Hasil untuk "Sculpture"

Maurício Adinolfi

a chuva incessante no mar no pátio no cachorro na janela no telhado um cheiro molhado o corpo todo três semanas sem parar de chover dorme-se acorda-se com o barulho da chuva os pingos duplicados arrasto o barco pelo mangue pelo rio do meio pelo meu braço esticado um peixe pousa arrasto o barco do seu interior encharcado    restituo arrasto o barco caronte derrame subo o monte de dentro como todo fruto que aparece do mar encontro o que reluz sob a água mudança de cor dentro dos olhos são anos construindo a obra são anos de chuva e o motor que impulsiona é remo vento vapor explosão correnteza maré ondulação racha no fundo do oceano coração escuto desse fundo tromba d’água despeja a sentença “chuva no mar é desejo”* escapular giro os braços adormecidos arrasto o barco tomado pelas cavernas suspenso o barco um silêncio de nuvens me encontra na apreensão da queda sempre o medo que te acorda na hora certa arrasto o barco no alto uma balsa flutua suas toneladas na perna um enrosco de algas submerge a intenção carrego o barco coluna costela desejo navegar no canal de Bertioga algo despeja é a mão que constrói o verbo  ... de quando eu colocava barcos de papel no canal 5 de todo antes que conforma a vida como do primeiro encontro com a baleia e a frase riscada na mureta do porto “chuva no mar é desejo”* assim como um canto olho todo barco que chora penso nos caminhos na floresta da serra do mar nas comunidades no barco construído na água nas indústrias no movimento portuário na política na poluição  no urbanismo na vida e tudo volta à frase entalhada “chuva no mar é desejo” * frase do poeta Flávio Viegas desenho o projeto prevejo o cronograma arquiteto as equipes leme do barco e quilha Não durmo determino o local desisto encontro o lugar Empilho barco balsa e guindaste Empilho o mar. Maurício Adinolfi  

Chris Doyen

Bruce Nauman’s Anthro/Socio video installations provoke intense emotions in audiences. This article investigates sound as a key component to this phenomenon. Both Anthro/Socio (Rinde Facing Camera) (1991) and Anthro/Socio (Rinde Spinning) (1992) feature footage of performance artist Rinde Eckert loudly chanting ‘Feed Me, Eat Me, Anthropology’; ‘Help Me, Hurt Me, Sociology’; ‘Feed Me, Help Me, Eat Me, Hurt Me.’ The sound of these manic appeals, at such a high volume, assaults viewers’ sensibilities. The present study provides a theory involving sonic density, demonstrating how the formal mechanisms of the artwork—such as use of directional speakers to deliberately ‘isolate sound’—produce a dense acoustic architecture in the art gallery. An examination of how sound impacts the space around the image reveals the two-dimensional video image theoretically approaching the solidity of sculpture. In this sense, Anthro/Socio exemplifies Rosalind Krauss’s notion of the ‘post-medium condition’. This article also revises Krauss’s theory of ‘implosion’ concerning Nauman’s work ‘congealing’ space. With reference to Georges Bataille’s idea of the informe (formlessness), the present analysis expands Krauss’s application of the concepts of ‘pulse’ and ‘entropy’ to Nauman’s work, resulting in a realignment of sculptural aesthetics in relation to the spectator’s experience in the installation space.

Agnieszka Patała

This essay explores the equivalence of various, occasionally contradictory and hybrid perceptions of materiality experienced in physical and non-physical contact. This includes the manifestation of materiality, such as the shadow of an object cast on a gallery wall or the imagined visual representation of an object by humans. Navigating between chronologies (medieval times and the present), spaces (church, cell, museum), and materialities (empirical, sacred, imaginative), it provides some reflections on how medieval sacred objects, and especially their materiality, sensed physically and imaginatively potentially exerted and still can exert impact on humans. Special attention is given to the sense of touch—physical, direct and indirect, immaterial, spiritual, and profane. The text discusses three selected cases related to medieval devotion and the experience of matter in the Gallery of Medieval Art at the National Museum in Warsaw. They all center on the objects presented in the permanent exhibition. The first focuses on the shadow cast by an unidentified saint sculpture and its relevance to modern museum practices. It also demonstrates the potential of museum shadows in creating democratic contact zones, allowing interaction and the formation of new connections between the object and its viewer. Secondly, it examines the agency, aura, and devotional potential of Madonna of Ołobok—one of the oldest wooden statues of the Virgin Mary and Child in Poland. Finally, it discusses the historicization and actualization of touch and its significance in the relationship with God and his image, here the sculpted Late Gothic Crucifix attributed to the circle of Michael Pacher.

Pilutti Namer, Myriam

This article offers preliminary reflections on the dispersal of classical sculptures between Venice and Europe, suggesting that further research might benefit from the integration of digital humanities and archaeometric approaches. Through three case studies ‒ the Adorant of Berlin, the Grimani Vitellius, and the Laborde Head ‒ it considers the potential of such methodologies for advancing understanding of provenance, circulation, and reception, while also drawing attention to patterns of collecting and cultural exchange.

Lect.Taghred Ali Saad Al-Saffarjal

This study aims to present selected models of the carvings that were found in many cemeteries and archeological excavations particularly because if reveals the most important carving techniques and methods in ancient Yemen. Il also demonstrates some influence resuming from cultural and commercial contact and through comparing the topics that Yemen carving touched upon with the ancient counties of the Nast East carvings . it was found that there were similar effects and influences that resulted from commercial contact between these civilizations represented in the methods of carving, the topics covered in those arts such as human statues mythical animals and geometric plant carvings. The study followed the analytical descriptive methodology and follows the stages the of carving development and it's methods in ancient Yemen. The study concluded that these is a inch material presented in the carving and archeological tombs , in addition to the continuity of some patters of artistic carvings such as vegetal and geometric motifs throughout the different ages of Yemen civilization.

Kathleen James-Chakraborty

Black Lives Matters began in the United States, where it has included the dismantlement of commemorations of the Confederacy, a breakaway state established to preserve slavery. In Europe it has sparked discussions of local monuments as well as drawn unprecedented attention to the way in which the slave trade and enslaved labour funded the construction of cities and country estates. This now needs to be acknowledged in public space. The challenge presents an appropriate moment to remember the ties that bind commemorative structures on both sides of the Atlantic and the impact that tributes to European nationalism have had on diverse strands of modern American architecture. These connections provide a back story for the newly discovered relevance, and at time effectiveness, of representational sculpture, which they integrated into built forms that appeared to embed regimes of all stripes in their local landscapes. Abstract counter-monuments often proved effective in addressing the Holocaust. Substituting the human figure for the shards of a shattered past that have long been juxtaposed in German memoryscapes with visions of a utopian future, may possibly provide a means of acknowledging the pain that runs through the cities that many of us inhabit. This in turn may prove to be an important step on the way to building the more equitable future for which we attempt to prepare the way as we work to decolonize our curricula.

Karen Ralph

Crucifixion scenes in late medieval Ireland, as was typical elsewhere in Europe at the time, largely present a pitiful image of a wounded and tortured Christ. This paper examines the iconography of these scenes across various media including manuscript illumination and sculpture in stone and metalwork from the late fourteenth to the mid sixteenth century. The iconography is situated within the wider European artistic tradition and within the context of contemporary religious sentiment in Ireland as expressed through the literature and material culture. Finally, the interaction between image/object and the viewer is explored, and it is proposed that such imagery encouraged and often required an active rather than passive participation on behalf of the devotee.

Philippe Durey

Little-known in France because of the secondary place of sculpture vis-à-vis painting in the cultural consciousness of the contemporary public concerning the nineteenth century, as well as because of the poor representation in the Louvre (as in most of the great fine art museums) of the works of David d’Angers, Reviving Greece nevertheless occupies a central place in French sculpture of the first half of the nineteenth century. While David d’Angers’ interest in Botzaris and the Greek cause, and the way he came up with his idea and his attachment to his statue are fairly well-documented, part of the history of this work has remained in the dark: the exact date of its execution, the knowledge of it in France before it was sent to Greece, the circumstances of its sending, the contacts with the Greeks, David’s place in the philhellenic movement, his sentimental and phantasmatic relationship with Greece, his plans to leave and set up a school of sculpture there, and finally the brutality of his disappointment in 1852. This article sheds new light on this work, which is of both historical and artistic interest not only because the fate of the statue recounts a moment in the relations between two countries, France and Greece, but also because of the failed – and perhaps impossible – transplantation of an already-established artist reveals the difficult, long and painful cultural journey of a young nation in the European concert of the time.

Mohamed Mohamed Ali Shaheen, Amna Haroon Mohamed Al Targee, Marwan Abdu-Allah Hussien

It’s hard to imagine just how small nanotechnology is. One nanometer is a billionth of a meter,  Nano science and nanotechnology involve the ability to see and to control individual atoms and molecules. Everything on Earth is made up of atoms—the food we eat, the clothes we wear, the buildings and houses we live in, and our own bodies, but something as small as an atom is impossible to see with the naked eye. In fact, it’s impossible to see with the microscopes typically used in a high school science classes. The microscopes needed to see things at the nanoscale were invented in the early 1980s., and once scientists had the right tools, such as the scanning tunneling microscope (STM) and the atomic force microscope (AFM), the age of nanotechnology was born. Although modern nano science and nanotechnology are quite new, nano scale materials were used for centuries, but The artists back then just didn’t know that the process they used to create these beautiful works of art actually led to changes in the composition of the materials they were working with. Today's scientists and engineers are finding a wide variety of ways to deliberately make materials at the nano scale to take advantage of their enhanced properties such as higher strength, lighter weight, increased control of light spectrum, and greater chemical reactivity than their larger-scale counterparts. Lately , Some sculptures are built on a grandiose scale, impressing the observer with their sheer size. These are not those sculptures. These  feats of technical skill and nanotechnology pack incredibly detailed features into forms no bigger than the eye of a needle and in some cases, even smaller.

Karolina Tomczak

This article is an attempt to define the ambiguous specificity of artistic deflation in the sculpture of the Wroclavian artist Leon Podsiadły. At the outset, the author describes the principle of deflationist art and proposes a method of approach. She then discusses the “imperfections” within Podsiadły’s sculpture, the main manifestations of which include the use of common materials and mundane objects, secondary anti-mastery, and dememorization. These features coexist with well-thought-out composition, the inventiveness of the choice-making artist, and the creative fascination of unconventional artistic qualities, to which deflationist unlearning adds a unique slant. Seen from this perspective, Podsiadły’s deflationist caprice persuasively affirms the elasticity of the oscillation between the optics of modernism and postmodernism that defines his art. This oscillation can be seen, for instance, in those among his sculptures that were inspired by his stay in Africa in 1960s; in his “erotic” compositions; and in his installations of the 2010s in which he used the <i>ready made</i>. His “reductive” artistic experiments testify to a need for ironic distance; they individually gravitate toward the transgressive avant-garde and at the same time respond to the current trend of deskilling in art.

Massimiliano Ferrario

Nel presente contributo è ricostruito il percorso di progettazione, formazione e allestimento della collezione permanente d’arte contemporanea dell’Università degli Studi dell’Insubria di Varese-Como. A partire da riflessioni di carattere generale sul tema del riuso, con mirati sguardi alla normativa, in specifico alla cosiddetta “Legge del 2%” del 1949, e ad analisi comparate fra il contesto dei sistemi museali universitari italiani e gli omologhi europei e statunitensi, viene proposto un raffronto fra i casi delle collezioni permanenti di alcuni Atenei italiani di fondazione novecentesca e il polo accademico insubre, in funzione del rispetto delle politiche della Terza Missione e del Public Engagement. L’Ateneo varesino, a partire dalla sua stessa istituzione, ha avuto un rapporto vocazionale con la produzione artistica contemporanea del territorio: nel 1999 veniva organizzata la prima collettiva, replicata in occasione delle celebrazioni del Ventennale. Il successo dell’esposizione ha incentivato la nascita del Centro di Ricerca sulla Storia dell’Arte Contemporanea (CRiSAC), osservatorio scientifico che, nel biennio 2018-2019, si è fatto promotore di una serie di mostre monografiche di pittura, scultura e design, allestite negli spazi del Rettorato, ubicato presso l’ex Collegio femminile Sant’Ambrogio, e pubblicate sulle pagine di una collana di cataloghi dedicata. Impegno poi estesosi anche all’ambito fotografico, al quale è stato dedicato lo spazio del Padiglione Morselli, situato nel Campus di Bizzozero. Le donazioni di svariate opere, a seguito della chiusura delle due collettive, hanno consentito al gruppo di lavoro del CRiSAC di effettuare uno studio di fattibilità per una loro musealizzazione, concretizzatasi, nel settembre del 2019, nell’inaugurazione della collezione permanente, presentata in occasione dell’edizione annuale della Notte dei Ricercatori.    The paper outlines the origin, development and display of the permanent Contemporary Art collection of the Università degli Studi dell’Insubria of Varese and Como. Starting with general reflections on the theme of reuse, focusing on the present legislation, especially to the so called “Legge del 2%” of 1949, and comparative analysis between the framework of Italian University museum systems and the corresponding European and Us ones, the essay presents a comparison among the history and development of the permanent collections of some Italian academic museums founded along the XX century and the Insubria academic center, according to the Third Mission and Public Engagement policies. The Università degli Studi dell’Insubria, since its foundation, had a vocational relationship with the contemporary artistic production of the territory: in 1999 the first collective exhibition took place; it was re-proposed for the celebrations of the twentieth anniversary. The success of the exposition encouraged the foundation of the Centro di Ricerca sulla Storia dell’Arte Contemporanea (CRiSAC), a scholarly center which, in the biennium 2018-2019, promoted a series of monographic exhibitions dedicated to painting, sculpture and design, set up in the spaces of the Rectorate, placed in the former female college of Sant’Ambrogio, and published in a proper catalogue series. The Center effort was also extended to the photography field, with dedicated space in the Morselli Pavillion, placed in the Campus of Bizzozero. The donations of a large number of art works, after the closing of both collective exhibitions, allowed the CRiSAC working team to conduct a feasibility study for they musealization which took shape, in September 2019, with the opening of the permanent collection display in the Rectorate during the annual edition of the yearly European Researchers’ Night.

shadi taherkhani

Since the time of their appearance on the Earth, humans have been interested in the cosmos and the discovery of the secrets of the sky. The emergence of Islam and the tendency of the Islamic Khalifas towards the science of astronomy and astrology led to the growth and development of this branch of natural sciences, especially between the 3rd and 9th centuries AH. In the present study, astronomical concepts and beliefs in the Islamic era have been identified and extracted in order to compare them with the astronomical motifs of the two illustrated versions of Book of Fixed Stars (820 AH) by Abd al-Rahman al-Sufi, the original version of which belongs to the 4th century AH and Nativities (700 AH) by Abu Ma'shar Balkhi. The present research aimed to find out how the components of astrology and constellations are depicted in the two illustrated versions of Nativities (700 AH) and Book of Fixed Stars (9th century AH) and whether the images of the Nativities were influenced by the reference images of Abd al-Rahman al-Sufi (4th century AH) in Book of Fixed Stars. Regarding the research carried out in this field of study, Zargari and Yahyaei (2014) in "The effect of astronomical beliefs and attitudes on the social and political conditions of Iran during 4-9th centuries AH" have studied the formation and growth of astronomical beliefs in the Islamic era. Moreover, Hosseini (2017) in his study "Reflections of various constellations in the art of pottery from the Islamic era to the Safavid period and their comparison with the images of Abd al-Rahman al-Sufi " concluded that the artists of the Islamic period have used the astronomical designs and concepts of astronomical books; however, in many cases, they have made changes in these designs according to the spirit of the age and their own taste. Afrough and Nowruzi Talab (2012) have also studied the 12 constellations of the zodiac in the "Decorative nature of the astronomical concepts of a brass water container”.

Malgorzata (Goshka) Bialek

This paper introduces the author&#8217;s practice-based research and the developed pioneering methods of application of printing inclusions and metal inclusions in glass. It also describes and examines the problems occurring during the application of printing and metal inclusions in glass and presents methods for the selection of suitable materials and techniques.

Somayeh Moosavian

<br />Having started decades ago, what is transpiring in the sculpture sphere is of such a varied, plural, uncanny, and paradoxical nature. This goes insofar as not only is it impossible to tell genuine from the impure, but also it is not easily possible to trace attributes shared by all the phenomena and then to define the contemporary sculpture or to outline a certain value or hierarchy system for it. The only term that can be safely used today to describe works of sculpture is “uncertainty”. Featuring scattered, relative, personalized, commercialized, market-oriented aesthetics, post modernism is an art form of altered functions whose nature and identity are constantly changing. Definition of the essential and the art is not possible anymore. In other words, concepts like centralized aesthetics, purity, consonance, harmony, coherence, and ideal beauty have all been faced with disagreement in the temporary art, and this issue is in direct connection with today’s sculpture works. Nowadays, the term “sculpture” encompasses a much wider span of works. In fact, upon the emergence of post modernism, all the criteria that were once the essential conditions of a sculpture, like solidity, uniqueness, being an object and being bound to a particular location for display purpose, were deemed unnecessary.  What is transpiring in the sculpture sphere today is so varied and paradoxical nature that it is impossible to trace attributes shared by all the phenomena. The present study is an attempt to identify the approaches prevailing in sculpture since 1980, and to analyze the theoretical foundations and intellectual origins of such approaches as well as the expressive forms and implicit concepts of contemporary sculpture. The main questions are the following: What approaches does contemporary western sculpture advocate? What are the fundamental principles and attributes of the approaches in question? What are the similarities and differences between these approaches? The main objective of this study is to examine the main characteristics and developments of the contemporary sculptural approaches in order to reach an integrated order of this category. This would in turn help with the extraction of features to achieve a unified viewpoint regarding the contemporary sculpture.  Thus, given that the features of postmodern art have not yet been organized as for their influence in the contemporary sculpture, it is deemed necessary to probe into the issue. The reason is contemporary pieces of sculpture attempt to break away from the arbitrary boundaries set in the modern era. They are not willing to surrender to the purism and feigned confines of the modern era. This is why contemporary sculpture is defined in a far wider domain, and is more varied in the material, techniques, methods, etc. Therefore, it would be of help to identify and outline those features used to distinguish the works of contemporary sculptors from those previous eras and especially modern epoch. This way, a more profound evaluation of this art form would be feasible. A descriptive-analytical approach has been employed to analyze the form and content of sculpture from 1980 to 2000. To this end, the author has introduced the works of prominent sculptors of the mentioned period in the categories of 1.Figuration 2.Abstraction 3.Objectivity and 4.Place-structuralism. Characteristics of each approach are then analyzed.    Findings of the research indicate that contemporary sculptors adopt resort to a variety of approaches and work with certain concepts and ambiance to express the fundamental assumptions and experiences of the time. They aim at elimination the extant general sensitivity towards the function of sculpture and redefining this function. The inclusive focus of their works on various approaches doubts the artistic, modern self-sufficient pieces of sculpture once appreciated as a “sublime” commodity. They employ different sculptural approaches to reflect dynamic experiences which are often mysterious, and feature narrative qualities and allegorical and personal expressions. All in all, "pluralism" in the application of fuzzy and heterogeneous methods, "eclecticism" in the combination of various materials and objects, and "text extroversion" of the work as a platform for the artist to present their desired content and concept, and “individualism” evident in the use of the artist’s personal style and self-awareness are the highlights of contemporary sculptural creations. Eventually, being “subject-oriented” was recognized as the common point shared by all the aforesaid approaches.  This would per se bring about plurality in the form and concepts, eliminate hierarchies, put the content before the form, communicate a message, consider the issues of the day, apply new media and advanced technologies in the creation of items, widen the cultural span emerging in the works, address more general audience, and bring new media into the platform of sculpture in the form of installation art, architectural sculptures, etc., which would eventually alter the modernist definitions of sculpture. In fact, the notion of  being “content-oriented” as the common point of all contemporary sculpture styles makes it possible for the sculptor to find inspirations in their immediate environment and express national and racial issues, boundaries, and social norms in the form of their individual concerns. Thus, racial, cultural, religious, and sexual minorities are using sculpture as a tool to voice their beliefs and to showcase their constraints. Consequently, given the plurality of the perspectives ahead, the contemporary sculpture is going through varied experimentalism in order to reach a novel expression. <br />

B. Carrión-Ruiz, S. Blanco-Pons, A. Weigert et al.

<p>In recent years, Augmented Reality (AR) technology has experienced considerable progress and the combination of AR and 3D modeling opens up new opportunities regarding 3D data visualization and interaction. Consequently, the dissemination of cultural heritage can benefit from these technologies in order to display the cultural assets as realistically and interactively as possible. In this way, high-accuracy 3D models are integrated in the real world.</p><p>Nevertheless, progress has also still been limited due to several factors. The paper presents a case study based on the recreation of the Queen Victoria sculpture in an AR application. Furthermore, the environment of the sculpture is simulated by panoramic images, inside the Library of Parliament in Ottawa, Canada. The main problems for the development of an AR smartphone application from panoramic images and photogrammetric 3D data are described in this paper. The characteristics of AR systems are explained in detail, analyzing all the steps involved and the available solutions considered.</p>

Adrián Contreras-Guerrero

Despite wood carving—polychrome and worked with estofado technique—being the most important technique in the Neogranadine art of the Modern Age, we must not ignore the great material wealth that for a long time has been disregarded in current historiographic studies. In the present paper we aim to overcome this reductionist vision. which we are now able to qualify thanks to the examination of some surviving material remains and above all of the existing archival documentation. We will focus our attention on those sculptural pieces obtained by modelling processes. Our concern with the materiality of the work—the first source of information for the art historian—is a reflection essential to achieving a correct and integral analysis of the artistic object.

Mei-Hsin Chen

Eduardo Chillida’s The Comb of the Wind XV, embedded in natural rocks rising from the Cantabrian Ocean in 1977, expresses the artistic potential of air as a material, a metaphor, and as an art-maker. With this sculpture, Chillida opened up the possibility for air itself to show indefinite imageries. Although much has been written about this sculptural group from different perspectives, no study has been systematically undertaken to analyze it regarding the theme of the matter of air, which should be considered the core of the work of art. As Gaston Bachelard stated: ‘Chillida wished the iron [of The Comb of the Wind XV] to show aerial realities.’ Hence, this article seeks to study to what ‘aerial realities’ Chillida might refer, and the relationship between air and his artwork. First, this paper delves into the meanings and functions that air involves in Chillida’s artwork, as well as into how the sculptor embodied his poetic of air and allowed the spectator to perceive his sculptural installation with five senses. Also, the interaction between Chillida’s work and Luis Peña Ganchegui’s architectural installation La Plaza del Tenis is examined under the scope of Martin Heidegger’s notion of place. All these aspects are discussed to help readers realize why the air in natural motion is the foundation of The Comb of the Wind XV, and map the holistic imagery of air that Chillida intended to express.

Eugenia Drakopoulou

Jean-Claude Audran, Jacky Bouillot

A comparative study of mature sporoderms of sterile and fertile pollen grains was performed using electron microscopic techniques. In sterile pollen grains, intine is lacking; ectexine sculpture is reduced and tectum is overlaid by membranous systems. Infratectal texture is compact and a sporopollenin granulous mass is obturing the aperture central region. Endexine reacts with proteins and acidic carbohydrates tests.

Joan Wescott