Relevant bibliographies by topics / Published sculpture

Contents

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

Academic literature on the topic 'Published sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Published sculpture"

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Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.

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Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Zaluhi, Nor Zafharina, Ramlan Abdullah, and Khairi Shamsudin. "Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture." Environment-Behaviour Proceedings Journal 6, SI5 (2021): 131–35. http://dx.doi.org/10.21834/ebpj.v6isi5.2938.

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The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculptures reflecting mystical elements. Keywords: Forms, Mystical, Sculpture, Sape’ eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2938
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Sparkes, Brian A. "Greek Bronzes." Greece and Rome 34, no. 2 (1987): 152–68. http://dx.doi.org/10.1017/s0017383500028102.

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When I first began to study Greek art, back in the mid 1950s, a book on Greek sculpture had recently been published in Germany and in England that did much to encourage my interest. It was Reinhard Lullies and Max Hirmer's big picture book, Greek Sculpture, since enlarged and running into three German and two English editions. Its basic idea was not totally novel but was rare for its time and never previously done so well. It presented large, clear photographs of original Greek works (by Hirmer) with a scholarly commentary to each piece (by Lullies); it omitted anything that was known, or considered, not to be original. In doing so, it provided a strong contrast to the sort of book with which I had already come into contact, the sort best characterized perhaps by Ernest Gardner's Six Greek Sculptors of 19252which contains not one single original piece by the six chosen sculptors and in which all the photographs are seen through a glass darkly. Gardner's title and approach, with heavy emphasis on literary evidence and Roman copies, accompanied by a sprinkling of original, unattributed pieces for ballast, was typical of a traditional line of study-that of Kopienkritik, an approach not dead yet by any means and in fact one which must continue to be pursued, though nowadays it is tackled with more caution than earlier. But until one incontrovertible example of a named sculptor's work is found, all attributions must be arguable approximations.
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Bajda, Justyna. "Między studium a punctum. Spotkania ze sztuką w poetyckiej twórczości Stanisława Ledóchowskiego." Prace Literackie 58 (April 28, 2020): 299–313. http://dx.doi.org/10.19195/0079-4767.58.25.

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This article discusses ekphrases of the poet, sculptor, stage designer, and art critic Stanisław Ledóchowski, which were published in 2013 in his volume of poetry Liście od Krakowa and in several bibliophile editions of his individual works.
 The discussion concerns poems dealing with three forms of art: architecture, sculpture, and painting. Poetic interpretations of works of art were placed in the context of the terms studium and punctum introduced by Roland Barthes to describe the method of finding meaning in art on two levels. The studium concerns generally available cultural context, while the punctum is an often-in-timate encounter of the viewer with an artistic work, which not only reveals the specific aesthetic awareness of the poet but also his individual sensitivity.
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Raev, Ada. "Georg Kolbe: Russian Impressions." Experiment 23, no. 1 (2017): 267–85. http://dx.doi.org/10.1163/2211730x-12341315.

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Abstract The article describes German sculptor Georg Kolbe’s two direct engagements with Russia and its culture in the early twentieth century. The first, brief but fruitful, encounter, in 1912, the same year that Kolbe’s bronze sculpture Tänzerin (Female Dancer) was purchased by the National Gallery, was with Diaghilev’s Ballets Russes, who had returned for a second visit to Berlin. Kolbe received Vaslav Nijinsky and Tamara Karsavina in his studio; photographs and drawings of the two star dancers served as inspiration for works such as Tänzer (Dancer) and the Heinrich Heine monument in Frankfurt am Main, and also strengthened Kolbe’s interest in modern dance. The second opportunity came in 1932, when Kolbe, as a successful and established sculptor, was invited to tour the Soviet Union. In 1933, Kolbe published a brief account of his travels under the title “In einem anderen Land” (In another country); his observations, enriched with picturesque details, convey a feeling of empathy for the host country and its inhabitants. Only once does Kolbe admit to a certain discomfort with regard to the atmosphere in the Stalinist Soviet Union.
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van Hensbergen, Claudine. "Print, poetry and posterity: Grinling Gibbons’s statue of Charles II for the Royal Exchange." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (2020): 313–36. http://dx.doi.org/10.3828/sj.2020.29.3.5.

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Grinling Gibbons’s statue of Charles II for the courtyard of the Royal Exchange, London, was unveiled in 1684 and quickly celebrated as the leading public sculpture of its age. Within a century, however, the work was so damaged that it was replaced by John Spiller’s replica. Scholarly interest in Gibbons’s accomplishments in stone have always been overshadowed by attention to his limewood carvings, even though stone works constituted at least half of his professional output. This article reconstructs the design and importance of the Charles II statue through a series of early cultural responses to the work, including a detailed engraving by Peter Vanderbank and three published poems. These works allow us to appreciate the skill of this key sculptural output from the Gibbons workshop, viewing it through contemporary ideas of aesthetic and propagandistic value, in addition to perceiving the prominence it once held in London’s cityscape.
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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.

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Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.
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Lukesh, Susan S., and R. Ross Holloway. "The non-fraud of the Middle Bronze Age stone goddess from Ustica: a reverse Piltdown hoax." Antiquity 76, no. 294 (2002): 974–79. http://dx.doi.org/10.1017/s0003598x0009178x.

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The authors examine claims that the sole surviving example of relief sculpture from the Middle Bronze of Italy or Sicily, discovered in the excavations on the island of Ustica in 1991, is a forgery that was deliberately planted on the site. Their refutation is based on examination of the photographic evidence that has been published in support of these claims.
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Wang, Yi-Ting. "Total Environment (Sculpture) as a Symbology: The Mesological Study of the Axe Majeur in Cergy-Pontoise." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 45. http://dx.doi.org/10.25038/am.v0i19.318.

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In Cergy-Pontoise, the artist Dani Karavan is commissioned to conceive the three-kilometer linear path named Axe Majeur (Main Axis), connecting the city center and the vast riverside. Instead of a work of art to contemplate, Karavan builds 12 stations in succession and in the form of instruments with which people are equipped to measure and to process the existent environmental data and to find their own interpretation of the site. By making factual information measurable and translatable into cultural connotations, Karavan’s work implies a mesological point of view from which osmosis between the sculpture and the site invalidates the opposite physical/phenomenal. The paper studies this method based on the notion mediance proposed by the geographer Augustin Berque and on a field survey. Two principles constitute the method: First, Karavan invents a sculptural metrology functioning in the way of the perceptive calibration system. Secondly, the Axe Majeur shows a “total environment” which means not only 12 parts as a single unit but also the inseparable relationship of Karavan’s environment (art) with the whole geographical environment. Each part annotates the signs left behind after Earth’s motion (e.g. topography, geothermal energy) and after cultural activities (e.g. orchard, view of Paris) and turns these signs into the basis on which imagination could be formed and new meaning could arise. By articulating historical and spatial dimension with an environmental symbology, the Axe Majeur constitutes an innovative urban planning method which moves away from an international-vernacular (modernism) or historical-ahistorical (postmodernism) debate. Article received: April 2, 2019; Article accepted: May 25, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Wang, Yi-Ting. "otal Environment (Sculpture) as a Symbology: The Mesological Study of the Axe Majeur in Cergy-Pontoise." AM Journal of Art and Media Studies 19 (2019): 45-58. doi: 10.25038/am.v0i19.318
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Dissertations / Theses on the topic "Published sculpture"

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Váňa, Dušan. "DIY technologie v digitálním sochařství." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2020. http://www.nusl.cz/ntk/nusl-433180.

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This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.
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Books on the topic "Published sculpture"

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Schraenen, Guy. From page to space: Published paper sculptures. Serralves, 2011.

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Donald Judd: Large-scale works : published in conjunction with a show of recent sculpture, March 27-April 24, 1993. Pace Gallery, 1993.

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Barlach, Ernst. Briefwechsel, 1900-1938. Piper, 1997.

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1976-, Rothkopf Scott, Moody Rick, Roy Lichtenstein Foundation, and Mitchell-Innes & Nash, eds. Roy Lichtenstein: Times Square Mural : a catalogue published on the occasion of the unveiling of the Times Square Mural and the exhibition at Mitchell-Innes & Nash, September 5-October 19, 2002. Roy Lichtenstein Foundation, 2002.

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Them: A memoir of parents. Penguin Press, 2005.

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Gray, Francine du Plessix. Them. Penguin Group USA, Inc., 2008.

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Stokes, John. Beyond Sculpture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0006.

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In the 1880s, Wilde responded with enthusiasm to reconstructions of classical Greek theatre staged in Oxford, Cambridge, and London, and his published reviews draw extensively on his own classical training together with ideas taken from Georg Wilhelm Friedrich Hegel, Walter Pater, and John Addington Symonds. He took a similar interest in contemporary plays based on classical subjects, such as Alfred Lord Tennyson’s The Cup and John Todhunter’s Helena in Troas. This chapter describes how Wilde’s experience of Greek theatre and its offshoots in live performance contributed to his fascination with the art of the actor, with theatrical space, with the deployment of scenery, and with the relation of archaeology to architecture. It concludes by tracing an underlying shift in his dramatic theory from ‘plasticity’ to ‘psychology’.
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J, Khandalavala Karl, Mathur Asharani, Singh Sonya, and Festival of India, eds. Indian bronze masterpieces: The great tradition : specially published for the Festival of India. Specially published on behalf of the Festival of India by Brijbasi Printers, 1988.

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Coley, Nathan. Black tent: Catalogue published on the occasion of Black tent, a sculpture by Nathan Coley, commissioned for Portsmouth Cathedral by Art and Sacred Places, 2003. Edited by Wade Gavin and Art and Sacred Places. Art & Sacred Places, 2003.

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Ware, Chilli. Ice Sculptor: Desktop Publisher. Pearson Publications Company, 2001.

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Book chapters on the topic "Published sculpture"

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Dworkin, Craig. "Webster’s New Collegiate and the Poetry of Clark Coolidge and Bernadette Mayer." In Dictionary Poetics. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287987.003.0005.

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Chapter 4 focuses on two books: The Cave, by Clark Coolidge and Bernadette Mayer (published in 2009), and Coolidge’s The Maintains (1974). Attending to the collaborations’ claims of negative ontology and the shifting nexus of particular terms reveals the intertext at the heart of the book: Carl Andre’s contemporaneous sculpture Equivalents I-VIII. Indeed, the chapter follows the implications of the collaboration’s proposals to make an argument for considering the book itself as sculpture. Following from that sculptural reading, and the book’s equation of caverns and dictionaries, the chapter turns to The Maintains, alongside its dictionary source text, in order to detail the way in which it excavates the dictionary with an understanding of the reference book’s physical, typographic and sculptural space.
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Onians, J. "Michael David Kighley Baxandall 1933–2008." In Proceedings of the British Academy, Volume 166, Biographical Memoirs of Fellows, IX. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264751.003.0002.

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Michael Baxandall was probably the most important art historian of his generation, not just in Britain but in the world. In a series of books published between 1971 and 2003 he kept expanding the frontiers of the discipline, introducing new topics, new ways of writing, and new explanatory models, always demanding of himself and his readers an undissembling clarity of thought and expression. If art history is now a field that can hold its own with more established areas of the humanities, it is largely because Baxandall had a talent to transmit to others through the printed page the powerful intellectual resources he had built up through tireless inward reflection. These resources he applied with equal engagement to Italian Renaissance art criticism, German wood sculpture, the understanding of shadows in the 18th century, the planning of the Forth Bridge, and the functions of the neural structure of the retina.
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Andrewes, William. "Introducing Martin Burgess, Clockmaker." In Harrison Decoded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198816812.003.0003.

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In 1775, two years after receiving the second half of the Longitude Prize, John Harrison (1693–1776) published a book, which, among other things, described a pendulum clock that could keep time to one second in 100 days. His claim of such unprecedented accuracy for a clock with a pendulum swinging in free air (i.e. not in a vacuum) was met with ridicule both at the time of its publication and for the next two centuries. This chapter describes the early life of Martin Burgess, the clockmaker who proved that Harrison’s claim was indeed true. Like Harrison, Martin was a self-taught clockmaker. From his training in the arts and crafts, he saw the mechanics of clockwork as sculpture in its own right, each element contributing to the overall design. Martin’s upbringing, his education, and his unusual lifestyle and approach were all crucial to his quest to prove that John Harrison was right.
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"Louise Bourgeois’s Melancholy Objects to be Used." In Modernist Objects, edited by Lynn M. Somers. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979503.003.0009.

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Over a decade before the French-American sculptor Louise Bourgeois underwent psychoanalysis in New York (1952–1985), her work mined territories of psyche, body, home, and exile. Bourgeois’s papers from 1940 onward reveal that she shared Freud’s description of neurotics, hysterics, and artists as suffering from reminiscences. Scottish psychoanalyst W. R. D. Fairbairn identified the last of these in 1943 as “war neuroses,” just six years before Bourgeois debuted her first mature sculptures. These abstract “personages” served as melancholy surrogates for lost objects, the friends and family Bourgeois left in 1938 in Occupied France. In the 1960s, she further reduced the body to ambivalent amalgams of part-objects made from plaster and latex, suggesting swollen nodes, skin, and sex organs. Of particular interest are two papers published by Fairbairn in 1938 that extend the inner world of the individual to the field of object relations via the transposition of the symbolically “restored object.” Fairbairn conceived the radical notion of restitution, the mental process of repairing damage in the artist’s inner object world. These principles resonate with Bourgeois’s métier and a postwar sculptural aesthetic that probed the phenomenal experience of anxiety, exile, and psychoanalysis on the Self and others.
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Broeckmann, Andreas. "Toward the Art and Aesthetics of the Machine." In Machine Art in the Twentieth Century. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035064.003.0003.

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This chapter provides an analysis of the basic aspects of an “aesthetics of the machine”. It focuses on two pivotal moments in the twentieth century history of machine art, one being the 1968 exhibition “The Machine as Seen at the End of the Mechanical Age”, curated by Pontus Hultén. The other example is the opening scene of Filippo Marinetti’s first futurist manifesto, published in 1909, in which the advent of futurism is marked by a symbolically charged car accident that preceded Marinetti’s hymn to the new technical culture. From here, and drawing mainly on artistic examples from Hultén’s exhibition (incl. Francis Picabia, Marcel Duchamp and Jean Tinguely), the author highlights five distinct aspects that have characterized the “machine aesthetic” until the 1960s: the “associative” reference to the social meanings of technology, often used to make a provocative claim against the assumptions of artistic ingenuity; the “symbolic” reference to mechanics as a way to describe aspects of human culture and psychology; the “formalist” appraisal of the beauty of functional forms; the play with “kinetic” functions as a way to broaden the expressive potentials of sculpture; and the “automatic” operation of machines that underpins their functional independence and their existential strangeness.
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Pulham, Patricia. "‘Of marble men and maidens’: Sculptural Transformations." In The Sculptural Body in Victorian Literature. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0003.

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This chapter takes as its starting point the fact that Hawthorne’s novel, The Marble Faun; or The Romance of Monte Beni, was also published under the title Transformation (1860), thus suggesting a tension between animation and stasis that is implicitly explored in the text. It examines the connections between Hawthorne’s work and Henry James’s early novel Roderick Hudson (1875). Drawing on both writers’ relationships with circles of sculptors, artists, and writers in Rome, this chapter considers the mediation of desire between protagonists in The Marble Faun and Roderick Hudson through key sculptural figures and metaphors of touch that contribute to the recognition, and eventual burial, of unruly desires.
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Hopkins, Claudia, and Iain Boyd Whyte. "Peter H. Feist, “America’s Sculpture is Different,” translated from German by Richard George Elliott, originally published as “Amerikas Plastik ist anders,” in Bildende Kunst 4 (1986): 174–176." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-141115.

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Hopkins, Claudia, and Iain Boyd Whyte. "Atanas Stoykov, “The New Abstraction: Primary Sculpture,” translated from Bulgarian by David Mossop, originally published as “Новата абстракция. Първичната скулптура” in След заника на абстракционизма (Sofia: Publishing House of the Bulgarian Communist Party, 1970), 26–38." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-7260.

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Hopkins, Claudia, and Iain Boyd Whyte. "Fernando Pernes, “Ten Years of Painting and Sculpture at the Tate Gallery,” translated from Portuguese by Ruth Rosengarten, originally published as “Dez anos de pintura e escultura na Tate Gallery,” in Colóquio: Artes 30 (October 1964): 22–30 (excerpt)." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-43.

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Hopkins, Claudia, and Iain Boyd Whyte. "Rui Mário Gonçalves, “Painting and Sculpture of a Decade: 1954–1964,” translated from Portuguese by Ruth Rosengarten, originally published as “Pintura e escultura de uma década 1954–1964,” in Arquitectura: Revista de arte e construção 84 (November 1964): 147–156 (excerpt)." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-54.

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Conference papers on the topic "Published sculpture"

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.

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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Allameh, Seyed M., and Roger Miller. "On the Application of Biomimicked Composites in 3D Printed Artifacts." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70770.

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Abstract:
Application of 3D printing to works of art is not new. However, with the advent of larger and more affordable 3D printers, it is possible to fabricate works of art including statues, sculptures, and architectural structures from biomimicked composites. Made of hard ceramic and soft polymer with or without reinforcement, these composites have shown to be much tougher than their monolithic counterparts. The use of biomimicking will increase the durability and strength of such artifacts. In this study, a newly developed architectural 3D printer is used to create works of art using concrete, with and without reinforcement fibers. The challenge that face creating tough artistic display structures include durability, hardness and resistance to impact. To determine the right combination of hard ceramic and soft polymer, a series of experiments were conducted. These included the fabrication of biomimicked composites with different materials and testing them for fracture energy as well as maximum strength. Earlier published works demonstrate the effect of various parameters such as type of ceramic layer, layering, fiber reinforcement type, fiber length, and fiber loading. In this paper, the effect of hard layer thickness and the type of polymer on the mechanical properties of the biomimicked composites was investigated. Preliminary results show the highest fracture energy for composites made with concrete bonding adhesive (CBA) and Quikrete™ concrete, with a spacing of 5mm. The application of 3D printing to the educational activities of a museum in Newport KY will be explained and its implication in relation with civic engagement activities of Northern Kentucky University will be elucidated.
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