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Journal articles on the topic 'Platics as art material'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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1

S.V., Podolyanchuk. "CONTENT FULL AND FEATURES OF THE STUDY OF MATERIAL SCIENCE IN THE TRAINING OF BACHELORS OF DECORATIVE ART." Collection of Research Papers Pedagogical sciences, no. 93 (February 23, 2021): 111–16. http://dx.doi.org/10.32999/ksu2413-1865/2020-93-16.

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The article is devoted to the problems of training bachelors of decorative arts. The research was carried out using the methods of analysis, synthesis, comparison, abstraction and generalization. The importance of studying materials science in decorative arts in general and as a component of professional training of future specialists in particular is shown. The substantive part of the study of the discipline, along with the acquaintance of higher education students with the basics of materials science as a science and a list of basic properties of materials should include a wide range of different groups of materials. Such groups of materials and products should include metallic materials and products; wood materials and products; ceramic materials and products; glass and glass products; materials and products made of natural stone; materials and products based on polymers and mineral binders; textile materials and products; leather and fur.The importance of a detailed study of various properties of materials is proved. At the same time, along with the study of the basic physical, mechanical and chemical properties of materials, increased attention should be paid to those properties that must be considered by bachelors of decorative arts in the process of future professional activity. Such groups of properties include: technological, which characterize the ability of the material to perceive various technological operations to change the shape, size, and individual properties of the product; operational, which are related to the operating conditions and (or) environmental impact; ecological, which characterize the degree of impact of the material on the environment and living organisms; aesthetic, which characterize the level of artistic expression of the material.The expediency of acquainting higher education students with the main groups of methods of processing materials and products, namely – by plastic deformation, by cutting, and using thermal methods is shown as well. The importance of studying different methods of surface treatment of products (painting, varnishing, enameling, nickel plating, chrome plating) is emphasized, as such methods have not only an aesthetic component but also serve as an important component of product protection from various external factors.Key words: decorative materials, decorative art, properties of materials, processing of materials, surface treatment. Стаття присвячена проблемам підготовки бакалаврів декоративного мистецтва. Дослідження здій-снювалось за допомогою методів аналізу, синтезу, порівняння, абстрагування та узагальнення. Пока-зана важливість вивчення матеріалознавства в декоративному мистецтві загалом та як складника професійної підготовки майбутніх фахівців зокрема. Змістовна частина вивчення дисципліни поряд з ознайомленням здобувачів вищої освіти з основами матеріалознавства як науки та переліком основних властивостей матеріалів має включати в себе широкий спектр різноманітних груп матеріалів. До таких груп матеріалів та виробів варто зарахувати: металеві матеріали та вироби; матеріали та вироби з дере-вини; керамічні матеріали та вироби; скло та вироби зі скла; матеріали і вироби з природного каме-ню; матеріали і вироби на основі полімерів та мінеральних в’яжучих речовин; текстильні матеріали та вироби; шкіра і хутро.Доведена важливість детального вивчення різноманітних властивостей матеріалів. При цьому поряд із вивченням основних фізичних, механічних та хімічних властивостей матеріалів, посилена увага має приділятись тим властивостям, які необхідно враховувати бакалаврам декоративного мистецтва в процесі майбутньої професійної діяльності. До таких груп властивостей належать: технологічні, які характеризують здатність матеріалу сприймати різні технологічні операції щодо зміни форми, розмірів та окремих властивостей виробу; експлуатаційні, які пов’язані з умовами експлуатації та (або) впливом довкілля; екологічні, які характеризують ступінь впливу матеріалу на навколишнє середовище і живі організми; естетичні, які характеризують рівень художньої виразності матеріалу.Показана доцільність ознайомлення здобувачів вищої освіти з основними групами методів обробки матеріалів та виробів, а саме: шляхом пластичного деформування, шляхом різання та за допомогою термічних методів. Підкреслена важливість вивчення різних способів обробки поверхні виробів (фар-бування, лакування, емалювання, нікелювання, хромування), оскільки такі методи мають не лише есте-тичну складову частину, а й слугують важливим компонентом захисту виробів від дії різноманітних зовнішніх чинників.Ключові слова: декоративні матеріали, декоративне мистецтво, властивості матеріалів, обробка матеріалів, обробка поверхні.
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2

Best, Keith, Ognian Dimov, Sudmun Habib, and Sanjay Malik. "Lithographic evaluation of thin photoimageable dielectric dry film for advanced panel level packaging applications." International Symposium on Microelectronics 2018, no. 1 (October 1, 2018): 000361–64. http://dx.doi.org/10.4071/2380-4505-2018.1.000361.

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Abstract This paper presents a new dielectric material capable of resolving 2 to 3μm features that are required for high density advanced packaging applications. The material is applied in dry film format to be conducive to panel-level processing. The material can be processed at temperatures below 170°C and total thermal shrinkage is below 5%, resulting in exceptionally low stress of 11 MPa. The film is thermally stable at temperatures up to 350°C. Mechanical and electrical properties of the material are state of the art. As the demand for high density packages increases, so will the pressure to lower the cost of manufacturing. Migrating from wafers to large non-circular panels offers several key cost advantages. There are multiple technical challenges that need to be addressed before commercial viability of panel scale manufacturing can be established. A new class of novel dielectric materials will be needed that can be processed at low temperatures and demonstrate low shrinkage to minimize warpage. In this study, 2 to 3μm patterns were successfully formed using i-line stepper exposure conditions. The process started by laminating a 510mm × 515mm panel with highly photosensitive dielectric film. The laminated panels were exposed at a nominal dose of 125 mJ/cm2. Fine negative tone patterns were created after development. For the metallization of the layer, the seed layer was deposited with titanium-copper sputtering. After the seed formation, trenches were filled with copper by an electrolytic plating process.
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Kulikov, G. M., E. Carrera, and S. V. Plotnikova. "Hybrid-Mixed Quadrilateral Element for Laminated Plates Composed of Functionally Graded Materials." Advanced Materials & Technologies, no. 1 (2017): 044–55. http://dx.doi.org/10.17277/amt.2017.01.pp.044-055.

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4

Sui, Xue Ye, Jie Xu, Mei Ling Wei, Chong Hai Wang, Chang Ling Zhou, and Rui Xiang Liu. "Laser Stealth Properties for SiO2 Hollow Spheres with a Layer of Copper." Advanced Materials Research 624 (December 2012): 38–41. http://dx.doi.org/10.4028/www.scientific.net/amr.624.38.

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A kind of SiO2 hollow spheres with a layer of copper cladding have been prepared using the electroless copper plating metal processing technology on the surface of core material. We Study the effects of the process parameters on the properties of materials, and measure spectral reflectance for the SiO2 hollow spheres with the surface modification. The results show that the reflectance is about 4% for the wavelength of 1.06μm and is about 0.44% for 10.6μm wavelength. This compound hollow sphere structures can be act as laser camouflage materials.
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Chen, X. B., H. Y. Yang, T. B. Abbott, M. A. Easton, and N. Birbilis. "Corrosion-Resistant Electrochemical Platings on Magnesium Alloys: A State-of-the-Art Review." Corrosion 68, no. 6 (June 1, 2012): 518–35. http://dx.doi.org/10.5006/i0010-9312-68-6-518.

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Industrial deployment of magnesium alloys in most instances requires anti-corrosion coatings. Distinct from conversion coatings, the electro/electroless plating techniques are emerging as the common means of coating magnesium; however, more research is needed. A state-of-the-art review was undertaken with respect to aqueous plating systems (including pretreatment, under-coating, and electroplating), electroless plating (being treated individually, though it is used as undercoating for subsequent plating in some cases), non-aqueous plating systems (including high-temperature molten salts and ionic liquids), and novel plating methods. In addition to the performance assessment of various plated coatings on magnesium alloys, merits and demerits of existing plating techniques are discussed. Based on the literature to date, the practical issues faced in magnesium plating are raised, and possible advances discussed, providing some instructive guidelines for future work.
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Sharma, Shikha, and Anoop Kumar. "Evaluation of the Drug Utilization Pattern of Pre and Post Operative Medicines used in Surgical Department: A Prospective Observational Study." Current Drug Therapy 15, no. 4 (November 30, 2020): 389–95. http://dx.doi.org/10.2174/1574885515666200106111129.

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Background: Surgery is the art of treating lesions and malformations of the human body which involves various surgical techniques. Various classes of drugs are being used in the surgery but unfortunately, the drug utilization pattern of these drugs particularly in developing countries like India is still unsatisfactory. Thus, there is a need to conduct drug utilization studies of various medicines used in the surgical department. Objective: The main objective of the current study is to evaluate the drug utilization pattern of pre and post- operative medicines used in surgery to promote the rational use of medicines. Material and Methods: A prospective observational study was carried out over a period of 6 months (November 2017 to April 2018) from in Global Hospital, Jalandhar, Punjab, India. A consent form has been designed and filled by the patients after explaining the aims and objectives of the study. The case record form (CRF) has been designed to collect all the relevant information from the surgery patients. Results: A total of 271 cases have been reported and evaluated. 58.0% of patients were female and 42.0% of patients were male. The most common surgery was nailing, plating and knee replacement. In pre and post-operative procedures, the most common medicines prescribed were a combination of antimicrobials and antacids followed by anti-emetics, analgesics. Conclusion: The prescribed medicines were less from the National Essential Medical List (EML) which should be increase in future.
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RAJAN, SIDDHARTH, ARPAN CHAKRABORTY, UMESH K. MISHRA, CHRISTIANE POBLENZ, PATRICK WALTEREIT, and JAMES S. SPECK. "MBE-Grown AlGaN/GaN HEMTs on SiC." International Journal of High Speed Electronics and Systems 14, no. 03 (September 2004): 732–37. http://dx.doi.org/10.1142/s0129156404002752.

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We report on the development of AlGaN/GaN high-electron mobility transistors (HEMTs) grown on SiC using plasma-assisted molecular beam epitaxy (MBE). In this work, we show that performance comparable to state-of-the-art AlGaN/GaN HEMTs can be achieved using MBE-grown material. Buffer leakage was an important limiting factor for these devices. The use of either carbon-doped buffers, or low Al/N ratio in the nucleation layer growth were effective in reducing buffer leakage. Studies varying the thickness and concentration of the carbon doping were carried out to determine the effect of different carbon doping profiles on the insulating and dispersive properties of buffers, On devices without field plates, at 4 GHz an output power density of 12 W/mm was obtained with a power-added efficiency (PAE) of 46 % and gain of 14 dB. 15.6 W/mm with PAE of 56 % was obtained from these devices after field-plating. Two-tone linearity measurements of these devices were also carried out. At a C/I 3 level of 30 dBc, the devices measured had an output power of 1.9 W/mm with a PAE of 53 %. The effect of the Al/N ratio in the AlN nucleation layer on buffer leakage was studied. N -rich conditions yielded highly insulating GaN buffers without carbon doping. At 4 GHz, devices without field plates delivered 4.8 W/mm with a PAE of 62 %. At a higher drain bias (50 V), 8.1 W/mm with a PAE of 38 % was achieved.
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Grigorova, Yana. "Art and “non-material labour»." Bulletin of PNRPU. Culture. History. Philosophy. Law, no. 4 (2017): 69–73. http://dx.doi.org/10.15593/perm.kipf/2017.4.08.

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9

Brett, David. "Art and Society: Material Evidence." Circa, no. 62 (1992): 20. http://dx.doi.org/10.2307/25557713.

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Gudeman, Stephen. "Epilogue: Art and Material Culture." Museum Anthropology 16, no. 3 (October 1992): 58–61. http://dx.doi.org/10.1525/mua.1992.16.3.58.

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Jeong, Woon Jo. "A Study on TiAlSiN Coating for Environment-friendly Machining ofDifficult-to-Cut Materials by Electrical Arc Ion Plating." Journal of the Korean Society for Environmental Technology 19, no. 2 (April 30, 2018): 191–97. http://dx.doi.org/10.26511/jkset.19.2.13.

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12

Hainge, Greg. "Art Matters: Philosophy, Art History and Art’s Material Presence." Culture, Theory and Critique 57, no. 2 (May 3, 2016): 137–41. http://dx.doi.org/10.1080/14735784.2016.1161903.

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13

Dahlia W. Zaidel. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (2017): 149. http://dx.doi.org/10.26613/esic.1.1.22.

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Zaidel, Dahlia W. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (July 31, 2017): 149–58. http://dx.doi.org/10.26613/esic/1.1.22.

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Fritts, Lauren. "Knolling: The Art of Material Culture." Art Education 72, no. 1 (December 11, 2018): 50–58. http://dx.doi.org/10.1080/00043125.2019.1537670.

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Bier, Carol. "Art: crafts, technology, and material culture." Iranian Studies 31, no. 3-4 (September 1998): 349–59. http://dx.doi.org/10.1080/00210869808701915.

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Pénzes, Ingrid, Susan van Hooren, Ditty Dokter, Henk Smeijsters, and Giel Hutschemaekers. "Material interaction in art therapy assessment." Arts in Psychotherapy 41, no. 5 (November 2014): 484–92. http://dx.doi.org/10.1016/j.aip.2014.08.003.

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Trouton, Lycia. "Castaways: Art from the Material World." TEXTILE 19, no. 3 (April 19, 2021): 301–9. http://dx.doi.org/10.1080/14759756.2021.1891677.

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Niece, Susan La. "Silver Plating on Copper, Bronze and Brass." Antiquaries Journal 70, no. 1 (March 1990): 102–14. http://dx.doi.org/10.1017/s0003581500070335.

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Silver has generally been valued second only to gold from at least as early as 2000BC. A material which is highly prized becomes a status symbol and cheaper imitations find a ready market. Craftsmen very early developed methods of applying thin layers of silver onto base metal as an economical use of precious metal, whether for its decorative effect or, particularly in the case of plated coins, to deceive the customer. Unfortunately, silver plating is less commonly preserved than gold plating, and corrosion at the interface between the silver and base metal may destroy the evidence of how the plating was applied. The situation is complicated because many of the white metal surfaces on pieces labelled as ‘silvered’ are in fact produced by tin, or more rarely, by arsenic. Nevertheless, there are still sufficient surviving examples to indicate that silver plating has a long history during which techniques were developed to give better results and to allow more economical use of the precious metal.
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TOSA, Masahiro, and Kazuhiro YOSHIHARA. "Extremely-High Vacuum Station for Material Art." SHINKU 35, no. 6 (1992): 588–93. http://dx.doi.org/10.3131/jvsj.35.588.

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McGrath, Mary. "Material Matters: The Conservation of Modern Art." Circa, no. 109 (2004): 50. http://dx.doi.org/10.2307/25564183.

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Franinović, Karmen, and Roman Kirschner. "Material Activity in Art and Design Practices." Zeitschrift für Kunstgeschichte 83, no. 3 (September 25, 2020): 310–19. http://dx.doi.org/10.1515/zkg-2020-3002.

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AbstractThe theoretical movement of New Materialisms claims that society has to think differently about the way it treats our common material environment. The conception of matter as something active and transforming is at the core of these proposed changes. But in order to have an impact, conceptual frameworks must be accompanied by materially engaged practices. Recently, art and design projects have started bringing attention to active aspects of materials and environments. Our own research – in projects such as Enactive Environments and Liquid Things – concerns itself with chemical and biological processes, temporal aspects, and the openness of materials to environmental unpredictabilities.
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Kelomees, Raivo. "Discussing five issues of post-material art." Technoetic Arts 14, no. 3 (December 1, 2016): 251–62. http://dx.doi.org/10.1386/tear.14.3.251_1.

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Austen, Kat. "Mathematics as the raw material for art." New Scientist 212, no. 2838 (November 2011): 52. http://dx.doi.org/10.1016/s0262-4079(11)62800-5.

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Adamson, Natalie, and Steven Harris. "Material Imagination: Art in Europe, 1946-72." Art History 39, no. 4 (August 15, 2016): 640–53. http://dx.doi.org/10.1111/1467-8365.12265.

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Thompson, Barbara. "Material Differences: Art and Identity in Africa." African Arts 36, no. 3 (October 1, 2003): 80–96. http://dx.doi.org/10.1162/afar.2003.36.3.80.

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Gursu, Sarper, Timur Yildirim, Vedat Sahin, and Emine Koc. "Art in Science: Orthopaedics Through Philatelic Material." Clinical Orthopaedics and Related Research® 471, no. 12 (September 27, 2013): 3755–59. http://dx.doi.org/10.1007/s11999-013-3280-4.

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CANPOLAT, AYŞE. "USE OF CLAY MATERIAL IN PROCESS ART." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 3 (July 1, 2021): 786–96. http://dx.doi.org/10.7456/11103100/003.

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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.
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Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

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Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.
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Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.

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Broadly speaking, we can divide Renaissance polyphony into five groups: works not using any pre-existent material, and pieces based on sacred monophony, secular monophony, sacred polyphony or secular polyphony. This is not the common way to classify Renaissance compositions. The more normal breakdown is by the technique applied to the pre-existent material – cantus firmus, paraphrase, parody – regardless of what that material was. Yet much is to be gained by starting with the original material, and that was, after all, what the composer probably did at least some of the time.
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Schmidt, Victor. "Dutch art bibliographies." Art Libraries Journal 11, no. 1 (1986): 30–31. http://dx.doi.org/10.1017/s0307472200004491.

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The most important bibliography for Dutch art is the Bibliography of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie). This bibliography, first published in 1943, is in fact a continuation in another form of H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder - en graveerkunst sedert het begin van de 12de eeuw tot het eind van 1932 (Repertory for the history of Dutch painting and engraving since the beginning of the 12th century up till the end of 1932), The Hague 1936 (Vol.2: 1933-1946 appeared in 1949). The last volume published, Vol.16, Part 1: Old Art, comprises the years 1971-1972; Vol.17, Part 1: Old Art, for the years 1973-1974, is in the course of publication. The material for the years after 1974, however, is put on fiches, and can be consulted at the Institute. The last volume published that included material on Dutch 19th-20th century art was Vol. 9 (1957-1958). Material for the years thereafter also can be consulted at the Institute. Address: Prins Willem Alexanderhof 5 (entrance at the fifth floor of the Royal Library), 2595 BE The Hague; tel. 070-471514. Postal address: Post box 90418, 2509 LK The Hague.
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Pénzes, Ingrid, Susan van Hooren, Ditty Dokter, Henk Smeijsters, and Giel Hutschemaekers. "Material interaction and art product in art therapy assessment in adult mental health." Arts & Health 8, no. 3 (October 16, 2015): 213–28. http://dx.doi.org/10.1080/17533015.2015.1088557.

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Kayamori, Yoichi, Teppei Okawa, Tadakazu Tanino, Yunbo Kho, and Hiroshi Yajima. "OS8-24 Effects of Local Stress State and Crack Start Location on S-N Plots of Plasma Arc Cut Structural Steel Plates(Joining,OS8 Fatigue and fracture mechanics,STRENGTH OF MATERIALS)." Abstracts of ATEM : International Conference on Advanced Technology in Experimental Mechanics : Asian Conference on Experimental Mechanics 2015.14 (2015): 134. http://dx.doi.org/10.1299/jsmeatem.2015.14.134.

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Oztutuncu, Sabriye. "COLLAGE EXAMPLE AS AN ART AND EQUIPMENT MATERIAL." Ulakbilge Dergisi 5, no. 10 (March 31, 2017): 341–52. http://dx.doi.org/10.7816/ulakbilge-05-10-03.

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Kim, Hyang Mi. "Mandala as a Teaching Material in Art Education." KOREA SCIENCE & ART FORUM 9 (December 31, 2011): 61. http://dx.doi.org/10.17548/ksaf.2011.12.9.61.

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Ridgway, Brunilde Sismondo. "Ancient Greek Women and Art: The Material Evidence." American Journal of Archaeology 91, no. 3 (July 1987): 399. http://dx.doi.org/10.2307/505361.

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Min, Bok Gi, Gwi Won Oh, Se Jin Jeong, Do Sik Seo, and Kwang Seon Shin. "Practical Use of Magnesium Alloy as Art Material." Journal of Basic Design & Art 19, no. 6 (December 31, 2018): 223–39. http://dx.doi.org/10.47294/ksbda.19.6.17.

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Khosronejad, Pedram. "Anthropology of Islamic Shiite Art and Material Culture." Anthropology News 47, no. 6 (September 2006): 33. http://dx.doi.org/10.1525/an.2006.47.6.33.1.

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Ragaller, Irene, and Pauline Rafferty. "Biases in the classification of Welsh art material." Aslib Proceedings 64, no. 3 (May 18, 2012): 262–73. http://dx.doi.org/10.1108/00012531211244563.

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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.

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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.
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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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Sevastyanov, Aleksandr Nikitich. "Modern art market: art, economics, marketing." Uchenyy Sovet (Academic Council), no. 1 (January 1, 2021): 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.

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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single information base for all its participants. The wide publicity of the auction results forms the fashion in art, raises the prestige of a particular direction, and makes it the main one. The material of the article is of interest in the disciplines "History of Art" and "Modern Art Market".
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Comay, Rebecca. "Material Remains: Doris Salcedo." Oxford Literary Review 39, no. 1 (July 2017): 42–64. http://dx.doi.org/10.3366/olr.2017.0209.

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Doris Salcedo's artworks seem to confront the challenge that Adorno expressed so brutally: how to commemorate a traumatic event which both demands and refuses commemoration; where all available cultural forms threaten to trivialize, sentimentalize, mystify, embellish, instrumentalize, or otherwise betray the memory of the dead; and where every attempt to acknowledge injury seems only to compound it. On the one hand, it is the task of art to commemorate suffering. On the other hand, art, by its very existence—its status as a thing among things—is complicitous in this suffering. This essay reflects on the antinomies of mourning and politics in Salcedo's work.
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Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (October 28, 2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, often by carving them from a single block of marble or wood. Vision research has just begun to investigate these very shape features, making material perception a prime example of how art can inform science.
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Huang, Ellen. "An Art of Transformation." Archives of Asian Art 68, no. 2 (October 1, 2018): 133–56. http://dx.doi.org/10.1215/00666637-7162228.

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Abstract This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).
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Wolf, Gerhard. "Image, Object, Art." Representations 133, no. 1 (2016): 152–59. http://dx.doi.org/10.1525/rep.2016.133.1.152.

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Through “conversation” with a more than four thousand-year-old Chinese vessel, this essay engages with some of the fundamental principles of the discipline of art history espoused in recent decades. In particular, it situates Bildwissenschaft and thing theory and the material turn within ongoing debates on art and artifacts and delineates a more fluid approach to the study of image, object, art (Bild, Ding, Kunst).
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Li, Feng. "Material Research of Stone Sculpture in Installation." Applied Mechanics and Materials 484-485 (January 2014): 122–26. http://dx.doi.org/10.4028/www.scientific.net/amm.484-485.122.

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As a unique artistic form of both young and old, urban sculpture art plays a finishing touch to the urban image of the new era, gradually becoming the point to enhance the overall image of modern city. For public art sculpture gradually integrates into modern life, the attention of it is also increasing. A city needs good sculpture to heighten the atmosphere and shows cultural deposits, in the meantime, excellent urban sculpture will also greatly enhance the influence of cultural landscape and public art, effectively creating urban culture brand image and enhancing the city's comprehensive charm.
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Pergsjø, Per. "On the art of referring to previously published material." Acta Obstetricia et Gynecologica Scandinavica 70, no. 3 (January 1991): 179–80. http://dx.doi.org/10.3109/00016349109006205.

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Rajala, M., and D. Falabu. "Silica Soot as Raw Material for Ceramic Art Glazes." Key Engineering Materials 53-55 (January 1991): 543–47. http://dx.doi.org/10.4028/www.scientific.net/kem.53-55.543.

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