Relevant bibliographies by topics / Glass sculpture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Glass sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Glass sculpture"

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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (2021): 589–604. http://dx.doi.org/10.5209/aris.69159.

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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taki
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BURGANOVA, M. A. "Glass sculpture." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 3-1 (2022): 51–61. http://dx.doi.org/10.37485/1997-4663_2022_3_1_51_61.

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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.

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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation
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Welte, Sandrine. "Reflecting Picasso in Glass." Arts 13, no. 1 (2024): 26. http://dx.doi.org/10.3390/arts13010026.

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Whereas Picasso’s work in ceramics, wood and bronze is rather well known, the body of his sculptures in glass remains an object of little research. In fact, as a thorough analysis reveals, they rarely find mention in publications or catalogues on Picasso and seldom are included in exhibitions or retrospectives on the great Spanish artist. This may on the one hand be attributed to a still prevailing perception of glass as a medium for industrial, functional or everyday purposes—hence discounting the material in terms of artistic output—while on the other, to controversies of authorship, related
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Knotek, V., J. Červinka, and Z. Křenková. "Survey and restoration of outdoor glass reinforced polyester sculptures." Koroze a ochrana materialu 63, no. 3 (2019): 130–37. http://dx.doi.org/10.2478/kom-2019-0017.

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Abstract The beginning of the use of polyester resins for artistic work date back to the late 1950s. Initially, resins were supposed to temporarily replace and imitate traditional but more expensive sculptural materials (stone, bronze). Later, original, especially fiberglass works were created, where the laminate formed a shell connected to the internal supporting steel structure. Until now, only part of the exterior works of art made of polyester resins have been survived. Although polyester resins are considered to have good weather resistance, most exterior sculptures exhibit more or less s
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Koniuk, Andrii, Nadia Polshchikova, Alexander Vasylenko, and Mikhail Stashenko. "GLASS IN ARCHITECTURE AND SCULPTURE." Problems of theory and history of architecture of Ukraine, no. 22 (July 2022): 6–13. http://dx.doi.org/10.31650/2519-4208-2022-22-6-13.

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Atieno, Onyiso Sachbear, Matthews Muoki, and Kamau Wango. "Creation of Indoor Sculptures Using Metal and Glass Inspired by Selected Swahili Kanga Inscriptions." East African Journal of Arts and Social Sciences 7, no. 1 (2024): 74–95. http://dx.doi.org/10.37284/eajass.7.1.1782.

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The ‘Kanga’, a colourful printed cloth wrapper, is one of Kenya’s coastal region’s most well-known cultural items and has deep cultural, historic and economic significance. In their creation, the Kangas contain inscriptions on them that propagate sayings, proverbs, and pithy phrases in Kiswahili. The inscriptions are located on the lower border and are frequently surrounded and highlighted by various patterns or background colours. The Swahili inscriptions not only impart specific messages to the viewer but are also used to convey feelings, thoughts, and inspire. Despite sculptures being tradi
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KRIVOLAPOVA, G. A., and A. N. KRIVOLAPOV. "Plastic properties of miniature glass sculpture." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 1-1 (2022): 288–96. http://dx.doi.org/10.37485/1997-4663_2022_1_1_288_296.

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Ferriman, Annabel. "Medical research charity unveils glass sculpture." BMJ 330, no. 7493 (2005): 691.5. http://dx.doi.org/10.1136/bmj.330.7493.691-d.

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Guo, Jianyong. "Contemporary inside painting glass sculptures." Matériaux & Techniques 107, no. 3 (2019): 306. http://dx.doi.org/10.1051/mattech/2018062.

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This author applied personal practice in order to develop and subsequently demonstrate the feasibility of applying the techniques of inside painting of traditional Chinese snuff bottles, so as to create a body of works demonstrating totally different effects and styles. The techniques focus on free-hand blowing in this section. This new form of inside painting shown could be applied to contemporary glass sculpture making and therefore reduce, or even solve, the monopoly of traditional style.
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Dissertations / Theses on the topic "Glass sculpture"

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Cullen, Keith. "Personal vessels /." Online version of thesis, 1987. http://hdl.handle.net/1850/10312.

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Burke, Molly Jo. "Explorations in Glass, Sculpture and Art." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253589776.

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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.

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Reichhardt, Robert. "Nexus /." Online version of thesis, 1988. http://hdl.handle.net/1850/11528.

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Traylor, Pamina. "Defense mechanisms /." Online version of thesis, 1995. http://hdl.handle.net/1850/12151.

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Chung, Hweawon. "The expression of emotions /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2476.

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Bialek, Goshka. "Inner space in sculpture : the use of metal inclusions in glass." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/8738/.

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The focus of this research was to investigate methods of combining two materials, metal and glass, specifically concentrating on the application of a variety of metals in glass, with different glass techniques, for creative use. Metal inclusions in glass constitute an element in the further development of my artistic practice. However, it was found that the palette of metals used by artists was restricted. This is because the present methods available for artists have demonstrated many limitations and uncertainty of results. Therefore, this research aims to explore the solutions to combining m
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Frellsen, Ann. "Pate de verre process /." Online version of thesis, 1987. http://hdl.handle.net/1850/10315.

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Bae, Jeon Ah. "Reincarnating the micro universe /." Online version of thesis, 2008. http://hdl.handle.net/1850/7792.

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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.

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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Books on the topic "Glass sculpture"

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Fahrner, Eva-Maria. Ann Wolff: Persona : contemporary glass = Zeitgenössisches Glas. Arnoldsche, 2014.

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K, Frantz Susanne, and Corning Museum of Glass, eds. Seven glass sculptures. Corning Incorporated, 1993.

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Tré, Howard Ben. Howard Ben Tré: Recent sculpture. Marsh Art Gallery, University of Richmond, 1995.

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Netherlands), Gorcums Museum (Gorinchem, ed. Glass 4ever: Beeldend glas van nu. Gorcums Museum, 2017.

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Sumukha, Gallery, ed. The transformation: Glass sculptures. Gallery Sumukha, 2004.

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GlazenHuis. UK glass. GlazenHuis, 2014.

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Ebeltoft, Glasmuseum. William Morris: [fortid, nutid, fremtid = past, present, future : Glasmuseet Ebeltoft, 12.04.2003-14.09.2003. Edited by Brendstrup Dagmar and Blach Sandra. Glasmuseet Ebeltoft, 2003.

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Arnqvist, Eva. Glas är massa i rörelse: Glass is moving mass. Konstfrämjandet, 2017.

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Wood, John. JBWood - The CCS Years: Cast glass sculpture, 2002-2006. JB Wood, 2006.

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Jessica, Nicewarner, and Via Marie 1952-, eds. A unity of opposites: Recent work by Michael Taylor. Memorial Art Gallery of the University of Rochester, 2009.

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Book chapters on the topic "Glass sculpture"

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Faltermeier, Robert B. "Glass." In An Easy Guide to Care for Sculpture and Antique Art Collections. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_2.

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Brown, Richard H. "Losing the Ground." In Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.003.0004.

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This chapter centers on the relationships between acoustic projection and cinematic space. I start with Cage’s rhetoric on the medium of magnetic tape as the second transformation of sound materiality. Building on Julia Robinson’s notion of “symbolic investiture,” I survey the divided interpretations of Cage’s platform between musicologists that decode his music according to style analysis that established a compositional logic for his move to indeterminacy and the larger debate among art historians on the split between Neo-Avant-Garde and Abstract Expressionist aesthetics. I argue that Cage’s interaction with film and filmmakers provides a meeting ground for these debates within cinematic space in two films: Cage’s score for the Herbert Matter documentary on sculptor Alexander Calder and colleague Morton Feldman’s score for the Hans Namuth and Paul Falkenberg documentary on Abstract Expressionist painter Jackson Pollock. Both artists saw these commissions as opportunities to formalize connections between their compositional approaches to sound and the visual approach to space, kinetic movement, and ground revealed in the time-based poetics of the moving image. Last, I examine a film collaboration I discovered with the sculptor Richard Lippold that documented his monumental wire sculpture, “The Sun,” in which Cage and Lippold applied chance procedures to the editing process. Lippold’s commission came about as a result of his split with the so-called Irascible 18 collective of New York artists, and the history of its commission and reception reflects both an ideological divide on the materiality of sculpture and larger postwar McCarthy-era politics of passivity and resistance.
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Nichols, Kate. "Art and commodity: sculpture under glass at the Crystal Palace." In Sculpture and the Vitrine. Routledge, 2017. http://dx.doi.org/10.4324/9781315088235-2.

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O’connell, Michael. "Introduction." In The Idolatrous Eye. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195132052.003.0001.

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Abstract The personal origin of my interest in the issues explored in this book goes back about a decade and a half to a moment of wonder that the sculpture lining the walls of the fourteenth-century Lady Chapel of Ely Cathedral had been systematically defaced by iconoclastic hammers. While enough of the intricate foliage decoration and the undulating pattern of nodding ogee arches is left to suggest something of the magnificence the chapel once possessed, the heads and faces of the figures in sculpted scenes of the life and miracles of the Virgin are mutilated. The grace of what remains of the figures and their drapery indicates a high level of sculptural accomplishment, but among the hundreds of figures, not one now remains whole and undamaged (facing page, top).1 The stained glass of the chapel is gone as well, and the overall impression is a vast, almost bare interior space—the forty-six-foot span is one of the widest stone vaults in England—that has been drained of the warmth and color it once possessed (facing page, bottom). I had, of course, seen other evidence of iconoclasm dating from the reign of Edward VI, but the stark nature of the damage to this chapel struck me forcibly. What, I wondered, made the representational sculpture and glass adorning the chapel so abhorrent in the late 1540s that it had to be defaced? I had around the same time been fascinated by what seemed to me the curious use of the term “idolatry” in tracts attacking theater in the late 1570s and, early 1580s.
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Jensen, Martine Hoff. "Touching the Unknown: On Marte Johnslien’s Ceramic Presences." In Ung Uro. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.127.ch9.

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Touching is never a unidirectional event; what you touch will always touch you back. ‘How can the way we relate to the world around us take shape as sculpture?’ Norwegian artist Marte Johnslien asks. In the 2018 exhibition A Square on a Sphere at Lillehammer Kunstmuseum (Art Museum), Johnslien showed, amongst other works, a sculpture consisting of ceramic shapes stacked on top of each other with glass plates between. In this work, Johnslien explored a new technique of reinforcing ceramics in which she put steel mesh underneath the clay. By strengthening the thin ceramic shapes with iron, Johnslien changed the material and thus changed the texture. This chapter elaborates on how artistic presence can provide a way to access the glitch between the visible and the invisible, by exploring the ceramic works by Johnslien in light of Barad’s essay on touching, esotericist Pyotr Demianovich Ouspensky’s view on the fourth dimension, Eastern philosophy, and relativity theory.
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"Tamarind, Metabolism, and Rest." In Between Shadows and Noise. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059097-006.

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The chapter examines representations of different regimes of racialized labor through an analytic of metabolism. It presents a reading of Titus Kaphar's A Pillow for Fragile Fictions (2016), a sculpture which deconstructs the myth of George Washington by positioning his bust on its side and filling it with rum, tamarind, molasses, and lime. The chapter argues that the presence of Tom, an enslaved man whom Washington exchanged for the aforementioned West Indian products, can be found in the condensation on the glass—a visibilization of his labor. Looking to tamarind, however, a tree crop unaffiliated with sugar's economy of extraction, enables us to sense a shadow economy of rest, a balm for neoliberalism's own efforts to invisibilize racialized labor with deadly consequences.
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Hodgkinson, Anna K. "Malqata: Manufacturing at a Ceremonial Settlement." In Technology and Urbanism in Late Bronze Age Egypt. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803591.003.0012.

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The eighteenth-dynasty royal city of Malqata has been selected, since much evidence has been discovered here, particularly with regard to faience-production and glass-working, and there is also limited evidence of metalworking and sculpture-production. The settlement itself dates to the reign of Amenhotep III, and more specifically to his thirtieth regal year, when it was established to celebrate the king’s first ḥb-sd (Sed-) festival, the jubilee and rejuvenation celebration of his thirty years of reign. He celebrated a total of three festivals, the other two taking place in his thirty-fourth and thirty-eighth regal years. Due to the somewhat patchy nature of the early excavations and survey work done at Malqata, especially between 1888 and 1971, no genuine spatial analysis, such as was done for the material from Amarna or Gurob, has been possible for Malqata. The early excavation reports, for instance that by Tytus, or those by Winlock for the Metropolitan Museum missions, simply state in a matter-of-fact way that they located the remains of glass factories in, for example, the South Village. They usually continue to list some of the artefacts that were found, which would indicate the presence of glass-working and faience-manufacture in the area, but they do not describe these objects in any detail, and nor do they indicate where—within the large area covered by the South Village—they were found. However, the author has had the opportunity to study the unpublished archive material from the early excavations at Malqata by the Metropolitan Museum of Art, New York, which took place during the early years of the last century. The excavation diaries kept in these archives revealed no detailed information as to more precise locations or quantities of finds. They did, however, make possible a better understanding of the origins of these interpretations, and the sample of relevant artefacts examined made possible further identification and clarification of their nature. In addition, the author was able to access some of the objects relevant to glass-working and faience-production from Malqata at the Brooklyn Museum and was furthermore given permission to study some of the unpublished site reports, plans, and finds lists from the University Museum of Pennsylvania mission, which took place between 1971 and 1977.
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Fantoni, Roberta, Massimiliano Guarneri, Massimo Francucci, et al. "Digital Imaging and Related Remote Diagnostics: New Tools to Support, Safeguard and Address the Conservation of Cultural Heritage." In NATO Science for Peace and Security Series - E: Human and Societal Dynamics. IOS Press, 2021. http://dx.doi.org/10.3233/nhsdp210034.

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Cultural Heritage objects located in turbulent areas with a significant risk of terrorist attacks or inside a war zone are at risk of suffering damages similar to those in scenarios of severe seismic events, which are associated with partial or total building collapse and the subsequent need for monitoring, consolidation and successive reconstruction. To this end the availability of digital data collected by optical and spectroscopic laser scanners before the catastrophic event and stored as digital high resolution 2D and 3D maps can be a unique valuable support for future reconstruction. Conversely, continuous fiber glass monitoring may ensure reference data to evaluate the event impact and aid in planning consolidation. Examples of successful application of high-performance ENEA laser scanner prototypes in central Italy on monuments exposed to severe seismic risk are reported so as to illustrate the importance of storing quality 3D optical data before the event. The importance of fiber sensor monitoring during and after a seismic event in the same area is also shown from the collected data. Different examples of 3D reconstructions based on optical and spectroscopic data obtained within regional projects dealing with archaeological fragments (Roman frescoes and relief sculpture) are discussed, as regards their use in reconstructing from fragments in the aftermath of a catastrophic event.
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Pickover, Clifford A. "The Ultimate Bible Code." In Wonders of Numbers. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195133424.003.0004.

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Abstract Dr. Googol was visiting Martin Gardner, the planet’s foremost mathematical puzzle expert and an all-around wonderful human. It was nearly dusk when Dr. Googol followed Gardner around his North Carolina mansion filled with all manner of mathematical oddities—from glass models of Klein bottles (objects with just 1 surface) to strange tiles arranged in attractive shapes to metallic fractal sculptures of unimaginable complexity.
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Prins, Yopie. "Postface." In Ladies' Greek. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691141893.003.0007.

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In this postface, the author reflects on how archives might be considered the site for her performance of translation using the example of Meta Glass, a woman who earned a Ph.D. in Latin and Greek from Columbia University in 1912. The traces of Meta Glass's reading are visible in abundant marginalia, dating from 1909, in her personal copy of Sophocles's tragedy Antigone. Meta Glass's edition has been photographed by artist Andrea Eis. This chapter, reflecting on the name of Meta Glass as a meta-narrative about Ladies' Greek, translates these photographs of her writing into an allegory for reading the Woman of Greek Letters. It also reads, or translates, the artfully enlarged photographs created by Eis, in her 2008 series entitled “Marginalia,” which superimpose the Meta Glass marginalia on fragmentary images of Greek sculptures. Finally, it considers the basic principles, or axioms, for reading Ladies' Greek.
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Conference papers on the topic "Glass sculpture"

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Tschida, Fred. "Light and glass sculpture." In Optical Fabrication and Testing. OSA, 2004. http://dx.doi.org/10.1364/oft.2004.ome2.

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Hidalgo, Jorge, and Matt King. "Post Fracture Design of the NGI Sculpture Court Structural Glass Roof." In IABSE Symposium, Nantes 2018: Tomorrow’s Megastructures. International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/nantes.2018.s11-21.

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Antos, Busek, and Dostrasil. "The movable mechatronic kinetic sculpture with glass pendants on electronic cams." In 2018 19th International Carpathian Control Conference (ICCC). IEEE, 2018. http://dx.doi.org/10.1109/carpathiancc.2018.8399634.

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Шролик, А. Ю., and О. С. Субботина. "MILLEFIORI TECHNIQUE IN THE WORKS OF F. M.-A. IBRAGIMOV." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.78.

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Миллефиори — древнейшая техника декорирования художественных изделий из стекла, возрожденная в Италии в XIX в. и получившая новый виток развития в XX в. Применение миллефиори при создании фигуративной скульптуры демонстрируют произведения московского художника Фидаиля Мулла- Ахметовича Ибрагимова. Уникальная в масштабе мирового художественного стекла скульптурная пластика Ф. М.-А. Ибрагимова открывает новые эстетические качества декоративных приемов стеклоделия. Millefiori is the oldest technique of decorating artistic glassware, revived in Italy in the XIX century and received a new round of
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Subbotina, O. S. "THE ORIGINS OF THE MODERN SOUVENIR IN THE LAMPWORK TECHNIQUE: MINIATURE GLASS SCULPTURE IN THE SECOND HALF OF THE 20th CENTURY." In ОБРАЗ, ЗНАК И СИМВОЛ СУВЕНИРА. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604936320_120.

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Wong, Chelene, Schaun Valdovinos, and Barbara Lee. "Revitalization of the Seattle Waterfront." In Footbridge 2022 (Madrid): Creating Experience. Asociación Española de Ingeniería Estructural, 2022. http://dx.doi.org/10.24904/footbridge2022.090.

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<p>The demolition of the 3.5-km Alaska Way viaduct opened doors for City of Seattle to transform its waterfront district. The overhead, double-decker freeway along the waterfront obstructed views of Puget Sound from the downtown and generated significant noise pollution. The structure cast wide shadows so the cold, barren nature of the ground-level space left it to be unusable for all but parking. Now torn down, people have a new visual connection with Puget Sound from downtown. This has opened opportunities to knit together the reimagined waterfront with the downtown core and to the his
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Wolfe, Byron, and Seher Erdoǧan Ford. "How Do We Work? Metacognition in Creative and Collaborative Practices." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.64.

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constitute best practices for initiatingand maintaining sustainable collaborations?These questions arise regularly within the context of our institution, Tyler School of Art and Architecture, which is part of TempleUniversity in Philadelphia, Pennsylvania. The school includes the departments of Architecture and Environmental Design, Art Education and Community Arts Practices, Art History, Studio Art, and Graphic and Interactive Design. It recently updated its structure and adopted a name that captures its breadth of programs to support cross-disciplinary study and reflect current understanding
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Reports on the topic "Glass sculpture"

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Corcoran, Cristine. Dudelsacks : sculptural extensions in blown glass. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5747.

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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electroma
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Timeless Beauty: Ancient Perfume and Cosmetic Containers. Inter-American Development Bank, 1995. http://dx.doi.org/10.18235/0006224.

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Abstract:
One hundred-eighteen vessels, grooming instruments and sculptures in glass, alabaster, bronze, marble and stone from the Israel Museum in Jerusalem representing the ancient cultures of the East. This exhibition was organized to honor the 36th Annual Meeting of the IDB Board of Governors held in March, 1995 in Jerusalem.
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