Nirmāna, which means construction, was created by Thakur Prasad Mainali in 2024-25 B.S. at Bhirkutimandap, Kathmandu. Hence, two methodological approaches-primary observation and historical connections used to conduct this study. Besides numerous modern sculptures, this investigation focused on the earliest environmental sculptures. The study also explores the historical significance of sculpture in Nepal as it evolved and assimilated into modernity over time. After centuries of artistic and cultural legacy in Nepal, environmental sculpture underwent new changes.
40
Zheng, Jane. "Producing Chinese Urban Landscapes of Public Art: The Urban Sculpture Scene in Shanghai." China Quarterly 239 (May 17, 2019): 775–803. http://dx.doi.org/10.1017/s030574101900002x.
Повний текст джерелаАнотація:
AbstractThis article uses an “urban landscapes” perspective to examine the urban sculpture scene and its production system in Shanghai. It reviews both the national urban sculpture discourse and urban sculpture planning practices since 1949, and then focuses on Shanghai specifically. It examines three major stakeholders in urban sculpture development and their interactions. The main argument is that Shanghai's urban sculpture scene has evolved due to the proliferation of aesthetic and symbolic sculptures as opposed to traditional monuments; however, urban entrepreneurialism and globalization have been shaped by the continuity of the Chinese ideological framework, which has transformed urban sculptures from explicit into veiled political didacticism under the guise of caring for the people.
41
Lau, George F. "Feasting and Ancestor Veneration at Chinchawas, North Highlands of Ancash, Peru." Latin American Antiquity 13, no. 3 (September 2002): 279–304. http://dx.doi.org/10.2307/972112.
Повний текст джерелаАнотація:
The present article considers evidence for ancestor veneration and feasting in the North Highlands (Department of Ancash), Peru between A. D. 500-900. The study draws upon ethnohistorical, iconographic, and archaeological comparisons to better understand different lines of data from the ancient Recuay community of Chinchawas (3,850 masl), including public and mortuary architecture, ceramics, faunal remains, and stone sculpture. Two major programs of religious activity can be discerned: one situated within local Recuay traditions (Kayán and Chinchawasi phases, A. D. 500-800), followed by a suite of intrusive patterns associated with Wari expansion (Warmi phase, after A. D. 800). The study argues that, by A. D. 500, special public ceremonies combined ancestor worship and feasting as part of community politics at the site. Chinchawasi practices included subterranean tombs, special architectural enclosures with monolithic sculptures, and evidence for large-scale consumption. Warmi practices appear smaller in scale, focusing on aboveground mausolea, different stone sculptural forms and iconography, and increasing evidence for interregional interaction. The diachronic patterns reflect: 1) flexible sociopolitical arrangements at Chinchawas that accommodated group and entrepreneurial interests, and 2) local sociocultural transformations associated with Wari expansion (ca. A. D. 750).
42
Christian, Ebenezer, Dickson Adom, and Joe Adu-Agyem. "Relief modelling using the Chiaroscuro technique: A project work among student-sculptors." Journal of African History, Culture and Arts 2, no. 1 (April 19, 2022): 43–59. http://dx.doi.org/10.57040/jahca.v2i1.126.
Повний текст джерелаАнотація:
Relief modelling is a very peculiar task that requires the creation of three-dimensional forms onto two dimensional surfaces to depict depth and volume in a composition. Preliminary research revealed that students in the Sculpture section in the Department of Painting and Sculpture in the Kwame Nkrumah University of Science and Technology faced the challenge of producing relief sculptural pieces to give them the three dimensionality that suggests volume and depth. This project work that utilized studio-based research approach rooted in the constructivism theory was aimed at experimenting on how to overcome the flaws in relief modelling using the chiaroscuro technique. Twelve (12) student-sculptors participated in this project using the stratified sampling technique. They were taken through practical sessions in modelling compositions of geometric forms, still-life, and human figures, with drawn or image references with the chiaroscuro technique as the focus. After the project, the student-sculptors were able to interpret the illusion of three-dimensionality in picture reference into the actuality of depth and volume during modelling, rendering compositions in its right planes or surfaces. The study recommends the application of the chiaroscuro technique in relief sculptural practices such as relief carving, repoussé, and other relief related sculptural practices.
43
Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 3, no. 2 (December 31, 2016): 83–92. http://dx.doi.org/10.18034/ajhal.v3i2.309.
Повний текст джерелаАнотація:
In the past fifty years Nigeria has witnessed an almost unparalleled upsurge in three-dimensional art production significantly, sculpture in the round. The emergence of the latter can be traced to pioneer African sculptures whose pieces have been adjudged contribution to world artistic heritage. This paper, therefore, examines the continuity and change in sculpture practice as a result of contact with Western cultures and the artistic influence in form, style, theme and material of contemporary sculpture in Nigeria. Significantly, this paper hopefully serves as reference point for future scholarship on sculpture in Africa, while at the same time assist in formulating critical theories on sculpture practice in contemporary Africa, and Nigeria in particular.
44
Marshall, Susan. "Insubordinate Costume." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 283–304. http://dx.doi.org/10.1386/scp_00052_3.
Повний текст джерелаАнотація:
In this visual essay, I explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’ evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed flat-pack modular costumes, which can be constructed in different ways and organized workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances. Looking at New Materialism theories, my practice research can be considered as an assemblage of human and non-human elements, which together have a greater power and the ability to generate a performance.
45
Selanon, Pattamon, and Ning Cui. "Article Review: Creative Thoughts Associated with Environmental Art From the 1960s Onwards." Journal of Architectural/Planning Research and Studies (JARS) 17, no. 1 (April 23, 2020): 1–22. http://dx.doi.org/10.56261/jars.v17i1.235054.
Повний текст джерелаАнотація:
All arts can serve as an inspiration of innovation ideas for landscape architectural design as well as other built environmental design disciplines. In 1960s, environmental art originated with aiming to rebel against the art gallery or museum by creating innovative art using natural elements setting on an outdoor location. The art is taken in various forms such as large sculptural artworks and, also, the installation art for a specific site, etc. Several artist scholars such as Rosalind Krauss (1979) and Spyros Papapetros & Julian Rose (2014) marked that there are no specific principles or general agreement or specific theory in terms of the approaches to exploring landscapes entangled with the art. However, within broad terrain of practice of the environmental art, this research attempted to provide core creative thoughts applied to the art, which can be divided into 6 themes including 1) Modernism 2) Postmodernism, 3) Genius loci or spirit of place, 4) concepts of eighteenth-century aesthetics, 5) environmentalism and 6) passage of time. Accordingly, the study explores possibilities in convergences in design expression between landscape architecture and environmental art. Summarization of the study includes with current approach of the environmental art.
46
STEWART, LOUISE. "SOCIAL STATUS AND CLASSICISM IN THE VISUAL AND MATERIAL CULTURE OF THE SWEET BANQUET IN EARLY MODERN ENGLAND." Historical Journal 61, no. 4 (June 18, 2018): 913–42. http://dx.doi.org/10.1017/s0018246x1700053x.
Повний текст джерелаАнотація:
AbstractAround 1520, at the court of Henry VIII of England, a new meal type emerged. Called the ‘banquet’, this took place after the main meal, in a distinct space, and consisted of sweet foods, spiced wine, and sculptural sugarwork. Originally developing at court, the sweet banquet was quickly embraced by the nobility and gentry. This article investigates the adoption of this dining practice in the wealthy country houses of early modern England and the reasons for its popularity in this specific context. It draws on state papers, published works, and household accounts to establish the ways in which the banquet was utilized and understood by early modern elites. This evidence makes it clear that a high-status person would have expected to be entertained with a sweet banquet at any important social occasion involving their peers. An examination of the visual and material cultures associated with the banquet establishes that it was a highly effective means by which to express class status at a time of anxiety regarding social mobility. As an appropriation of the ancient symposium, it provided opportunities to engage with the intellectual and visual cultures of the classical world and the Renaissance.
47
Nogueira, Patrícia. "Space On and Off Screen: The Détournement of Documentary into Video Installation." Disegno 6, no. 1 (2022): 104–17. http://dx.doi.org/10.21096/disegno_2022_1pn.
Повний текст джерелаАнотація:
This essay proposes the détournement of the documentary film Displacement (Nogueira 2021) into a video installation, as a process to subvert the sequential documentary account of reality, as well as to interrogate space and movement on and off screen. Instead of editing and presenting the images and sounds in a continuous f low, the setup of the installation fragments the narrative and replaces the sequential format by a projected, sculptural, four-channel experience, composed of a prologue and three acts: (1) the family’s daily activities; (2) disruption of the quotidian routines; (3) the family’s displacement. While the installation projects the prologue onto clear white translucent plastic (like the ones used to cover construction sites) at the entrance to the darkroom, the three acts are projected on the three walls surrounding the audience in the darkroom. The result is an intersection of images and sounds: a juxtaposition and intertextuality of the content to offer an immersive view into family life. It also raises the question of embodiment in video installations, especially the notions of spectatorship, authorship, reality, performance, and, most importantly, what the boundaries of the screen are in the expanded practice of documentary film.
48
Amalia Ningsih, Tria, Dalhar Susanto, and Intan CHairunnisa. "Mix Concrete: Combining the Composition to Create New Surface of Architectural Building." E3S Web of Conferences 67 (2018): 04021. http://dx.doi.org/10.1051/e3sconf/20186704021.
Повний текст джерелаАнотація:
Concrete has been transfigured from the object of mass production at twentieth century to advancing technology of building a new formation of contemporary architectural design. Concrete has evolved in ranging aggregate particles, to push the boundary the concept of reinforcing concrete with high-performance quality the thinness or elasticity. There are several conditions of concrete construction based on assembling this material towards architectural buildings. In the architectural practice, the issue of structure underlines the combination of concrete system which resists the tensile strength. Concrete also reflects on surfaces of architectural elements and potentially reshaped as a vehicle for sculptural form. Mixed concrete is a preliminary idea of mixing concrete composition with other materials such as gravel, ceramic and plastic which then discovers different form or texture. The forms of expression which have emerged alongside the technical developments reflect aesthetic value with various surfaces. This exploration is a part of learning activities in building technology class which aims at directing students to utilize concrete through mixing technique. It is developed in order to create a sustainability process of concrete and discuss the possibilities of future environmental impact by using concrete. Reshaping the visible face of concrete reveals the astonishing achievement of architecture.
49
Habetzeder, Julia. "The Invitation to the Dance. An intertextual reassessment." Opuscula. Annual of the Swedish Institutes at Athens and Rome 14 (November 1, 2021): 419–63. http://dx.doi.org/10.30549/opathrom-14-19.
Повний текст джерелаАнотація:
With its original manifestation generally dated to c. 150 BC, the Invitation to the Dance is a textbook example of Hellenistic sculpture. But despite much scholarly attention there is still no consensus as to what motif the sculpture group depicts. Inspired by intertextual theory, this study catalogues and re-examines 35 sculptures of the female figure and 34 sculptures of the satyr. The article focuses on preserved sculptures, rather than a reconstructed model image. Variations of the repeated forms are highlighted as significant for the interpretation of the types. The reading of the Invitation to the Dance thus put forward suggests that the group composition displays the moment after the satyr has pulled the female’s garment down from her upper body. It is furthermore emphasized that both satyr and female figure were at times—perhaps even predominately—displayed as solitary figures. The satyr’s foot-clapper is suggested to have been included primarily in instances where the satyr was displayed on his own. Sculptures of the female figure fending off —though not touching—an intrusive companion could have been paired with other Dionysian figures as well, a practice that might be reflected in sculptures that show this female type in other group compositions.
50
Lorenc, Marek W., and H. Lorenc. "Stone in architecture and sculpture – source material for reconstruction." Acta Geoturistica 9, no. 1 (July 1, 2018): 1–8. http://dx.doi.org/10.1515/agta-2018-0001.
Повний текст джерелаАнотація:
Abstract Stone is the oldest, natural material, which was (and still is) used as both building and sculptural material. The most commonly used for these purposes are: granites, marbles, limestones and sandstones, representing the three main genetic groups of igneous, metamorphic and sedimentary rocks. All of them are permanently being destroyed in result as well of natural weathering as microbiological activity and anthropogenic pollution of atmosphere, known as deterioration. The speed of such decay depends on both environmental conditions and mineral composition of the stone and it can lead to such intensive destruction that conservation may require partial replacement. Smaller damages are refilled with appropriate mineral masses, whereas in case of bigger damages refilling with natural stone is necessary. Professional conservation practice demands the selection and use of the same rock or the rock that is, in so far as is possible, identical to that originally used. It can be done only after previous detailed petrographical studies of the original material. Only then the stone material used for reconstruction will be appropriate and stonework performed properly will not (or almost not) leave marks. In many cases the ancient quarries do not exist and original source material is not available. Then petrographical studies of numerous rock-samples, which are recently available from other existing and/or working quarries, will allow the indication the most similar material. In many cases, unfortunately, the stone used for replacement is not identical to the original but only macroscopically similar. In such a case results might be visible sooner or later. These will be differences in colour, differences in structure and in some cases even crystallization of secondary minerals in the newly inserted fragments.