Academic literature on the topic 'American Figure sculpture'
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Journal articles on the topic "American Figure sculpture"
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Ströbele, Ursula. "Elasticity in twentieth-century sculpture." Sculpture Journal 33, no. 1 (March 2024): 71–92. http://dx.doi.org/10.3828/sj.2024.33.1.05.
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How can elasticity be applied as an analytical category for the study of sculpture, here especially of the 1970s? The aim of this article is to circumvent binary, gender-bound approaches to materials. It discusses how elasticity moves from representation (Germaine Richier, Olga Jevrić, Naum Gabo) to materiality and medium, such as nylon and rubber/latex (Rosemary Mayer, Senga Nengudi, Eva Hesse, Claes Oldenburg), leaving behind the paradigm of minimalism in favour of eccentric, bodily and sensuous objects. Rosalind Krauss emphasized how in post-war American art, ‘sculpture and painting have been kneaded and stretched and twisted in an extraordinary demonstration of elasticity’. This breaking out of categories can be seen as a sociopolitical figure of thought, for example in Nengudi’s sculptures, where the (female) body is restrained by the material and enmeshed in a social web of heteronormative ideas, but also in the sociopolitical context, such as the Black Liberation Movement and demonstrations against the Vietnam War.
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Pilson, Dana. "Margaret French Cresson at Chesterwood." Sculpture Review 70, no. 2 (June 2021): 45–55. http://dx.doi.org/10.1177/07475284211025395.
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Margaret French Cresson (1889-1973) was the daughter of famed American sculptor Daniel Chester French (1850-1931), who is well-known for his Minute Man in Concord, Massachusetts, and his seated figure of Abraham Lincoln for the Lincoln Memorial in Washington, DC. Cresson was also a sculptor—she studied with her father, collaborated with him on works, and later became successful in the area of portraiture. Both father and daughter were active members of the National Sculpture Society, serving in leadership positions and contributing works to exhibitions. French and his family lived in New York City and spent their summers at Chesterwood, in Stockbridge, Massachusetts. Here, French built a modern studio and a comfortable residence, and he designed lush gardens and paths through the woods. After his death, Cresson inherited the site, and she worked to preserve her father’s legacy by preserving his Studio, amassing a collection of his works, and creating a museum at Chesterwood, now a site of the National Trust for Historic Preservation. Many of her works are in the Chesterwood collection as well. To honor Cresson’s preservation efforts and her talent as a sculptor, this season Chesterwood will exhibit some of her most successful portraits in the Studio. Next year, a full-scale exhibition of her work will be presented throughout the site.
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Sambo, Elisabetta. "1. Michele Lazzaroni (1863-1934), tra contraffazione e restauro." Studiolo 11, no. 1 (2014): 94–107. http://dx.doi.org/10.3406/studi.2014.957.
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A Fake Renaissance ? Research on the history of the art market and collecting in the 18th and 19th century often evoke, albeit until now in passing, the singular figure of an amateur dealer : Baron Michele Angelo Lazzaroni (1863-1934). These essays explore the dealing and collecting activities of Michele Lazzaroni, a great mind and financier at the time of the Italian unification. I. Michele Lazzaroni, between Counterfeiting and Restauration The first essay uses hitherto unpublished documents to shed light on Baron Lazzaroni’s activities as a dealer, carried out, often shamelessly, between Rome, Paris and Nice. In order to feed continuously the high demand – coming in particular from the American art market – for Italian “masterpieces” of the High Renaissance, he regularly had damaged or inferior works extensively over painted to create works of art in a Renaissance style that was as showy as it was implausible. These could in fact be called authentic fakes. II. Baron Michele Lazzaroni and Sculpture. Through the review of the unpublished correspondence with Adolfo Venturi and the discovery of a series of contemporary photographs, this essay sheds light on the strategies and cautious literary manoeuvres that aimed to consolidate Michele Lazzaroni’s status on the global art market. By disseminating works of art presented as authentic, whether presumed so or counterfeit, the Baron managed to position them on the market by endowing them with the aura of potential Renaissance masterpieces. With this in mind, it is interesting to examine Lazzaroni’s keen interest in sculpture and reconstruct the history of a few examples that once formed part of his collection, such as the Bust of the Emperor Palaeologus attributed to Filarete.
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Mountjoy, Joseph B., and José C. Beltrán. "ANTHROPOMORPHIC PEG-BASED SCULPTURES FROM THE BANDERAS VALLEY OF COASTAL WEST MEXICO." Ancient Mesoamerica 16, no. 2 (July 2005): 155–68. http://dx.doi.org/10.1017/s0956536105050157.
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Both the accidental as well as the purposeful discovery of a large number of anthropomorphic peg-based sculptures in the Banderas Valley in the states of Jalisco and Nayarit during the 1990s have provided a corpus of contextual and iconographic data that, along with conquest-period ethnographic data, allow for an assessment of the date and function of such figures. In addition, because of the similarity of these sculptural figures to ones of comparable dates in Central America, the case for significant pre-Hispanic coastal contacts between the two areas is reinforced.
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Lerer, Marisa. "Luis Jiménez's Mustang." Latin American and Latinx Visual Culture 1, no. 4 (October 1, 2019): 12–32. http://dx.doi.org/10.1525/lavc.2019.140003.
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Luis Jiménez's Mustang (2008), located at Denver International Airport, was intended to be a welcoming figure as Colorado residents and visitors entered and exited the gateway to the US West. However, this particular work, along with several of Jiménez's earlier public sculptures, prompted public rancor, controversy, and protest. Jiménez is one of the most well-known Chicano public sculptors; however, little scholarly research has been conducted to examine the way in which his work functions in and is received by visitors in the public realm. Applying Harriet F. Senie's methodology of conducting visitor response interviews to examine Jiménez's public sculptures aids in an understanding of why the gap between the artist's intention and the visitor's understanding is so pervasive. Mustang subverts traditional monuments and notions of equestrian statuary in its use of nontraditional materials and subject matter. Many visitors sense the intentionally critical and historical revisionist lens through which Jiménez created his work and therefore feel daunted by it culturally, aesthetically, and spatially. This complex reaction highlights what aspects of US culture are embraced in the public sphere and which elements have received conflicted reactions due to their subject, and the representation of ethnicity in public space. In addition, the site of Jiménez's work forms a crucial part of the content; therefore, the negotiation of space, in which Mustang and some of Jiménez's other sculptures are displayed, informs the debates around installing a work in the public sphere. RESUMEN Luis Jimenéz's Mustang (2008) located at Denver International Airport was intended to be a welcoming figure as Colorado residents and visitors entered and exited the gateway to the American West. However, this particular work along with several of Jiménez's earlier public sculptures, prompted public rancor, controversy, and protest. Jiménez is one of the most well-known Chicano public sculptors; however, little scholarly research has been conducted to examine the way in which his work functions in and is received by visitors in the public realm. Applying Harriet F. Senie's methodology of conducting visitor response interviews to examine Jiménez's public sculptures aids in an understanding on why the gap between the artist's intention and the visitor's understanding is so pervasive. Mustang subverts traditional monuments and notions of equestrian statuary in its use of non-traditional materials and subject matter. Many visitors sense the intentionally critical and historical revisionist lens through which Jiménez created his work and therefore feel daunted by it culturally, aesthetically, and spatially. This complex reaction highlights what aspects of U.S. culture is embraced in the public sphere and which elements have received conflicted reactions due to their subject, and the representation of ethnicity in public space. In addition, the site of Jiménez's work forms a crucial part of the content; therefore, the negotiation of space, in which Mustang and some of Jiménez's other sculptures are displayed informs the debates around installing a work in the public sphere. RESUMO Mustang (2008) de Luis Jimenéz, localizado no Denver International Airport, foi concebido como uma figura acolhedora para os residentes do Colorado e visitantes que passavam pela porta de entrada para o oeste americano. Entretanto, essa obra em particular, juntamente com várias das primeiras esculturas públicas de Jiménez, provocou rancor público, controvérsia e protestos. Jiménez é um dos escultores públicos chicanos mais conhecidos; no entanto, pouca pesquisa acadêmica foi conduzida para examinar a maneira pela qual seu trabalho funciona e é recebido pelos visitantes na esfera pública. A aplicação da metodologia de Harriet F. Senie de conduzir entrevistas com visitantes para examinar as esculturas públicas de Jiménez ajuda a entender por que a lacuna entre a intenção do artista e a compreensão do visitante é tão generalizada. Mustang subverte monumentos tradicionais e noções de estatuária equestre em seu uso de materiais e temáticas não-tradicionais. Muitos visitantes percebem a lente intencionalmente revisionista crítica e historicamente através da qual Jimenéz criou seu trabalho e, assim, se sentem intimidados culturalmente, esteticamente e espacialmente. Essa complexa reação destaca quais aspectos da cultura norte-americana são adotados na esfera pública e quais elementos receberam reações conflitantes devido a sua temática, e a representação da etnia no espaço público. Ademais, o local onde se situa a obra de Jimenéz é parte crucial de seu conteúdo; portanto, a negociação do espaço, no qual Mustang e algumas das esculturas de Jimenéz são exibidas, informa o debate em torno da instalação de uma obra na esfera pública.
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Beggs, Margo L. "(Un)Dress in Southworth & Hawes’ Daguerreotype Portraits: Clytie, Proserpine, and Antebellum Boston Women." Fashion Studies 2, no. 1 (2019): 1–30. http://dx.doi.org/10.38055/fs020111.
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Young America: The Daguerreotypes of Southworth & Hawes (2005) is a monumental exhibition catalogue showcasing the work of Albert Sands Southworth and Josiah Johnson Hawes. Together the partners established a renowned daguerreotype studio in mid-nineteenth-century Boston that catered to the city’s bourgeoisie. This paper seeks to unravel the mystery of dozens of daguerreotypes found in Young America, in which elite Boston women appear to be nearly nude. The unidentified women stand in stark contrast to the carefully concealed bodies of Southworth & Hawes’ other female subjects. Why would they expose themselves in such a manner before the camera’s lens? This paper attributes the women’s state of (un)dress to their deliberate emulation of two sculptures in the classical tradition: Clytie, a marble bust dating to antiquity, and Proserpine, a mid-nineteenth-century marble bust by American neoclassical sculptor Hiram Powers. This argument first reveals how a general “classical statue” aesthetic prevailed for women’s deportment in antebellum America, then demonstrates that the busts of Clytie and Proserpine had special significance as icons of white, elite female beauty in the period. Next, this paper makes the case that Southworth & Hawes devised a special style of photography deriving from their own daguerreotypes of the two statues, in which the women’s off-shoulder drapery was deliberately obscured allowing their female clientele to pose in the guise of these famous statues. The paper concludes by arguing that the women shown in these images could pose in this style without contravening societal norms, as these mythological figures were construed by women and men in the period to reflect the central precepts of the mid-nineteenth-century “Cult of True Womanhood.” Moreover, the busts offered sartorial models that reinforced standards of female dress as they related to class and privilege. By baring their flawless, white skin, however, the women positioned themselves at the crux of contentious beliefs about race in a deeply divided nation prior to the American Civil War.
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Engel, Michael S. "A new species of Ctenaugochlora from northwestern Ecuador (Hymenoptera: Halictidae)." Entomologist's Monthly Magazine 155, no. 3 (July 26, 2019): 187–92. http://dx.doi.org/10.31184/m00138908.1553.3944.
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The bee subgenus Ctenaugochlora Eickwort (Halictinae: Augochlorini) is recorded from Ecuador for the first time, and a new species is described and figured. Caenaugochlora (Ctenaugochlora) isaaci sp. n., represents the first confident record of its subgenus in South America and can be distinguished from its closest relatives on the basis of head shape, integumental sculpture, inner metatibial spur morphology, propodeal lamellae, and general coloration. A revised key to the species of Ctenaugochlora is provided.
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Alcalá, Luisa Elena. "[SPA] “…FATIGA, Y CUIDADOS, Y GASTOS, Y REGALOS…”: ASPECTOS DE LA CIRCULACIÓN DE LA ESCULTURA NAPOLITANA A AMBOS LADOS DEL ATLÁNTICO // “…FATIGUE, AND CARE, AND EXPENSES, AND PRESENTS…”: ASPECTS REGARDING THE CIRCULATION OF NEAPOLITAN SCULPTURE ON BOTH SIDES OF THE ATLANTIC." Librosdelacorte.es, no. 5 (May 29, 2017): 163–84. http://dx.doi.org/10.15366/ldc2017.9.m5.009.
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El aumento en el número de estudios sobre la exportación de esculturapolicromada napolitana a España en los últimos años, junto con las noticias que setienen de esta exportación a Hispanoamérica, invitan a considerar este tema bajo laóptica de la historia de la circulación en el marco de la Monarquía Hispánica. Estetrabajo pretende reflexionar sobre lo que nos ofrece una visión conjunta del fenómenoy analiza diversos aspectos, incluyendo: si existió un gusto hispánico por estosobjetos artístico-devocionales; el papel de los eclesiásticos como mediadores en estacirculación; la mecánica de la circulación; y la recepción de las obras importadas ensus contextos locales.PALABRAS CLAVE: escultura policromada napolitana, circulación, procuradoresjesuitas ** Studies on the export of polychromed wood Neapolitan sculpture to Spain haveincreased considerably in the last years. Taken in consideration along with what isknown about Neapolitan sculpture in the Spanish viceroyalties in Latin America, it ispossible to begin to analyze this phenomenon through the lens of circulation in theSpanish monarchy. This article analyzes various aspects that emerge from thiscombined perspective (or connected histories), including: whether such a thing as a“Hispanic” taste for these objects existed; the role of religious figures as mediators inthis circulation; the mechanics of the circulation; and the reception of the importedworks in their local contexts.KEYWORDS: polychromed wood Neapolitan sculpture, circulation, Jesuit procurators
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Sivils, Matthew Wynn. "“Some Dark Imagined Sculptor”: Hawthorne’s Ecogothic Rocks." Nathaniel Hawthorne Review 49, no. 1 (May 2023): 25–42. http://dx.doi.org/10.5325/nathhawtrevi.49.1.0025.
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ABSTRACT Employing an ecogothic approach, this article examines how Nathaniel Hawthorne, in “Roger Malvin’s Burial” and “The Man of Adamant,” portrays an American Gothic landscape scattered with stones that function as agentic entities charged with uncanny purpose. Hawthorne engages in a compelling gothic geology, one in which literal and figurative rocks, as well as a host of other instances of lithic imagery, figure not as static scenery but as dynamic and deeply meaningful participants in the tale. In these and other of Hawthorne’s ecogothic stories, stones variously merge with and emerge from the characters themselves, who become absorbed, at times literally, into the wilderness. Ultimately, the author analyzes Hawthorne’s portrayal of the often intimate and profound relationship between stone and humanity, paying special attention to formulations in which characters not only obsess over stones and what they represent but also come to absorb, mirror, and intersect with their materiality.
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Chunakhova, Lidianna. "The article concentrates on the analysis of speech behavior of the Soviet, American and Russian artist, sculpturer Mikhail Shemyakin. The topicality of the research is explained by the fact that the study of speech behavior of representatives of various p." Philology & Human, no. 3 (September 9, 2022): 134–41. http://dx.doi.org/10.14258/filichel(2022)3-10.
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The article concentrates on the analysis of speech behavior of the Soviet, American and Russian artist, sculpturer Mikhail Shemyakin. The topicality of the research is explained by the fact that the study of speech behavior of representatives of various professional groups is one of the important tasks of linguistic science. The study contributes to the development of a methodology for diagnosing speaker’s personal qualities by their speech, to the theory of studying stereotypical speech behavior of professional groups. The diverse use of communicative strategies and tactics by the artist demonstrates his linguistic competence. Skillful choice of tropes and figures of speech makes the artist’s speech lively and rich, creates bright aesthetic impression and testifies to his highly developed creative thinking, rich experience and the presence of clear life position.
Dissertations / Theses on the topic "American Figure sculpture"
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.Department of Art
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Morse, Evan. "Objectified : a sculptural study /." Norton, Mass. : Wheaton College, 2009. http://hdl.handle.net/10090/8397.
Full textBooks on the topic "American Figure sculpture"
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Trova, Ernest T. Trova: The seated figure series. New York, NY (41 East 57th Street, New York, 10022): ACA Galleries, 1990.
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Boswell, Peter W. Joel Shapiro: Outdoors. Minneapolis, MN: Walker Art Center, 1995.
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Sichel, Kim. Elbert Weinberg, 1928-1991: A retrospective exhibition, September 18-October 31, 1993. [Boston]: Boston University Art Gallery, 1993.
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Neri, Manuel. Manuel Neri: The figure in relief. Hamilton, N.J: Grounds For Sculpture, 2006.
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L, Lenihan Mary, and Los Angeles County Museum of Art., eds. The figure in American sculpture: A question of modernity. Los Angeles, Calif: Los Angeles County Museum of Art in association with University of Washington Press, 1995.
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Jean, Henry, National Sculpture Society (U.S.), Port of History Museum at Penn's Landing., and Drexel University Museum, eds. The National Sculpture Society celebrates the figure: In association with Port of History Museum and Drexel University Museum : Port of History Museum, Penn's Landing, Philadelphia, PA, September 17 to November 15, 1987. New York, NY (15 E. 26 St., New York 10010): N.S.S., 1987.
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Hourdé, Charles-Wesley. In praise of the human form: Arts of Africa, Oceania and America : Josette and Jean-Claude Weill collection. Milan, Italy: 5 continents, 2019.
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Trotman, Bob. Bob Trotman: Inverted utopias. Raleigh, N.C: North Carolina Museum of Art, 2010.
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1890-1970, Laurent Robert, and David and Alfred Smart Museum of Art., eds. Robert Laurent and American figurative sculpture, 1910-1960: Selections from the John N. Stern collection and the David and Alfred Smart Museum of Art. Chicago: The Museum, 1994.
Find full textBook chapters on the topic "American Figure sculpture"
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Flint, Kate. "Is the Indian an American?" In The Transatlantic Indian, 1776-1930, 112–35. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203188.003.0005.
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This chapter describes how the Indian functioned as a figure of American national identity within Britain. By the time of the 1851 Great Exhibition, America was presenting herself as a thoroughly modern country, yet the empty floor spaces within the U.S. section of the exhibition provided plenty of opportunity to assess this claim, as well as to consider the implications of unpopulated—or apparently unpopulated—space. The sculptural figure of the Wounded Indian, which formed part of the American exhibit, was readily seized upon for its ironic potential. In the light of national self-presentation, the chapter asks whether or not the Indian was, in Britain, identified with, or against, American identity in the midcentury, a question that is highly pertinent to the reception of Henry Wadsworth Longfellow's poem Hiawatha (1855). The figure of Hiawatha provides an example, moreover—albeit highly fictionalized and idealized—of the ideals of noble masculinity, something that continues the emphasis on the strongly gendered way in which Native Americans were understood.
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Bugallo Otero, Manuel Ángel, and Cristina Villaverde Ruibal. "El paisaje de Cabanelas. La huella del conde en Laxedo." In La interdisciplina en el estudio de la forma urbana, 109–19. Universidad Autónoma Metropolitana. Unidad Azcapotzalco. División de Ciencias y Artes para el Diseño., 2022. http://dx.doi.org/10.24275/uama.9205.9213.
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Laxedo, located at the foot of the Sierra del Cando, is not simply a geographical space with morphological and functional characteristic -typical of this area at the Galician rural mid-mountain range- but we are also facing a settlement made up of small nuclei that form a single and large polynuclear “village”. To speak of Laxedo is to talk about the figure of Mr. Manuel Barreiro Cabanelas, an illustrious neighbor who emigrated to Brazil. His privileged social status and his large real estate businesses will allow him to be in direct contact with the urban reality of Rio de Janeiro for decades, nourishing himself from the most modern intellectual and technical thinking of the time. Cabanelas, by means of his knowledge, applied between 1900 and 1936, a series of urban planning principles of European and American influence used in the city planning of the Rio de Janeiro -Beaurepaire, Comissão de Melhoramentos, Pereira Passos and Agache. This will change forever his native Laxedo. The study carried out combines an understanding of the urban metabolism of the nucleus through its history and its social dynamics as the effect of emigration. What really gives meaning to the place itself is the balance between traditional rural dynamics, emigration, vernacular architecture, urban influence, and the Masonic symbolism of sculpture linked to the urban layout.
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Vendryes, Margaret Rose. "Becoming Barthé." In Roots of the Black Chicago Renaissance, 183–204. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0010.
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This chapter covers the decisive six years, in Chicago, when sculptor James Richmond Barthé (1901-1989) became an artist and a contributor to racial uplift. His faith in racial integration is reflected in work that merges European tradition with African American bodies. Barthé used the accessibility of naturalism to highlight the dynamism of blackness in his era. In 1927, The Negro in Art Week, Barthé’s professional debut, was organized by the Chicago Woman’s Club, the Chicago Art League and The Art Institute of Chicago. This exhibition introduced Barthé to his peers, competitors, African art, and his mentor Alain Locke. His figure, Tortured Negro, an unprecedented black male nude, was the first of Barthé’s many beautiful and coded sculptures. He invented himself and his art in Chicago.
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Parsell, Diana P. "World’s Fair." In Eliza Scidmore, 47–58. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198869429.003.0004.
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Abstract Eliza Scidmore begins her journalism career in 1876, a decade before American newspapers start hiring female reporters in significant numbers. She breaks into the business at age nineteen—under the pen name “Ruhamah”—by covering the 1876 Centennial Exposition in Philadelphia, America’s first major world’s fair. Her reporting includes her impressions of the Women’s Pavilion and an account of opening-day ceremonies, which President Grant, the emperor of Brazil, and more than 100,000 other people attend. The Centennial signals the coming of America’s industrial age and modern society, with displays including Alexander Graham Bell’s new telephone, a giant copper arm of French sculptor Bartholdi’s Statue of Liberty, the behemoth Corliss engine, and artifacts of Native Americans, whose way of life is being wiped out in Indian wars across the West. Exhibits by Japan, which spark a U.S. wave of “Japonisme,” expose Scidmore to a culture that will figure prominently in her career.
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Meer, Sarah. "Washington’s Napkin." In American Claimants, 130–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812517.003.0006.
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This chapter traces the origins of Nathaniel Hawthorne’s The Marble Faun to his abandoned claimant novel (‘The Ancestral Footstep’), and argues that the novel transfers the inheritance theme to its depiction of American artists in Rome. It suggests an undercurrent of competition in Hawthorne’s depiction of the sculptors, and conflicted feelings about Hiram Powers and William Wetmore Story, particularly their self-chosen exile: conflict expressed in terms of the Yankee type. In Rome, the transatlantic difference that is so often signalled in clothes settles on nudity in statuary, a particular anxiety for Hawthorne. Transatlantic relationships also become triangular, British and American writers bonding in Rome; William Wetmore Story aspires to address American slavery by portraying African figures in classical terms.
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"Malcolm X Rising." In The Art of Remembering, 144–60. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059165-012.
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This essay examines how the abstract form of Barbara Chase-Riboud's (b. 1935) Malcolm X, No. 3 might serve as a monument to an iconic historical figure, one whose likeness has been ingrained in popular memory through the mass reproduction and distribution of powerful photographic imagery. The phenomenological aspects of Chase-Riboud's visual art have long resisted the formula that scholars often rely on to discuss the work of similar artists (e.g., African American, or female, or both), giving the artist an exceptional place among modern abstract sculptors of the past half century.
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Fonseca, Carlos. "Forensic Fictions." In Latin American Culture and the Limits of the Human, 37–55. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0002.
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Taking as its point of departure the contemporary crisis of testimonio and the recent works by Eyal Weizman, who has suggested in his book Mengele’s Skull that we have now entered an era where subjective testimony has been supplanted by object-oriented modes of witnessing, this chapter introduces the category of forensic fictions as a way of categorizing and thinking through recent Latin American literature, art, and film. Analyzing how the figure of the archive and its ruins is represented as well as presented throughout recent Latin American cultural production—in a series of works ranging from Roberto Bolaño’s 2666 all the way to the forensic sculptures of Teresa Margolles—the article explores the possibility of a mode of witnessing that goes beyond the humanist notion of the subjective voice of the witness. In dialogue with contemporary debates concerning post-memory, it proposes that the image of the ruinous archive as a metonym for thinking through the possibility historicity in a world devoid of the foundational myths which had until then functioned as the basis of historical meaning.
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Huber, Hannah L. "“The Most Restless of Mortals”." In Sleep Fictions, 26–58. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045400.003.0002.
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This chapter reads the titular sculptor in Henry James’s 1875 novel Roderick Hudson against American innovators of James’s own generation like Thomas Edison to critique cultural demands for mechanized efficiency and twenty-four-hour activity. Nineteenth-century theories of social degeneration by Francis Galton and George Miller Beard promoted the detrimental effects of industrial and technological advancement on artistic genius. James dramatizes this deterioration through a thematic tension of kinesis and stasis, in which the artist’s restlessness produces only immobile figures and the novel’s rapid motion culminates in untimely death, highlighting a moment in which American culture drove human bodies to collapse. Taking measure of the late nineteenth-century call for efficiency, Roderick Hudson forecasts the dangers of a culture that demands constant action.
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Spiegelman, Willard. "“A Space For Boundless Revery” Varities of Ekphrastic Experience." In How Poets See the World, 112–36. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195174915.003.0005.
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Abstract To write of painting, or the fine arts in general, in a book about description in poetry, seems so natural as to be obligatory. An author risks thematic redundancy and the practical overexposure of already familiar terrain. Of the central poets in this book, Charles Tomlinson is a sometime painter, and the other four have all written poems about looking at pictures. In addition, the theory and practical criticism of ekphrasis have been expanded recently by the work of James Heffernan, John Hollander, W. J. T. Mitchell, Grant Scott, and others, all of whom build on the earlier pioneering studies of Jean Hagstrom and Murray Krieger.1 For these reasons I have limited myself in this chapter to three experiments or subgenres of ekphrasis that have been more or less scanted by the critics above. First, Recoveries, a book-length dramatic monologue by Theodore Weiss, whose speaker is a figure in a painting; second, Irving Feldman’s title sequence from his 1986 collection All of Us Here, about a show of George Segal plastercast sculptures; and last, a sampling of the very few ekphrastic poems about Abstract Expressionist or nonrepresentational painting made by American poets in the past fifty years. In all three cases, visual art promises what Weiss calls “a space for boundless revery,”2 which has tempted all ekphrastic poets since Homer to dream of, through, or within the confines of a visible or imaginary material depiction. That ekphrasis is generally taken as a “verbal representation of visual representation”3 needs some modification when one contemplates, as Weiss does, at a double remove (he imagines himself into the mouth of a figure within a picture); or as Feldman does by meditating.
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Grausam, Daniel. "Alchemical Transformations? Fictions of the Nuclear State after 1989." In Cold War Legacies. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474409483.003.0008.
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James Flint’s novel The Book of Ash (2004) is a book concerned with the toxic legacy of the Cold War and the literary challenge of representing the security state inherited from Thomas Pynchon. The plot concerns Cooper James, a computer programmer employed by the US military at Featherbrooks, an RAF outpost in North Yorkshire, and his search for the truth about his father. The figure of the father is inspired by the real-life American sculptor James Acord (1944–2011), the only private citizen in the world licensed to own and handle high-level radioactive materials. In 1989 Acord moved close to Hanford, site of US plutonium production and the most polluted nuclear site in the US, where he sought to create something like a nuclear Stonehenge as a long-term memorial to the nuclear age, and to develop artistic practices for transmuting radioactive waste into less harmful substances. Acord imagined his own aesthetic practice to be a kind of alchemy, and The Book of Ash is precisely in this same style, making alchemical transformation a literary subject but also a literary technique: it is a radioactive novel in its subject matter and the way it transmutes novelistic style and content over time.
Conference papers on the topic "American Figure sculpture"
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.
Full textAbstract:
In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.