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Journal articles on the topic 'Art ephemeral'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Lawes, Elizabeth, and Vicky Webb. "Ephemera in the art library." Art Libraries Journal 28, no. 2 (2003): 35–39. http://dx.doi.org/10.1017/s0307472200013109.

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Art libraries acquire a large amount of ephemeral material which creates a unique resource on the history of contemporary art. Librarians have to decide what should be retained, how it should be stored, and how the material can best be accessed. Increasingly there is pressure to digitise in order to promote collections, but how effective this process is in terms of ephemeral material remains a real question. A survey of prominent collections in London and New York has helped to inform future plans for the ephemera held by the library at Chelsea College of Art & Design.

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2

Smith, Pamela H., Tianna Helena Uchacz, Sophie Pitman, Tillmann Taape, and Colin Debuiche. "The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe." Renaissance Quarterly 73, no. 1 (2020): 78–131. http://dx.doi.org/10.1017/rqx.2019.496.

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Through a close reading and reconstruction of technical recipes for ephemeral artworks in a manuscript compiled in Toulouse ca. 1580 (BnF MS Fr. 640), we question whether ephemeral art should be treated as a distinct category of art. The illusion and artifice underpinning ephemeral spectacles shared the aims and, frequently, the materials and techniques of art more generally. Our analysis of the manuscript also calls attention to other aspects of art making that reframe consideration of the ephemeral, such as intermediary processes, durability, the theatrical and transformative potential of materials, and the imitation and preservation of lifelikeness.

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3

Teti, Emanuele, Tecla Carlotta Galli, and Pier Luigi Sacco. "Ephemeral Estimation of the Value of Art." Empirical Studies of the Arts 32, no. 1 (2013): 75–92. http://dx.doi.org/10.2190/em.32.1.eov.3.

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4

Purpura, Allyson. "On the Verge: Ephemeral Art Part II." African Arts 43, no. 1 (2010): 12–13. http://dx.doi.org/10.1162/afar.2010.43.1.12.

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Kayzar, Brenda. "Ephemeral Conciliation: Community-Based Art and Redevelopment." Yearbook of the Association of Pacific Coast Geographers 78, no. 1 (2016): 28–46. http://dx.doi.org/10.1353/pcg.2016.0003.

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6

Lira Carmona, José Alejandro. "Alfombrismo: Ephimeral Art Utopia." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 245–58. http://dx.doi.org/10.32891/jps.v5i4.1386.

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The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence. Tapestry ephemeral art temporarily and actively transforms their surroundings. It is in that public space where it is embraced that a dialogue is modelled; a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself. Such artistic intervention allows physical proximity; in a whole overview vision of urban context, design displays Mexican art values and transforms public space. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art. Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.

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Jørgensen. "Illuminating Ephemeral Medieval Agricultural History through Manuscript Art." Agricultural History 89, no. 2 (2015): 186. http://dx.doi.org/10.3098/ah.2015.089.2.186.

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8

McConchie, Jack, and Melanie Rolfe. "Ephemeral Monuments: History and Conservation of Installation Art." Journal of the Institute of Conservation 39, no. 1 (2016): 70–72. http://dx.doi.org/10.1080/19455224.2015.1104142.

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9

Hornbeck, Stephanie E. "A Conservation Conundrum: Ephemeral Art at the National Museum of African Art." African Arts 42, no. 3 (2009): 52–61. http://dx.doi.org/10.1162/afar.2009.42.3.52.

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Sansão Fontes, Adriana, Fernando Espósito, and Sergi Arbusà. "Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar." Revista Prumo 4, no. 7 (2019): 138–51. http://dx.doi.org/10.24168/revistaprumo.v4i7.1131.

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Architecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary art

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11

Woods, Pamela. "Choreographies: tracing the materials of an ephemeral art form." Studies in Theatre and Performance 40, no. 1 (2018): 116–18. http://dx.doi.org/10.1080/14682761.2018.1440491.

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12

Haines, Susan. "Choreographies: Tracing the Materials of an Ephemeral Art Form." Journal of Dance Education 19, no. 1 (2019): 41. http://dx.doi.org/10.1080/15290824.2018.1490883.

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Haines, Susan. "Choreographies: Tracing the Materials of an Ephemeral Art Form." Journal of Dance Education 18, no. 1 (2018): 43–44. http://dx.doi.org/10.1080/15290824.2017.1412685.

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14

Woodward, Robin. "People, Place, Public: The Public Art of Nic Moon." Back Story Journal of New Zealand Art, Media & Design History, no. 4 (September 19, 2018): 19–37. http://dx.doi.org/10.24135/backstory.vi4.3.

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In the realm of public art, New Zealand artist Nic Moon’s practice extends from permanent outdoor sculpture to ephemeral, site-responsive installations and staged public events. Such a range spans the trajectory of contemporary public art, a genre which theorists struggle to define categorically: historical precedents for public art offer no template for the present or for the future. Working in conjunction with mana whenua iwi, local government agencies, art institutions, museums, architects and the community¸ Moon creates large-scale object art as well as temporary and relocatable works, circumstantial installations, public artworks as utilities, and ephemeral art with a short life span. Her public art encompasses a broad spectrum of forms while speaking constantly of human ecology - the interdisciplinary study of relationships between people, our social systems and our environments. It is these relationships that underpin the work of Moon who, in common with new genre public artists internationally, is prepared to work outside the historical framework of public art to engage her audience in socially conscious, political art.

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Wesołowski, Piotr Marek. "Urban acupuncture – ephemeral arrangements of space." BUILDER 284, no. 3 (2021): 44–47. http://dx.doi.org/10.5604/01.3001.0014.7421.

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Development of modern cities, technological progress, reising pace of life, fast-changing fashion and increasing needs of society make the offered urban solutions lose their relevance relatively shortly after their introduction forcing to search for new concepts. In response to those changes, multifunctional, mobile spatial forms are proposed, often with direct possibility of makeing changes. They have been called 'injections' of new ideas and qualities and fall within the definition of 'urban acupuncture'. Usually, the short lifetime of such objects determines cheap, easy to apply solutions. These are ephemeral forms: temporary, short-lived, corresponding to the needs of a specific place at a specific moment. Temporary actions are a form of provocation, it forces you to look at a known place from a different perspective. These types of interventions are aimed to improve or suggesting of the necessity to improve the quality of existing public space, architecture and its health. Text is based on analysis of documents: available scientific studies, documented examples of architectural and artistic solutions, as well as comments and observations relating to these realizations. Submitting this topic to theoretical reflection is aimed to draw attention to selected issues linking architecture with art in the context of 'city acupuncture', understood as spatial realizations and intervention projects in 'sick' areas of architecture. The text discusses the characteristics of temporary architecture and art in public spaces in the context of revitalization activities.

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SENN, DAN. "Pendulum-based instruments, percussive video, sound art, and the permanence of ephemeral public art." Organised Sound 2, no. 3 (1997): 151–63. http://dx.doi.org/10.1017/s1355771898009017.

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In this article, and within the context of sound art as a basis for artistic freedom in experimental music and art, the development of pendulum-based sculptural instruments and an improvisational form of video called ‘percussive video’ are described. Methods used to produce time-based public art events are also outlined, and their effectiveness in directing social change at the local level is discussed.

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17

Reed, Marcia. "Ostrich ballets and fish floats: the ephemeral art of festivals." Art Libraries Journal 27, no. 2 (2002): 11–15. http://dx.doi.org/10.1017/s0307472200012621.

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During the Renaissance and Baroque periods temporary festival monuments, architectural works, fireworks, and table pieces were designed for the time of celebrations and were destroyed or torn down at the ceremony’s end. Memories of these works live on in the books and prints published as historic accounts, souvenirs, and reports for those at a distance who were unable to attend. Now held in library and archival collections, these works on paper are indispensable sources for researchers who seek to describe and to interpret the transitory and disposable, yet extraordinary, art of festivals.

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18

Malaquais, Dominique. "The Dripping Man: Art, the Ephemeral, and the Urban Soul." African Arts 42, no. 3 (2009): 28–41. http://dx.doi.org/10.1162/afar.2009.42.3.28.

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19

Petrova, Miroslava. "Design for Ephemerality – Idiosyncrasy and Challenges." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 259–72. http://dx.doi.org/10.18844/prosoc.v4i11.2882.

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Lying at the intersection between architecture, art and design, ephemeral spaces are intentionally developed to exist only for a short period of time, to be destroyed or cease to exist at a given moment. The specific nature of temporary environments requires a different design approach in regard to concept development, choice of materials, constructive solutions, visual perception and spatial experience.The aim of the research is to explore the potential of ephemeral spaces for redefining the architectural boundaries and their heuristic significance for the future development of the design field. Following this objective, the factors for the proliferation of these spaces are studied and a typology in terms of their contextual ephemerality is developed. The research method is based on the structural and semiotic analysis of purposefully selected archetypal examples through which the key characteristics distinguishing ephemeral spaces from permanent ones are discovered. In conclusion, implications on how to teach design students to deal with the inherent dialectics in ephemeral spaces and how to design for ephemerality are discussed. Keywords: Ephemeral spaces, spatial experience, design education.

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20

Saisto, Anni, and T.E.H.D.A.S. "D-ark—a Shared Digital Performance Art Archive with a Modular Metadata Schema." Heritage 2, no. 1 (2019): 976–87. http://dx.doi.org/10.3390/heritage2010064.

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Digital objects and documentation of intangible cultural heritage pose new challenges for most museums, which have a long history in preserving tangible objects. Art museums, however, have been working with digital objects for some decades, as they have been collecting media art. Yet, performance art as an ephemeral art form has been a challenge for art museums’ collection work. This article presents a method for archiving digital and audiovisual performance documentation. D-ark (digital performance art archive) is based on a joint effort by the artist community T.E.H.D.A.S., which has created the archive, and Pori Art Museum, which is committed to preserving the archive for the future. The aim is to produce sufficient standardized metadata to support this objective. This article addresses the problems of documenting an ephemeral art form and copyright issues pertaining to both the artist and the videographer. The concept of D-ark includes a modular metadata schema that makes a distinction between descriptive, administrative, and technical metadata. The model is designed to be flexible—new modules of objects or technical metadata can be added in the future, if necessary. D-ark metadata schema deploys the FRBRoo, Premis, VideoMD, and AudioMD standards. Administrative and technical metadata modules abide by Finnish digital preservation specifications.

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21

Wark, Jayne. "The event that got away and how to catch it (researching ephemeral art)." Art Libraries Journal 27, no. 2 (2002): 18–19. http://dx.doi.org/10.1017/s0307472200012645.

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As the underpinnings of High Modernism were everywhere being called into question in the 1950s and 1960s, the art world endeavoured to reinvent itself in new ways. For example, the view that meaning in art need not be embodied in static, timeless objects of supposedly universal significance was challenged by the idea of art as time-based, context-specific, or ephemeral. For artists, these changes offered a way to reformulate the art world system in accordance with their vision of what mattered, and thus to diminish the authority of big museums, commercial galleries, and glossy trade magazines, whose main function seemed to be the promotion of art not as a mode of critical inquiry, but as a luxury product for ‘Establishment’ elites.

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22

Vass-Rhee, Freya. "Jacky Lansley, Choreographies: Tracing the Materials of an Ephemeral Art Form." Dance Research 36, no. 2 (2018): 274–75. http://dx.doi.org/10.3366/drs.2018.0245.

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23

Duncan, Sumitra, and Karl-Rainer Blumenthal. "A collaborative model for web archiving ephemeral art resources at the New York Art Resources Consortium (NYARC)." Art Libraries Journal 41, no. 2 (2016): 116–26. http://dx.doi.org/10.1017/alj.2016.12.

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The vast expanse and volatility of art ephemera based on the World Wide Web pose significant threats to the completeness of the art historical record. Towards its mission to enhance the resources available for current and future research through collaboration, the New York Art Resources Consortium (NYARC) collects, preserves, and provides access to art ephemera born in digital formats native to the web. It leverages its member institutions’ collecting strengths and resources to establish a permanently sustainable web archiving programme. This article introduces NYARC's web archiving practices at the principal stages in a typical web archive's lifecycle, describes how each benefit from collaboration among its member libraries and external programme partners, and identifies opportunities for further art libraries and consortia to participate in this important effort to preserve at-risk art historical resources.

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24

McLean, Kate. "Smellmap: Amsterdam—Olfactory Art and Smell Visualization." Leonardo 50, no. 1 (2017): 92–93. http://dx.doi.org/10.1162/leon_a_01225.

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Creating a smellmap of a city is a subjective, collaborative exercise. During a series of smellwalks local participants foreground their sense of smell and name perceived aromas emanating from the urban smell-scape. Data and conversations arising from the walks are “analyzed,” and a representative smellscape of the city is visualized as a map. Scents—the nasal stimuli and a catalyst for discussion—accompany the map. As a map of what we do not know, indications of geolocated smell possibilities and ephemeral scents combine visualization with the olfactory to place the emphasis on human interaction with sensory data to create meaning and an understanding of place.

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Pelzer, Birgit. "The Paradigm of Deduction." October 149 (July 2014): 199–201. http://dx.doi.org/10.1162/octo_a_00191.

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If called upon to define Michael Asher's work here, I would have trouble succinctly describing the singularity of his place in the art scene of his time. His work, both ephemeral and without commercial production, rigorously resists standard formulas and recognizable labels.

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26

Layton-Jones, Katy. "Re-presenting Manchester: printed and ephemeral images of the Art-Treasures Exhibition." Bulletin of the John Rylands Library 87, no. 2 (2005): 123–42. http://dx.doi.org/10.7227/bjrl.87.2.9.

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27

Lokko, Lesley. "The art of public space: Curating and re-imagining the ephemeral city." de arte 51, no. 1 (2016): 133–35. http://dx.doi.org/10.1080/00043389.2016.1177254.

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Pruitt, Jennifer. "Monumentalizing the ephemeral in Cairo's revolutionary street art: the case of Ganzeer." World Art 8, no. 2 (2017): 137–59. http://dx.doi.org/10.1080/21500894.2017.1398182.

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Davidson, Ron. "The art of public space: curating and re-imagining the ephemeral city." Social & Cultural Geography 18, no. 8 (2017): 1196–97. http://dx.doi.org/10.1080/14649365.2017.1349035.

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30

Adams, Sarah. "People Have Three Eyes: Ephemeral Art and the Archive in Southeastern Nigeria." Res: Anthropology and aesthetics 48 (September 2005): 11–32. http://dx.doi.org/10.1086/resv48n1ms20167674.

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31

UMATHUM, SANDRA. "Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily." Theatre Research International 34, no. 2 (2009): 194–99. http://dx.doi.org/10.1017/s0307883309004556.

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This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.

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Tucci, Pier Luigi. "EPHEMERAL ARCHITECTURE AND ROMANITÀ IN THE FASCIST ERA: A ROYAL-IMPERIAL TRIBUNE FOR HITLER AND MUSSOLINI IN ROME." Papers of the British School at Rome 88 (June 4, 2020): 297–341. http://dx.doi.org/10.1017/s0068246220000069.

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Ephemeral architecture was the antithesis of the permanent buildings typical of the ‘Fascism of stone’, and yet many architects took advantage of this paradox to create an imaginary Rome. A widespread use of ephemeral structures was made around 1938, during the Mostra Augustea della Romanità and Hitler's state visit to Italy, in order to support a political programme that marked the totalitarian turn in the Fascist regime after the foundation of the empire and aimed at strengthening the alliance between Fascist Italy and Nazi Germany. Relying on methodologies of particular relevance to Roman art history and on various sources unknown to date, this paper investigates the relationships between ephemeral architecture and romanità. The case study is a monumental tribune built in via dei Trionfi that inevitably suffered a damnatio memoriae: a combination of classicizing and futuristic decorations, it looked back at ancient Rome and, at the same time, highlighted the Fascist regime's aspirations to might and modernity.

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Ioannis, Michaloudis, and Matthew van Roden. "Spirited Skies project: Silica Aerogel in Art and Design Applications." MRS Advances 2, no. 57 (2017): 3491–97. http://dx.doi.org/10.1557/adv.2017.349.

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ABSTRACTThis comparative study on two interdisciplinary artistic practices aims to improve public perception of scientific research and to facilitate informed decision making regarding climate change and how it affects everyday life. It also hopes to break down (or bridge?) the isolated silos of Art and Science, by emphasizing the role of imagination as a tool of creation and innovation in the new economies of the 21st century. Notwithstanding the ephemeral appearance of the super-light nanomaterial silica aerogel used by Ioannis Michaloudis (Michalous) in his sculptures, the longevity of some of his art seems guaranteed: two works, Bottled Nymph and Noli Me Tangere have been selected to be rocketed to the moon as part of the MoonArk sculpture. The sculptures will be aboard a Space X Falcon 9 rocket launched in 2018 from Cape Kennedy in an Astrobotic Robotic Lunar Mission, and will remain on the moon, potentially, for billions of years. Spirited Skies is a project where we experience by touching other forms of longevity of the ephemeral silica aerogel. Filling double jacketed borosilicate glass vials with aerogel skies and clouds in a unique way, Michaloudis transforms every day’s life trivial objects into art. And whilst Michaloudis is seeding the heavens and landing his artwork onto the moon, a Masters student under his supervision, Matthew van Roden is waxing and waning back here on earth. Van Roden’s material of choice is wax, which he pushes through various artistic disciplines to extrapolate its flesh like qualities.

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Bell, Susan E. "Claiming justice: Knowing mental illness in the public art of Anna Schuleit’s ‘Habeas Corpus’ and ‘Bloom’." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 15, no. 3 (2011): 313–34. http://dx.doi.org/10.1177/1363459310397979.

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This study investigates two public art performances by artist Anna Schuleit in the early 2000s commemorating the life and history of two state hospitals (‘asylums’) in Massachusetts and the people who built, worked, and were patients in them. Public art is made for and sited in the public domain, outside, freely accessible, frequently collaborative, and often ephemeral. This study addresses a series of questions: What can public art ‘do’ for understanding mental illness? What use is a public art project for those living with (and caring for those who live with) mental illness? How can a public work of art sustain and portray meaning in an expressive way, open up a shared discursive space, and demand witness through embodiment?

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Bartram, Angela. "When the Image Takes over the Real: Holography and Its Potential within Acts of Visual Documentation." Arts 9, no. 1 (2020): 24. http://dx.doi.org/10.3390/arts9010024.

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In Camera Lucida, Roland Barthes discusses the capacity of the photographic image to represent “flat death”. Documentation of an event, happening, or time is traditionally reliant on the photographic to determine its ephemeral existence and to secure its legacy within history. However, the traditional photographic document is often unsuitable to capture the real essence and experience of the artwork in situ. The hologram, with its potential to offer a three-dimensional viewpoint, suggests a desirable solution. However, there are issues concerning how this type of photographic document successfully functions within an art context. Attitudes to methods necessary for artistic production, and holography’s place within the process, are responsible for this problem. The seductive qualities of holography may be attributable to any failure that ensues, but, if used precisely, the process can be effective to create a document for ephemeral art. The failures and successes of the hologram to be reliable as a document of experience are discussed in this article, together with a suggestion of how it might undergo a transformation and reactivation to become an artwork itself.

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Cubitt, Sean. "The ephemeral future of beauty: art, amateurs and corporations in the 21st century." Futures 32, no. 1 (2000): 55–61. http://dx.doi.org/10.1016/s0016-3287(99)00066-x.

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Soraluze, Ioseba I., Yu-chun Chen, and Chien-hua Lu. "Conservation of ephemeral art: restoring banana skins in works by Lo Yi-chun." Studies in Conservation 61, sup2 (2016): 332–33. http://dx.doi.org/10.1080/00393630.2016.1184050.

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Murphy, Edward. "Ephemeral histories: public art, politics, and the struggle for the streets in Chile." Planning Perspectives 34, no. 5 (2019): 934–36. http://dx.doi.org/10.1080/02665433.2019.1644848.

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Eichberger, D. H. "The Tableau Vivant —: an Ephemeral Art Form in Burgundian Civic Festivities." Parergon 6, no. 2 (1988): 37–64. http://dx.doi.org/10.1353/pgn.1988.0003.

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Rinehart, Richard. "Queering New Media Art : Histories & Asking Questions about Nothing." Media-N 14, no. 1 (2018): 78–80. http://dx.doi.org/10.21900/j.median.v14i1.59.

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Not rooted in a traditional culture or ancestral homeland, Queerness constitutes ephemeral cultures, continually reinvented and reimagined. Queerness is under constant threat of erasure from cultural amnesia and political malice. Academia and the art world have responded to this erasure with alternately heroic and halting efforts. This paper suggests ways in which this erasure manifests, from historic forces to contemporary discourses. The author attempts to assess various responses to queer erasure in the overlapping enclaves of new media art comprised of artists, academics, writers, and curators. Lastly, this paper will consider how new media art inflects or reframes ongoing conversations around queer social erasure and how artists and art historians work against the forces of nothingness.

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Baker, George. "The Artwork Caught by the Tail." October 97 (July 2001): 51–90. http://dx.doi.org/10.1162/octo.2001.97.1.51.

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If it were married to logic, art would be living in incest, engulfing, swallowing its own tail.… —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death…. To death, to death, to death. The only thing that doesn't die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920

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Shah, Chirag. "Mining Contextual Information for Ephemeral Digital Video Preservation." International Journal of Digital Curation 4, no. 1 (2009): 175–92. http://dx.doi.org/10.2218/ijdc.v4i1.87.

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For centuries the archival community has understood and practiced the art of adding contextual information while preserving an artifact. The question now is how these practices can be transferred to the digital domain. With the growing expansion of production and consumption of digital objects (documents, audio, video, etc.) it has become essential to identify and study issues related to their representation. A curator in the digital realm may be said to have the same responsibilities as one in a traditional archival domain. However, with the mass production and spread of digital objects, it may be difficult to do all the work manually. In the present article this problem is considered in the area of digital video preservation. We show how this problem can be formulated and propose a framework for capturing contextual information for ephemeral digital video preservation. This proposal is realized in a system called ContextMiner, which allows us to cater to a digital curator's needs with its four components: digital video curation, collection visualization, browsing interfaces, and video harvesting and monitoring. While the issues and systems described here are geared toward digital videos, they can easily be applied to other kinds of digital objects.

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Scheible, Jürgen, and Timo Ojala. "MobiSpray: Mobile Phone as Virtual Spray Can for Painting BIG Anytime Anywhere on Anything." Leonardo 42, no. 4 (2009): 332–41. http://dx.doi.org/10.1162/leon.2009.42.4.332.

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This paper presents MobiSpray, a novel interactive art tool for creating ubiquitous ephemeral digital art. The mobile phone is employed as a virtual spray can to spray dabs of digital paint onto the physical environment via large-scale projections. The gesture-based control of the mobile phone provides a natural pointing mechanism for the virtual spray can. Experiences from extensive field use around the world testify in favor of a successful design. Most importantly, MobiSpray liberates and empowers the artist to change the environment via large-scale artistic expressions.

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Rodgers, Christine Love. "New initiatives to solve old problems: collecting exhibition catalogues at the National Art Library." Art Libraries Journal 24, no. 2 (1999): 8–11. http://dx.doi.org/10.1017/s0307472200019416.

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Exhibition catalogues are a key resource for art and design research, but smaller and more ephemeral catalogues are difficult for art librarians to collect. In the late 1980s and early 1990s a period of interest in the UK in the problems of collecting and cataloguing exhibition catalogues sparked off research into fresh approaches to the problem. In line with the resulting recommendations the National Art Library, at the Victoria & Albert Museum in London, has developed two key initiatives. These are the Exhibition Catalogues Programme and a joint project with the British Library to increase access to smaller exhibition catalogues. Both are showing clear benefits for national access to published exhibition documentation.

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Bastos, Fernando Loureiro. "LEGALIMPLICATIONS OF STREET ART AS A ‘DEMOCRATIZED’/’OPEN’ FORM OF ART." Revista Opinião Jurídica (Fortaleza) 18, no. 28 (2020): 210. http://dx.doi.org/10.12662/2447-6641oj.v18i28.p210-230.2020.

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The prestige of street art as an artistic expression has increased year after year. The analysis of its legal implications must take into account the difficulties in reaching a general operative concept of street art and the need to legally frame the creation, preservation and transaction of street art productions. Since the legal concept is not equivalent to the theoretical concept or the history of art, each State and even each municipality can create their own legal concepts, acting in accordance with these specific concepts in order to control production, to punish execution as vandalism or, in contrast, to protect works produced as part of their cultural heritage. Although street art is created in and for open spaces, usually as an ephemeral art, the commercial interest in street art productions raises questions of due diligence during its transaction, such as those related to ownership, authenticity and even provenance. As an expression of an artistic movement started about half a century ago, can street art works be equated with “traditional” works of art (such as “goods” or “merchandises”), being subject to ownership, commercial sale and copyright, or must they be appreciated as artifacts that can be preserved as part of the cultural heritage or, alternatively, starting from the specific artistic and creative intent of the artist, be understood as a type of works of art that require the creation of new legal categories and forms of understanding its meaning?

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STEPHENSON, JOHN. "DINING AS SPECTACLE IN LATE ROMAN HOUSES." Bulletin of the Institute of Classical Studies 59, no. 1 (2016): 54–71. http://dx.doi.org/10.1111/j.2041-5370.2016.12019.x.

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Abstract The elements of visual culture preserved in late Roman houses confirm an intense interest in dramatic visual display. This study employs an interpretive lens of spectacle to examine a new form of banquet space amd furnishings in the period, as well as a new style of ‘dinner-theatre’ they served. By considering ancient art as inseparable from active contexts and ephemeral events, a more sophisticated understanding of a society's self-definition through art emerges. Rather than being epiphenomenal to the poliltical culture of late antiquity, spectacle is argued to be central to the creation and contestation of power structures: performance is politics.

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Simpson, Pamela H. "Butter Sculpture: The History of an Unconventional Medium." Sculpture Review 68, no. 4 (2019): 40–59. http://dx.doi.org/10.1177/0747528420901917.

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With its roots in ancient food molds and table art for Renaissance banquets, butter sculpture in the United States debuted during the centennial and flourished in the first quarter of the twentieth century. As the dairy industry moved from farm to regional cooperative creameries and eventually to national brands, butter sculpture appeared at fairs and expositions. Both amateur and professional sculptors used this unusual medium for busts and portraits, dairy-related subjects, and models of buildings. The ephemeral nature of the medium and the novelty of food as art drew crowds to exhibits advertising butter as the natural, healthy alternative to oleomargarine.

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Kromholz, Sophie C. "Lost in the Moment: Ephemeral Art as a Creative Strategy to Explore the Anthropocene." Ekphrasis. Images, Cinema, Theory, Media 24, no. 2 (2020): 193–207. http://dx.doi.org/10.24193/ekphrasis.24.10.

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Gralińska-Toborek, Agnieszka. "Dual Place of Street Art – the City vs the Internet." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 99–109. http://dx.doi.org/10.18778/0208-6107.30.07.

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Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.

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Türeli, Ipek, and Meltem Al. "Walking in the Periphery: Activist Art and Urban Resistance to Neoliberalism in Istanbul." Review of Middle East Studies 52, no. 2 (2018): 310–33. http://dx.doi.org/10.1017/rms.2018.96.

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In 2013, the Gezi Park protests created a wave of optimism in Istanbul – until it was brutally suppressed by the government. Although the ephemeral movement ended without having achieved its immediate goals, it continues to have ripple effects on the public culture of Istanbul. The ruling party, for example, has emulated the forms and formats of performance that emerged during the protests in order to mobilize its own support base. In a post-Gezi Istanbul, however, the occupation of public spaces in protest of the government has become nearly impossible, rendering alternative artistic and activist practices all the more important.

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