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Journal articles on the topic 'Sculpturalim'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Stace, Sonia M. "The Use of Sculptural Lifelines in Art Psychotherapy (L'utilisation des lignes de vie sculpturales en art-thérapie)." Canadian Art Therapy Association Journal 29, no. 1 (January 2, 2016): 21–29. http://dx.doi.org/10.1080/08322473.2016.1176813.

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2

Bailey, Rowan. "Sculptural Plasticity." Philosophy Today 63, no. 4 (2019): 1093–109. http://dx.doi.org/10.5840/philtoday2020128313.

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This essay explores “sculptural plasticity” through neuronal matterings of the brainbody in philosophy, literature, and art. It focuses on Socrates’s cataleptic condition as evidenced in Plato’s Symposium, the plasticities at work in Jean-Paul Sartre’s Nausea, and morphogenetic acts of cell formation in the sculptural installation of Pierre Huyghe’s After ALife Ahead.

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3

Mills, Cynthia. "Sculptural Thematics." American Art 24, no. 1 (March 2010): 2–8. http://dx.doi.org/10.1086/652735.

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4

Bogart, Bram. "Sculptural Paintings." Leonardo 19, no. 2 (1986): 113. http://dx.doi.org/10.2307/1578272.

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5

Bailey, Rowan, and Hester Reeve. "Sculptural substance." Journal of Writing in Creative Practice 7, no. 3 (September 1, 2014): 545–56. http://dx.doi.org/10.1386/jwcp.7.3.545_1.

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6

Bailey, Rowan. "Herder's Sculptural Thinking." Parallax 17, no. 2 (March 31, 2011): 71–83. http://dx.doi.org/10.1080/13534645.2011.559357.

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7

Le Féon, Violette, David Genoud, and Benoît Geslin. "Actualisation des connaissances sur l’abeille Megachile sculpturalis SMITH, 1853 en France et en Europe (Hymenoptera : Megachilidae)." Osmia 9 (July 12, 2021): 25–36. http://dx.doi.org/10.47446/osmia9.4.

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Update of knowledge on the bee Megachile sculpturalis SMITH, 1853 in France and Europe (Hymenoptera: Megachilidae). - Megachile sculpturalis is a bee native to eastern Asia that is now also present in North America and Europe. This article follows the first synthesis on the ecology and geographical distribution in Europe of this species published in this same journal in 2018 and updates their knowledge. Megachile sculpturalis has been observed in 13 European countries. Its range now extends from the French Atlantic coast in the west to the Crimean Peninsula in the east. It has also been recorded on two Mediterranean islands, Elba (Italy) and Mallorca (Spain). In France, between 2008 and 2020, it was observed in 259 communes in 46 departments. The most northerly French observation was made in 2020 near Reims in the Marne department. Concerning feeding behaviour, new pollen analyses corroborate the results of previous ones which suggested a polylectic diet with a marked preference for shrubs of Asian origin (especially Sophora japonica and Ligustrum sp.). Regarding nesting behaviour, M. sculpturalis makes extensive use of bee hotels. However, a range of diameters (holes in logs or sections of plant stems) between 4 and 8 mm is suitable for the main native species likely to nest in the hotels, while limiting the establishment of M. sculpturalis. New observations have confirmed the tendency of M. sculpturalis to empty the nests of other species in order to establish its own larval cells. In addition, in Switzerland, a female was observed killing a bee of the genus Heriades. Such events, if frequent, could have negative impacts on native bees, but data are currently insufficient to quantify these impacts on populations.

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8

Molina, Jesús. "El hormigón como materia moldeable en la construcción de esculturas." Informes de la Construcción 48, no. 443 (June 30, 1996): 35–41. http://dx.doi.org/10.3989/ic.1996.v48.i443.1005.

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9

변재규. "Measurement and Sculptural activity." Korean Journal of Art and Media 16, no. 1 (May 2017): 119–38. http://dx.doi.org/10.36726/cammp.2017.16.1.119.

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10

klein, Jean-François. "Apologia for “Sculptural engineering”." IABSE Symposium Report 105, no. 41 (September 23, 2015): 1–8. http://dx.doi.org/10.2749/222137815818357557.

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11

Potts, A. "Louise Bourgeois Sculptural Confrontations." Oxford Art Journal 22, no. 2 (January 1, 1999): 37–53. http://dx.doi.org/10.1093/oxartj/22.2.37.

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12

Wanner, Adrian. "Aleksandr Blok's Sculptural Myth." Slavic and East European Journal 40, no. 2 (1996): 236. http://dx.doi.org/10.2307/309468.

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13

Koed, Erik. "Sculpture and the Sculptural." Journal of Aesthetics and Art Criticism 63, no. 2 (March 2005): 147–54. http://dx.doi.org/10.1111/j.0021-8529.2005.00191.x.

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14

Le Féon, Violette, and Benoît Geslin. "Écologie et distribution de l’abeille originaire d’Asie Megachile sculpturalis Smith 1853 (Apoidea - Megachilidae - Megachilini) : un état des connaissances dix ans après sa première observation en Europe." Osmia 7 (2018): 31–39. http://dx.doi.org/10.47446/osmia7.6.

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Ecology and distribution of the Asian bee Megachile sculpturalis Smith 1853 (Apoidea - Megachilidae - Megachilini): a state of knowledge ten years after its first observation in Europe. - Megachile sculpturalis (the Giant Resin Bee) is a bee species native to East Asia that has been observed for the first time in Europe in 2008 in Allauch near Marseille (France). In the USA, it has been reported in 1994 and has since then rapidly expanded through North America. We here provide a review on its ecology and its geographical distribution.

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15

Ruiz, Julio C. "Elementos escultóricos del periodo romano conservados en el Museo Diocesano de Tarragona." SPAL. Revista de Prehistoria y Arqueología de la Universidad de Sevilla 2, no. 29 (2020): 147–77. http://dx.doi.org/10.12795/spal.2020.i29.22.

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16

Vereecken, Nicolas J., and Éric Barbier. "Premières données sur la présence de l’abeille asiatique Megachile (Callomegachile) sculpturalis Smith (Hymenoptera, Megachilidae) en Europe." Osmia 3 (2009): 4–6. http://dx.doi.org/10.47446/osmia3.3.

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17

Kempe, D. R. C. "Gandhara sculptural schist: Proposed source." Journal of Archaeological Science 13, no. 1 (January 1986): 79–88. http://dx.doi.org/10.1016/0305-4403(86)90028-2.

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18

Modrak, Judith. "Fundamental filaments in sculptural form." Cardiovascular Diagnosis and Therapy 8, no. 1 (February 2018): 118–20. http://dx.doi.org/10.21037/cdt.2017.10.10.

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19

Hamill, S. "The Sculptural Object circa 1960." Oxford Art Journal 37, no. 2 (June 1, 2014): 219–22. http://dx.doi.org/10.1093/oxartj/kcu010.

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20

Hirshfield, Pearl. "Sculptural Constructions Involving Water Dynamics." Leonardo 18, no. 3 (1985): 153. http://dx.doi.org/10.2307/1578044.

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21

Greenberg, Jeffrey A. "Hand Made: Sculptural Rocking Chair." Journal of Hand Surgery 38, no. 8 (August 2013): 1609. http://dx.doi.org/10.1016/j.jhsa.2013.05.002.

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22

Mankhi, Ahmed Khlaif. "DISPLACEMENT IN CONTEMPORARY SCULPTURAL FORMATION." International Journal of Research in Social Sciences and Humanities 10, no. 4 (December 20, 2020): 409–17. http://dx.doi.org/10.37648/ijrssh.v10i04.039.

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23

ABBAS, Riyam Saleh. "FANTASIA IN CONTEMPORARY SCULPTURAL FORMATION." RIMAK International Journal of Humanities and Social Sciences 03, no. 03 (March 1, 2021): 483–97. http://dx.doi.org/10.47832/2717-8293.3-3.41.

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The research concerned me to study the concept of fantasy in contemporary environmental sculptural formation، and the research contained the methodological framework for the research starting with the problem that raises many questions about the changes in the style of implementing sculptures that ended with the following question: Fantasia in contemporary environmental sculptural formation? As for the importance of the research، it lies in the fact that it sheds light on fantasy topics as conceptual structures in contemporary environmental sculpture، which constitutes a new reading of the sculptural texts of that period with its historical sequences، and in order to solve the research problem، the researcher sought to set the goal of the research to study the current، which is to identify fantasy in sculptural formation It also included the boundaries of the research that are defined objectively by the environmental sculptural product، and spatially: America، Europe، and temporal: (1930-2012)، after which the researcher enumerated the research population of (10) and then selected the research sample from this community that amounted to (3) A model and after that the researcher analyzed the sample in light of these results، the researcher reached a set of conclusions، the most important of which are: The contemporary artist employed many techniques and methods in presenting fantasy concepts، in a way that serves the sculptural text and intensifies its artistic and aesthetic connotations، followed by the recommendations and proposals that came to it The current study.

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24

Díaz, Sara Straffon, Luca Carisio, Aulo Manino, Paolo Biella, and Marco Porporato. "Nesting, Sex Ratio and Natural Enemies of the Giant Resin Bee in Relation to Native Species in Europe." Insects 12, no. 6 (June 11, 2021): 545. http://dx.doi.org/10.3390/insects12060545.

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Megachile sculpturalis (Smith, 1853) is the first exotic bee species in Europe. Its remarkably fast expansion across this continent is leading to a growing concern on the extent of negative impacts to the native fauna. To evaluate the interactions of exotic bees with local wild bees, we set up trap nests for above-ground nesting bees on a semi-urban area of north-western Italy. We aimed to investigate the interaction in artificial traps between the exotic and native wild bees and to assess offspring traits accounting for exotic bee fitness: progeny sex ratio and incidence of natural enemies. We found that the tunnels occupied by exotic bees were already cohabited by O. cornuta, and thus the cells of later nesting alien bees may block the native bee emergence for the next year. The progeny sex ratio of M. sculpturalis was strongly unbalanced toward males, indicating a temporary adverse population trend in the local invaded area. In addition, we documented the presence of three native natural enemies affecting the brood of the exotic bee. Our results bring out new insights on how the M. sculpturalis indirectly competes with native species and on its performance in new locations.

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25

Sabater, Tina. "La Loge de Mer de Perpignan y sus conjuntos escultóricos." Anuario de Estudios Medievales 40, no. 1 (June 17, 2010): 293–315. http://dx.doi.org/10.3989/aem.2010.v40.i1.305.

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26

SARDAR, SAYAN, ANANDHAN RAMESHKUMAR, and SARFRAZUL ISLAM KAZMI. "First report of Megachile (Callomegachile) sculpturalis Smith, 1853 (Apoidea: Megachilidae) from India." Journal of Insect Biodiversity 23, no. 2 (April 16, 2021): 43–49. http://dx.doi.org/10.12976/jib/2021.23.2.2.

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The giant resin bee, Megachile (Callomegachile) sculpturalis (Smith, 1853) is an invasive solitary bee that has spread all over North America and Europe in the last decade. Although native to Asia, not much is known about its distribution in this continent. In the present study, Megachile (Callomegachile) sculpturalis is reported for the first time from India. Related information about this species regarding its nesting habits, floral association, and impact in introduced range obtained through bibliographical research along with the possible dispersal route after introduction in South Eastern Asia is provided. The checklist of Megachile (Callomegachile) in India is also provided. Key words: Pollinator, giant resin bee, range extension, Northeast India

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27

Bradley, Rizvana. "Transferred Flesh: Reflections on Senga Nengudi’s R.S.V.P." TDR/The Drama Review 59, no. 1 (March 2015): 161–66. http://dx.doi.org/10.1162/dram_a_00434.

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The performance of Senga Nengudi’s sculptural work R.S.V.P., as part of the exhibition Radical Presence: Black Performance in Contemporary Art, explores the limits of sculptural form, while also submitting idealized representations of the black body in contemporary performance to abstract interrogation.

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28

Lynch, Michael F., and Virginia Norton Naude. "Sculptural Monuments in an Outdoor Environment." APT Bulletin 19, no. 3 (1987): 56. http://dx.doi.org/10.2307/1494202.

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29

Lee, Pamela M., and Alex Potts. "The Sculptural Imagination: Figurative, Modernist, Minimalist." Art Bulletin 84, no. 2 (June 2002): 392. http://dx.doi.org/10.2307/3177279.

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30

Łapiński, Zdzisław. "Italian sources of Norwid’s sculptural imagination." Studia Norwidiana 35 English Version (2017): 5–22. http://dx.doi.org/10.18290/sn.2017.35-1en.

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31

Asma Hasan Al-Dabbagh, Dr. "Sculptural Architecture : The Zaha Hadid's Approach." AL-Rafdain Engineering Journal (AREJ) 19, no. 1 (February 28, 2011): 49–69. http://dx.doi.org/10.33899/rengj.2011.27818.

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32

Swindells, Steve, and Kevin Almond. "Reflections on Sculptural Thinking in Fashion." Fashion Practice 8, no. 1 (January 2, 2016): 44–62. http://dx.doi.org/10.1080/17569370.2016.1147701.

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33

Crow, Liz. "‘Figures (2015) – mass sculptural durational performance’." Public 27, no. 53 (June 1, 2016): 176–81. http://dx.doi.org/10.1386/public.27.53.176_7.

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34

Dan, Zhou. "Sculptural Qualities in Yeats’s Later Poetry." Yeats Journal of Korea 55 (April 30, 2018): 147–61. http://dx.doi.org/10.14354/yjk.2018.55.147.

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35

Matousek, Jiri, and Jiri Valoch. "Sculptural Creations Based on Astronomical Phenomena." Leonardo 30, no. 4 (1997): 269. http://dx.doi.org/10.2307/1576473.

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36

Sharma, Gerriet K., Matthias Frank, and Franz Zotter. "Evaluation of Three Auditory-Sculptural Qualities Created by an Icosahedral Loudspeaker." Applied Sciences 9, no. 13 (July 2, 2019): 2698. http://dx.doi.org/10.3390/app9132698.

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The icosahedral loudspeaker (IKO) was previously established as an electroacoustic instrument enabling the musical creation and orchestration of sculptural sound phenomena in the room. This is technically achieved by manipulating the strengths of the available acoustic reflection paths by using the IKO’s acoustic beamforming capabilities. In its use, listeners perceive auditory sculptures whose characterization needs investigation. We present a proposed set of sculptural quality attributes directionality, contour, and plasticity and a series of listening experiments investigating them. The experiments employ documented beam layouts using a selected set of sounds as conditions, and they evaluate the recognizability, perceivable grading, and discernibility of the proposed sculptural qualities.

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37

McIntire, Rachel, and Caleb Duarte. "Tiny Flying Houses and Other Forms of Resistance and Survival." Radical History Review 2019, no. 135 (October 1, 2019): 181–91. http://dx.doi.org/10.1215/01636545-7607920.

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Abstract Casitas voladoras (Tiny Flying Houses) is a collaborative sculptural performance with undocumented immigrant day-labor workers from the state of Chiapas, Mexico, living in San Francisco, California, and with the community of El Pital, Honduras. The work focuses on sculptural public interventions as a form of claiming social protection and as a reflection of the New Sanctuary Movement.

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38

Sioui Durand, Guy. "Aventure et mésaventures des sculptures environnementales au Québec 1951-1991." Recherche 33, no. 2 (April 12, 2005): 205–37. http://dx.doi.org/10.7202/056691ar.

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Les sculptures changent-elles le monde? Nous examinerons ici les Environnants, avant-garde sculpturale méconnue, dont l'origine remonte aux années 1950, mais qui culmine dans les années 1980. En plus de les caractériser sur le plan socioculturel, nous tentons une analyse sociologique et critique des œuvres, mettant l'accent sur leur insertion dans la tradition sculpturale québécoise en même temps que dans la postmodernité. Quête de l'alternative ciselant la cité?

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39

Хахулина, Лидия, Lidiya Khakhulina, Федор Поволкович, and Fedor Povolkovich. "Sculptural heritage of Karafuto period in touristic area on Sakhalin: "koma-inu"." Service & Tourism: Current Challenges 8, no. 1 (March 31, 2014): 69–75. http://dx.doi.org/10.12737/3409.

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The article discusses the peculiarities of Shinto sculptural constructions that are part of Japanese shrine complex"Djindja". Special attention is paid to the stone dogs and lions which performed the function of sacred gates guards and possessed magical powers. The article presents statistical analyses of sculptural objects of religious character located on Sakhalin island as a heritage of Karafuto period.

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40

Kuo, Michelle. "Divinations." Programmer, no. 13 (June 29, 2010): 38–55. http://dx.doi.org/10.7202/044039ar.

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The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking through the sculptural installation, one experienced shifting acoustic, spatial, and visual effects. This text seeks to understand how the interactions between artist and engineers—and between sound sculpture and viewers—engaged systems of industrial and postindustrial production, broadcast radio, and audiovisual reception.

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41

Ainaud de Lasarte, Joan. "A sculptural relief of Mestre de Cabestany." Locus Amoenus 5 (December 1, 2000): 7. http://dx.doi.org/10.5565/rev/locus.99.

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42

Merchán, Pilar, Santiago Salamanca, and Antonio Adán. "Restitution of Sculptural Groups Using 3D Scanners." Sensors 11, no. 9 (September 1, 2011): 8497–518. http://dx.doi.org/10.3390/s110908497.

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43

Costa, J. C. e., T. Almeida, and C. S. F. Gomes. "Pyro-expanded black slate in sculptural art." Cerâmica 59, no. 349 (March 2013): 134–40. http://dx.doi.org/10.1590/s0366-69132013000100015.

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Black slate transformed through a pyroplastic process named pyro-expansion or exfoliation has been explored in the present work in order to be used as sculptural material. Black slate is a highly fissile, fine grained and organic matter rich rock that is the product of the action of low-grade regional metamorphism on black shale (a sedimentary clay and organic matter rich, also fissile and fine grained rock). Black slate if fired at an adequate firing rate up to the temperature range 1000 ºC-1240 ºC shows great potential for the manufacture of sculptural pieces. The technical possibilities of the shaping or conformation of pyro-expanded black slate have also been studied, including the reactions that take place when two different black slate pieces are closely associated with each other, or when black slate pieces are closely associated to other materials, such as metals and ceramics. These interactions, while associating different materials that react with each other, emphasize the unique characteristics of new sculptural compositions increasing the plastic capacities of the pyro-expanded black slate. Some examples of the associations referred to will be shown, which highlight the close functional relationship between art and science; research involves the approach to new techniques and materials, looking at the development of unique plastic configurations.

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44

Schmid, Peter M. "Sculptural Aesthetic Surface Anatomy of the Face." Advances in Cosmetic Surgery 2, no. 1 (June 2019): 11–21. http://dx.doi.org/10.1016/j.yacs.2019.02.015.

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45

Rajer, Anton, Harry Alden, and Rick Green. "CONSERVATION STRATEGIES FOR MODERN ARCHAEOLOGICAL SCULPTURAL SITES." Studies in Conservation 41, sup2 (August 1996): 25. http://dx.doi.org/10.1179/sic.1996.41.s2.025.

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46

Lawton, Carol. "Sculptural and Epigraphical Restorations to Attic Documents." Hesperia 61, no. 2 (April 1992): 239. http://dx.doi.org/10.2307/148162.

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47

Shepherd, Luke. "Practical sculptural training for the plastic surgeon." International Journal of Surgery 3, no. 1 (2005): 93–97. http://dx.doi.org/10.1016/j.ijsu.2005.03.003.

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48

TAKEDA, Naoki. "Sculptural Installations of the 1950s in Japan." Journal of the Japanese Institute of Landscape Architecture 64, no. 5 (2000): 461–64. http://dx.doi.org/10.5632/jila.64.461.

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49

Соколов, Роман Александрович, and Максим Алексеевич Костыря. "HISTORICAL MEMORY ABOUT ALEXANDER NEVSKY: SCULPTURAL VISUALIZATION." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(27) (April 2, 2021): 95–123. http://dx.doi.org/10.23951/2312-7899-2021-1-95-123.

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Истоки поздних версий скульптурной визуализации Александра Невского были заложены еще в древности; важно, что в допетровскую эпоху иконописный канон по преимуществу предусматривал изображение князя в образе схимника, но не был единственно возможным. Установлено с высокой степенью достоверности, что первым дошедшим до нас его изображением является неатрибутированная ранее фигура, представленная на иконе «Богоматерь Тихвинская с протоевангельским циклом и святыми» (первая половина XVI в.). Изменение иконописного канона на «светскую» версию (1724) имело объективные предпосылки, поскольку и до этого Александр изображался в княжеских одеждах в монументальной живописи, миниатюрах, на житийных иконах. «Переходный» характер имеет фреска из Софийского собора в Вологде. Изготовление первой скульптуры Александра Невского («грудной статуи», 1754) связано с именем М. В. Ломоносова, из мозаичной мастерской которого происходят и два портрета князя. Указанному скульптурному произведению предшествовал барельефный портрет князя на его раке (1747–1752, ГЭ (Санкт-Петербург)). В XIX в. статуи князя установили на южных вратах Исаакиевского собора в Санкт-Петербурге (И. П. Витали, 1841–1846) и памятнике «1000-летие России» в Великом Новгороде (М. О. Микешин, И. Н. Шредер, 1862). В постреволюционную эпоху власть отказалась от использования в идеологических установках прежних символов, и герой Невской битвы оказался в забвении. Ренессанс произошел после выхода кинокартины С. М. Эйзенштейна. Это привело к появлению новой версии визуализации князя – в образе Н. К. Черкасова. В послевоенные годы эта версия была отражена и в скульптуре (памятник в Переславле-Залесском). Однако в Российской империи и Советском Союзе скульптурных изображений князя было создано все же слишком мало. На примере установки стелы в Усть-Ижоре (Архив Санкт-Петербургского Дома ученых) показано, что процесс согласования даже небольших памятных знаков был крайне сложным. С начала 1990-х годов ситуация изменилась. Памятники князю и скульптурные композиции, связанные с его именем, появились во многих городах страны, что делает актуальной задачу их типологизации. Самым ранним по времени появления является тип «часовни», представляющий собой вертикальную архитектурно-пластическую композицию, завершенную «куполом» и крестом. Сам же князь представлен в виде воина (Пушкин, Усть-Ижора, Кобылье Городище, отчасти пос. Ленинское). К этим памятникам примыкает еще один тип – «инок» (Городец). Данные скульптурные изображения можно соотнести с образцами иконописной традиции – допетровской («инок», клейма житийных икон) и петровской («святой воин»), а также с миниатюрами лицевых сводов. Остальные типы монументов представляют князя в образе воина, где атрибуты его святости, за редким исключением, играют второстепенную роль. В первую очередь это относится к конным памятникам (Псков (гора Соколиха), Санкт-Петербург (пл. Александра Невского) и др.). В статье показана связь этих произведений с отечественной и зарубежной художественными традициями. Широко распространенным типом памятников Александру Невскому является скульптура в виде одиночной фигуры (Городец, Курск, Волгоград, Владимир и др.). Несмотря на то, что в большинстве случаев связь с тенденциями визуализации, идущими из глубины веков, в этом типе сведена к минимуму, тем не менее она прослеживается, прежде всего, через элементы православной символики. И только два памятника этого типа – в Петрозаводске и Александрове – представляют Александра Невского в образе и воина, и святого. The origins of the later versions of Alexander Nevsky’s sculptural visualization were laid back in ancient times. It is important that, in the pre-Petrine era, the icon-painting canon mainly provided for the image of Nevsky as a schemamonk, but it was not the only possible one. It has been established with a high degree of certainty that the first image of Alexander that came to us is the previously non-attributed figure represented on the icon “Our Lady of Tikhvin with the Proto-Gospel Cycle and Saints” (first half of the 16th century). The change of the icon-painting canon to the “secular” version (1724) had objective prerequisites, since, before that, Alexander had been depicted in princely robes in monumental painting, miniatures, on hagiographic icons. The fresco from Saint Sophia Cathedral in Vologda has a “transitional” nature. The creation of the first sculpture of Alexander Nevsky (the “chest statue”, 1754) is associated with the name of Mikhail Lomonosov; two portraits of Nevsky also come from his mosaic workshop. This sculpture was preceded by a bas-relief portrait of Nevsky on his shrine (1747–1752, State Hermitage, St. Petersburg). In the 19th century, statues of Nevsky were erected on the southern gates of St. Isaac's Cathedral in St. Petersburg (I.P. Vitali, 1841–1846) and on the monument “1000th Anniversary of Russia” in Veliky Novgorod (M.O. Mikeshin, I.N. Schroeder, 1862). In the post-revolutionary era, the government refused to use the old symbols in ideological settings, and the hero of the Neva battle was forgotten. The renaissance occurred after the release of the film Alexander Nevsky by Sergei Eisenstein. This led to the emergence of a new version of the visualization of the prince – in the image of Nikolay Cherkasov. In the postwar years, this version was also reflected in sculpture (a monument in Pereslavl-Zalessky). However, in the Russian Empire and in the Soviet Union, too few sculptural images of the prince were created. Using the installation of a stele in Ust-Izhora (Archive of the St. Petersburg House of Scientists) as an example, it is shown that the reconciling of even small commemorative plaques was extremely difficult. Since the early 1990s, the situation has changed. Monuments to the prince and sculptural compositions associated with his name appeared in many cities of the country, which makes the task of typologizing them urgent. The earliest type is a “chapel”. It is a vertical architectural plastic composition completed with a “dome” and a cross. The prince himself is represented in the image of a warrior (Pushkin, Ust-Izhora, Kobyl’ye Gorodishche, partly the Leninskoye village). One more type adjoins these monuments – a “monk” (Gorodets). The sculptural images of this type can be correlated with samples of the icon-painting tradition, both of the pre-Petrine (“monk”, the scenes of life of hagiographic icons) and Petrine (“holy warrior”) eras, and with miniatures of illustrated chronicles. The remaining types of monuments represent Nevsky in the image of a warrior, in which the attributes of his holiness, with rare exceptions, play a secondary role. First of all, this refers to equestrian monuments (Pskov (Sokolikha Mountain), St. Petersburg (Alexander Nevsky Square), etc.). The article shows the relationship of these works with domestic and foreign artistic traditions. A widespread type of monuments to Alexander Nevsky is a sculpture in the form of a single figure (Gorodets, Kursk, Volgograd, Vladimir, etc.). Despite the fact that in most cases the connection with visualization trends that come from the depths of centuries is minimized in this type, it can still be traced, first of all, through elements of Orthodox symbolism. Only two monuments of this type – in Petrozavodsk and Alexandrov – represent Alexander Nevsky in the image of both a warrior and a saint.

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Dublon, Amalle. "Girl Talk and Hold Music: On the Sculptural Poetics of Chat." TDR/The Drama Review 62, no. 1 (March 2018): 2–3. http://dx.doi.org/10.1162/dram_a_00714.

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Abstract:

In its persistent indirections, its tendency to both shape and ornament social space, gossip (chatting, girl talk) can be sculptural. Sometimes, coalescing around a particular figure, a Harvey Weinstein or a David France, the power of this chatter becomes partially institutionally “visible,” although often it recedes from display. Works by Carolyn Lazard, Wu Tsang, Jessica Vaughn, and Hannah Black make use of the sculptural power of chat, and its specific evasion of a certain mode of political speech.

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