Sculpture

RESIN SCULPTURES BY JASON CAREY

by Jason Carey

The Value of the Hand - Cathie Pilkington

by Benedict Carpenter

Published in 'The Medal' No.60 Spring 2012

This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of... more This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of craft and fine art processes as a satirical strategy to question the reflexive authority that aggregates around Romantic notions of genius. Her recent BAMS medal is discussed at some length, particularly in relation to the awkward status of the form, sitting as it does between the defined cultures of art and craft.

Isamu Noguchi's Utopian Landscapes

by Diana Witcher

"9/11 and Debates over Kitsch"

by C. E. Emmer

paper presented at the PCA/ACA National Conference 2012 in Boston on Thursday, April 12, during the 'Visual Culture and Modern/Postmodern Mediations' panel (3:00pm - 4:30pm), along with Alexandra Newman, who presented "'The Whole Idea Is to Deliver what Money Can't Buy': Bruce Springsteen's 'Born in the U.S.A.' as Object"

I will use an examination of ostensibly ‘kitschy” items inspired by the attacks of 9/11 to demonstrate that multiple... more I will use an examination of ostensibly ‘kitschy” items inspired by the attacks of 9/11 to demonstrate that multiple competing positions on the viability and meaning of “kitsch” are currently in play. I will focus primarily on two pieces of material culture: a small sculpture, Jenny Ryan’s ‘Soft 9/11,’ which represents the twin towers of the World Trade Center as an anthropomorphized plush-toy, and Dennis Madalone’s viral music video, ‘America We Stand as One,’ in which he reassures loved ones of those who died in 9/11 and the ensuing wars that the fallen are still there, ‘in a different way.’ I have chosen these 9/11-related items precisely for their ability to quickly reveal underlying assumptions connected to American mythology. Often academic treatments of ostensibly “kitschy” objects are criticized for having no empirical basis (in other words, these treatments are held to be figments of scholars’ imaginations); presently, however, many discussions which previously would have gone unrecorded are now preserved in blog entries and, perhaps more importantly, in their comment and discussion threads. I will use the evidence provided by these on-line discussions to show that, presently, many different, sometimes diametrically opposed, approaches to ostensibly “kitschy” items coexist and compete with one another. In addition, I hope to turn to the fundamental question of whether “kitsch” is a viable concept at all. For one may well grant that multiple stances on “kitsch” are in play without granting that all stances are legitimate.

Un sarcophage retravaillé du Musée de Messine : remarques sur la date possible de cette réfection

by Jean-Pierre SODINI

published in : G. Koch and F. Baratte (eds.), Sarkophag-studien 6. Akten des symposiums "Sarcophage der römischen Kaiserzeit: Produktion in den zentren - kopien inden provinzen (Paris, 2-5 nov. 2005)", Mainz, 2012, p. 79-84.

Evaluation of the stability of waste-based geopolymeric artificial aggregates for wastewater treatment processes under different curing conditions

by Antonio Albuquerque

I. Silva, J. Castro-Gomes, A. Albuquerque
Advances in Science and Technology, 2010, V. 69, 86-91.

Waste geopolymeric artificial aggregates (WGA) with different atomic ratios of mining waste mud/Na2SiO (4 to 5) and... more Waste geopolymeric artificial aggregates (WGA) with different atomic ratios of mining waste mud/Na2SiO (4 to 5) and Na2SiO/NaOH (1.25 to 5) were produced using curing temperatures of 20ºC and 130ºC and its structural stability and pH variation after immersion in water was observed during 3 months. Results showed that WGA with mud/Na2SiO and Na2SiO/NaOH of 5 and 4, respectively, cured at 20ºC presented good stability in water and pH decreased from 10 to 7
in 24 days. Compressive strength was determined in additional samples cured at 20ºC and 80ºC in dry conditions, for 13 curing ages and 15 water immersion periods (up to 14 weeks). Results of this second stage showed that increasing temperature to 80ºC accelerated compressive strength gain but
only during the first 3 weeks (up to 15.4 MPa). After 24 h in water compressive strength decreased to half of the initial values determined in dry conditions in all samples and, therefore, the increase of temperature did not bring benefits to WGA strength in water. Regardless the curing temperature and the dry curing age comprehensive strength stabilizes between 1 MPa and 2 MPa after 4 weeks immersion in water, which are values that makes WGA suitable to be used as bed material for wastewater treatment processes.

Potential for reuse of tungsten mining waste-rock in technical-artistic value added products

by Antonio Albuquerque

J. Castro-Gomes, A. Silva, R. Cano, J. Suarez, A. Albuquerque
Journal of Cleaner Production, 2012, V. 25, 34-41

Mining and quarrying activities in Europe generate approximately 55% of total industrial wastes, according to a recent... more Mining and quarrying activities in Europe generate approximately 55% of total industrial wastes, according to a recent Eurostat report. Most of these wastes are directly dumped on land or deposited in landfill sites. The first solution may lead to negative environmental impacts on land (removal of vegetation, deforestation, land slope changes and increased risk of erosion), water (pollutant transport through surface runoff, soil infiltration and contamination of water resources), may lead to the contamination of agricultural goods and may impose risks on human health. In Portugal, about 20% of industrial waste produced originates from mines and quarries, particularly from Panasqueira mining, one of the largest tungsten mines in the world. Currently, Panasqueira mining generates almost 100 tonnes of waste-rock, per day. Such waste-rock have accumulated over a number of years into very large heaps and it is desirable to seek new economic solutions that can contribute towards their reuse. In this context, this work discusses the potential for reuse of waste-rock piles of Panasqueira tungsten mine, which may be a case statement to be followed. The proposed solution described in this paper consists in developing innovative polymer-based composite materials, obtained from non-contaminated waste-rock tailings. Such materials must have suitable properties for technical-artistic value added applications, such as conservation, restoration and/or rehabilitation of historic monuments, sculptures, decorative and architectural intervention, or simply as materials for building revetments.

“Concrete Blonde [Rachel Whiteread],” Chora: Intervals in Architecture and Philosophy, vol. 2 (1998), 135–148

by Joanna Merwood-Salisbury

Questo è autentico! ... considerazioni in libertà sull’arte africana.

by Beppe Berna

in italiano in italiano

O Aparelhado no Jardim: Uma proposta narrativa de antimonumento na UFSM (anais do II Seminário Internacional de Arte Pública na América Latina - GEAP Latinoamerica / UFES)

by Fábio Purper Machado

Escrito por Fábio Purper Machado, com orientação de José Francisco Flores Goulart. In: II° Seminario Internacional sobre Arte Público en Latinoamérica, 2011, Vitória: GEAP Latinoamérica, UFES. Anais... Arte Público y espacios políticos: interacciones y fracturas en las ciudades latinoamericanas. Belo Horizonte: C/Arte, 2011. v.2. p.396 - 406. ISBN 978-85-7654-118-9.
O link 4shared abaixo é para o livro II inteiro dos anais do evento.
Mais informações em http://artepublica2011.blogspot.com.br

Este texto, dentro da temática Arte e intervenções em espaços extra-urbanos na América Latina, trata de uma pesquisa... more Este texto, dentro da temática Arte e intervenções em espaços extra-urbanos na América Latina, trata de uma pesquisa em escultura onde se enfatizam a materialidade da argila no gesto do modelado, as aproximações entre a figuração atingida e a linguagem das histórias em quadrinhos poético-filosóficas (Santos Neto, 2009), suas possibilidades alegóricas como problematização de questões sociais e valores estéticos, e, enfim, sua culminância num espaço público: o projeto “O Sujeito Aparelhado” no jardim de esculturas do Centro de Educação do campus da Universidade Federal de Santa Maria, como trabalho de graduação do autor no Bacharelado em Artes Visuais da instituição, aliado a um projeto de revitalização deste espaço, empreendido pelo prof. Ms. José Francisco Flores Goulart. São abordadas aqui idéias, influências e leituras que traçam um fio condutor para a compreensão da trajetória desta pesquisa e de questões que envolvem seu momento atual, entre elas o dilema entre o monumento/antimonumento público e os interesses do poder (Alves, 2005), e as acumulações, apropriações e disseminações imagéticas da cibercultura (Couchot, 2003), tendo esta aproximação sido iniciada em estudos empreendidos pelo autor na Licenciatura em Artes Visuais na USFM. Reflete-se nesta pesquisa artística uma relação com o riso do escárnio, e também com aquele de quando nos deparamos com o abismo...

This text, about art and interventions in extra-urban spaces in Latin America, deals about a sculpture research where clay's materiality and modeling gesture are emphasized, about the proximities between its figures and poetic-philosophic comics' language (Santos Neto, 2009), about their possibilities of questioning social issues and ethical values, and their peak at a public space: the sculpture "Le Sujet Appareillé", projected to the Education Center (UFSM Campus) sculpture garden, as the author's graduation job on Visual Arts Bachelors Degree at the same institution, and allied to the project of revitalization of the same space, emprehended by Prof. Ms. José Francisco Flores Goulart.
Some ideas, influences and readings which trace a conductive line to the comprehension of this research path are brought, along with questions which involve its current moment, amongst them the dilemma between public monument/antimonument and ideological interests (Alves, 2005), and the accumulations, appropriations and imagetic disseminations of cyberculture (Couchot, 2003), on an approach done by the author at Visual Arts Bachelor's Degree on Education at UFSM. On this artistic research it is reflected a relation with a jeering laughter, and also the laugh of when we face the abyss...

Lacer ou délacer, telle est la question!...ou la problématique de l'Hermès à la sandale.

by Tamara Saggini

“Assos Tapınağı’na ait bir metop üzerine gözlemler”

by Daniş Baykan

Sevim BULUÇ Anı Kitabı, Çanakkale, 2006, 105-110

“Assos Herakles-Kentauroslar Frizi ve Yeni Bir Tümleme Önerisi”

by Daniş Baykan

Prof. Dr. Haluk Abbasoğlu’na 65. Yaş Armağanı Euergetes, Festschrift für Prof. Dr. Haluk Abbasoğlu zum 65. Geburststag, Suna – İnan Kıraç Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 2008, s. 139-144.

“Ransom of Hektor” on a Metope from Assos Temple

by Daniş Baykan

Baykan, D. “Ransom of Hektor on a Metope from Assos Temple” Identity & Connectivity - 16th SOMA - Symposium on Mediterranean Archaeology, BAR International Series, Ed. G. Camporeale vd., 1-3 March 2012, baskıda.

Ancient site of Assos lies in the Troad, 17 kms south of modern Ayvacık which belongs to Çanakkale today. Different... more Ancient site of Assos lies in the Troad, 17 kms south of modern Ayvacık which belongs to Çanakkale today. Different topographical landscape of Akropolis can easily be noticed within the other geomorphological features of the region. Assos Temple was built on the large southern terrace of the summit of the akropolis. The enterance of the 6x13 peripteral temple of which orientation stands on NW-SE is at the East side. Although the archaic temple was built in Doric order, opisthodomos was omitted because of Ionic method which influenced the temple. All of the sculptural and architectural elements of the temple are andesites; but akrotheria, sima spouts and metope which is under the discussion of this study, are of volcanic tuff. Prefences of tuff on entablature and akrotheria clearly depend on soft and light fabric of this kind of stone. Only eleven metopes, two of which were not decorated with sculptural description, remained today. It is very surprisıng that so few metopes survived today although the temple should have 68 metopes, 10 for each short side and 24 for each long sides, in original. The metope, found in 1980, is monolith but left side, right upper corner and plinthos are missed. Only some parts of three figures can be seen but almost none of the details have survived since the metope heavily destroyed because of the soft and weak character of its’ material. The metope was mentioned by Wescoat before. First drawing and restitution, based on this drawing, were made by her. She interpreted the scene depicted on metope as “Recovery of Helen” admitting figures on it as Menelaos and Helene. I propose these three figures depicted on the metope as “Akhilleus, Priamos and Hermes” interpreting the scene as “Ransom of Hektor” instead of Recovery of Helene.

David d'Angers

by Melanie Vandenbrouck-Przybylski

Exhibition review, in The Burlington Magazine, vol. CLIV, no. 1308, March 2012, pp. 215-6

Enjoyment for the Thousands: sculpture display at South Kensington 1851-1862

by Chris Whitehead

in A. Yarrington and C. Sicca Bursill-Hall (eds), The Lustrous Trade: Material Culture and the History of Sculpture in England and Italy c. 1700-c.1860, Leicester University Press 2004

Archival Sources for the Study of the Eighteenth-Century Anglo-Italian Marble Trade

by Chris Whitehead

in The Sculpture Journal, 1999

Jan Golembiewski - Liberty

by Jan Golembiewski

Golembiewski, J. (2003). Jan Golembiewski - Liberty. In E. Taylor (Ed.), 2003 National Sculpture Prize and Exhibition (Vol. 2, pp. 24-25). Canberra, Australia: National Gallery of Australia. ISBN 0-642-54184-1

In terms of critical discourse, Liberty contributes to the ongoing aesthetic debate on ‘the sublime.’ Philosopher... more In terms of critical discourse, Liberty contributes to the ongoing aesthetic debate on ‘the sublime.’ Philosopher Immanuel Kant (1724–1804) defined the sublime as a failure of rationality in response to sensory overload: a state where the imagination is suspended, without definitive reference points—a state beyond unequivocal ‘knowing.’ I believe the events of September 11, 2001 eluded our understanding in much the same way, leaving us in a moment of suspension between awe and horror. It was an event that couldn’t be understood in terms of scope or scale. It was a moment of overload, which is so difficult to capture in art. With my work I attempt to rekindle that moment of suspension. Like the events of 9/11, Liberty defies definition. Its form is constantly changing; it is always presenting us with new layers of meaning. Nobody quite had a handle on the events that followed 9/11, because the implications were constantly shifting. In the same way, Liberty cannot be contained or defined at any moment in time. Like the events of 9/11, the full story cannot be told in a snapshot.

One of the dictionary definitions for the word ‘sublime’ is the conversion of ‘a solid substance directly into a gas, without there being an intermediate liquid phase’. With this in mind, I would like to present Liberty as a work that is literally ‘sublime.’ But what’s really interesting to me about Liberty is that it presents the sublime on all levels: in its medium, in its subject matter (that moment of suspension), and in its formal (formless) presentation. On every level Liberty is sublime—subverting all tangible reference points and eluding capture entirely.

Liberty is based on the Statue of Liberty in New York. However, unlike that statue which has stood in New York since 1886 and can be reasonably expected to stand for millennia, this work takes on diminishing proportions, carved as it is in carbon dioxide, a mysterious, previously unexplored medium—one which smokes, snows and dramatically vanishes into a harmless gas. Like the material this work is carved from, the civil liberties of the free world are diminishing fast, since 9/11 and before. This was my thought when I first conceived this work. Now it’s become evident that Liberty expresses a lot more than just this: it demonstrates the erosion of civil liberties, yes. However, it also presents the intangible, indefinable moments in the days and months that followed 9/11. The sculptural work will last for only a short time, and thereafter will exist only in documentation. During this time, the form is continually changing and self-refining, until it disappears entirely, to be inhaled, metabolised and literally taken to heart by viewers.

Jan Golembiewski, December 2002

The artist would like to thank Air Liquide Australia for their generous support in developing and supplying materials for Liberty.

João Cutileiro

by Alexandre Pomar

Expresso 1991-2006

Uma entrevista de 1999 (As flores - Homenagem a Mapplethorpe) e alguns outros artigos e notas sobre exposições entre... more Uma entrevista de 1999 (As flores - Homenagem a Mapplethorpe) e alguns outros artigos e notas sobre exposições entre 1991 e 2006, passando pelo D. Sebastião de Lagos vinte anos depois (1973-1993) e pelo Monumento ao 25 de Abril

THEATRE DANS LA PIERRE EN LIVRADOIS BENEDICTIN

by Jacques Coulardeau

Quand on pénètre dans une des vieilles églises romanes du Livradois-Forez qui ont été construites pour la plupart sous influence directe des Bénédictins à partir du 10ème siècle, et pour l’immense majorité de celles-ci sous l’influence des Bénédictins casadéens (de La Chaise-Dieu) et non clunisiens (de Cluny), on est frappé, dès le portail, par l’immense richesse des chapiteaux historiés finement sculptés et pour certaines de ces églises par les fresques sur les murs, souvent moins anciennes que les chapiteaux eux-mêmes, mais pas toujours, loin de là. Cette prolifération d’images de pierre ou de couleur, et pour certaines de pierre mises en couleur, nous pose une question forte : pourquoi ?

C’est cela le concept de Dieu et c’est un concept d’une beauté et d’une force extraordinaire dont un esprit rationnel... more C’est cela le concept de Dieu et c’est un concept d’une beauté et d’une force extraordinaire dont un esprit rationnel ne peut que tomber amoureux fou car il n’y a ni preuve de vérité ni preuve de non-vérité. C’est le concept pur, c’est à dire une invention de l’esprit humain que personne ne peut prouver vrai ou faux. Il n’en existe absolument pas un seul autre. Comme aurait pu dire Henri IV ou plutôt le futur Henri IV, la découverte et la jouissance de la beauté de l’art roman vaut bien l’acceptation, au moins pour une heure, au moins pour une semaine, du concept de Dieu. On verra plus tard si on continue ce pari pascalien mais sans lui ces trucs que nous venons de voir ne sont que des trucs en pierre plus ou moins bien sculptés et colorés.