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Relevant bibliographies by topics / Sculpture, American. Sculpture, Modern History in art

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Academic literature on the topic 'Sculpture, American. Sculpture, Modern History in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Sculpture, American. Sculpture, Modern History in art"

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Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.

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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.

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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.

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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.

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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.

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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

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Rozenberg, Natalia. "A NON-CLASSICAL CLASSIC, A LOOK AT THE ART OF S. ERZYA (1876-1959) FROM THE 21 ST CENTURY." Herald of Culturology, no. 3 (2021): 71–82. http://dx.doi.org/10.31249/hoc/2021.03.05.

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For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.

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Carrier, David. "The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City." Leonardo 36, no. 1 (February 2003): 35–39. http://dx.doi.org/10.1162/002409403321152284.

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There is a great deal of public art in Pittsburgh. Surveying some examples of this public sculpture suggests some general lessons about the role of such art. Art in public spaces needs to be accessible to the public. One way to make it so is to present local history, commemorating local sports heroes, politicians or artists. Public art also needs to be placed in a way that is sensitive to local history. Most public art in Pittsburgh is not successful because it does not deal with the interesting history of that city. Much sculpture that is successful in a museum is not good public art, and some successful public art in Pittsburgh does not belong in a museum.

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Meldesh, G. "Synthesis of academic and modern practices of learning sculpture in creative universities of kazakhstan." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 41–47. http://dx.doi.org/10.51889/2021-1.2077-6861.05.

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The article put attention on the need for a methodological collaboration analysis of the academic and modern types of teaching sculpture in the specialized creative colleges and universities of the Republic of Kazakhstan in the modern educational and aesthetic discourse. The main research problem focuses on identifying and characterizing the most relevant educational theoretical and practical methods that can significantly increase the level of domestic art education in the art of sculpture. The author believes that a comprehensive scientific analysis of the educational potential of the Kazakhstani aesthetic originality of modern sculpture, its history and technical and technological features will give a possibility to understand deeply and see the big picture of the art education role in the general socio-cultural canvas of sovereign Kazakhstan. At the moment, the Kazakhstani art education system is on a peripeteia and it is necessary to clear the choice between academic and contemporary art practices or their harmonious synthesis. This work is devoted to these question’s analysis and the author's research work disclosure.

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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.

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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.

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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (February 11, 2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.

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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.

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Dissertations / Theses on the topic "Sculpture, American. Sculpture, Modern History in art"

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Calhoun, Robert D. "Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460755467.

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Currie, Morgan. "Sanctified Presence: Sculpture and Sainthood in Early Modern Italy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067.

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This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

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Gotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.

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This thesis explores Cleopatra as presented in the work of three nineteenth century American sculptors: Thomas Ridgeway Gould, Edmonia Lewis and William Wetmore Story. It illuminates their work in the context of the nineteenth century and within the history of Cleopatra's image. Victorian opinions of Cleopatra's nature are exposed by examining the Egyptian Queen in essays and literature of the period, including works by Anna Jameson, Emily Dickinson, Charlotte Bronte, Nathaniel Hawthorne and Theophile Gautier. By studying the role of Cleopatra in these literary examples, the notion of some recent scholars of Cleopatra as a feminist symbol is dispelled and a light shed on a deeper interpretation. Cleopatra's ethnicity is taken into consideration against the political climate of the United States before and after the Civil War. Eroticization of the female body through an association with the Orient is examined against the contemporaneous American Suffrage movement. The role that complexion and hair coloring has sometimes played in the temperament of female heroines is explored through the work of Edgar Allen Poe, Hawthorne and Gautier, as is the female "sexual monster" returned from the grave in the work of Bram Stoker and Poe. Strong willed women and their tendency towards "indirect suicide" is investigated through the writing of Edith Wharton, Kate Chopin and Henry James. These diverse factors and events are taken into account in order to reveal the significance of Cleopatra and her legendary sexuality and suicide to the Victorian artist and audience.

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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.

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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

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Morrey, Christopher Calvin James H. "Bite the hands that feed you retrieving material discourse from industrial culture /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6665.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: James Calvin. Includes bibliographical references.

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Grenier, Marlène. "Les artistes propagateurs de l'idéal allemand en art pictural et en sculpture au Canada au XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26215.pdf.

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Shannon, Lindsay Erin. "Monuments to the "New Woman": public art and female image-building in America, 1876-1940." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1749.

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From the late nineteenth-century until the outbreak of World War II, monuments were erected in large numbers across the United States. Critics referred to the phenomenon as "statue mania," because of the number and diversity of monuments appearing in cities across the country. Women's clubs and organizations were heavily involved in this monument culture, commissioning and raising funds for monuments to America's heroes. After the Woman's Building at the 1893 Chicago World's Columbian Exposition advanced the idea of a monument honoring women's work in civic space, organizations began to commission monuments to honor individual women. With few precedents to build on, both artists and patrons were challanged to create a visual language that could represent the work of real women, ideally. These monuments first followed the established form of the "hero statue," using historical figures to represent precedents for women's contemporary demands for the economic and social privileges of citizenship. Women became voters when the Nineteenth Amendment was ratified in 1920, but still lagged behind full economic and social equality. A brief period of experimentation in the 1920s attempted to create monuments representing the accomplishments of women's collective work, demanding recognition of the demographic at large as contributing members of the electorate. By the 1930s, "ideal" figures replaced individual identity in women's monuments, reflecting the demand to acknowledge the many women participating every day in reform work. Public monuments visually marked the narrative of women's reform work in civic space, supporting their patrons' ambition for autonomy and the rights of full citizenship in a democracy.

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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.

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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

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Schneider, Mary Emily. "Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11285.

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Books on the topic "Sculpture, American. Sculpture, Modern History in art"

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Indiana, Robert. Robert Indiana: Sculpture. Knokke-Heist, Belgium: Guy Pieters Gallery, 2001.

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1935-, Kuspit Donald B., ed. Albert Paley: Sculpture. Milano, Italy: Skira, 2006.

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Meyer, Schapiro. Meyer Schapiro: His painting, drawing, and sculpture. New York: H.N. Abrams, 2000.

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Joachimides, Christos M. American art in the 20th century: Painting and sculpture, 1913-1993. Munich: Prestel, 1993.

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Germany), Martin-Gropius-Bau (Berlin, Royal Academy of Arts (Great Britain), and Saatchi Gallery, eds. American art in the 20th century: Painting and sculpture, 1913-1993. Munich: Prestel, 1993.

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1936-1970, Hesse Eva, Wasserman Fred, Bois Yve Alain, Godfrey Mark, and Jewish Museum (New York, N.Y.), eds. Eva Hesse: Sculpture. New York: Jewish Museum, 2006.

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Indiana, Robert. Robert Indiana: Early sculpture 1960-1962. London: Salama-Caro Gallery, 1991.

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Conner, Janis C. Rediscoveries in American sculpture: Studio works, 1893-1939. Austin: University of Texas Press, 1989.

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E, Adcock Craig, and Florida State University Museum of Fine Arts., eds. Albert Paley: Sculpture, drawings, graphics & decorative arts. Tallahassee, FL: Florida State University, Museum of Fine Arts, School of Visual Arts & Dance, 2001.

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Michael, North. The final sculpture: Public monuments and modern poets. Ithaca, N.Y: Cornell University Press, 1985.

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Book chapters on the topic "Sculpture, American. Sculpture, Modern History in art"

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Rivenbark, Elizabeth Richards. "Cloth as a sign of the absent body in American sculpture from the 1960s." In Binding the Absent Body in Medieval and Modern Art, 93–107. New York: Routledge, [2017]: Routledge, 2017. http://dx.doi.org/10.4324/9781315096322-6.

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Baigell, Matthew. "Colonial Art." In A Concise History of American Painting and Sculpture, 1–25. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-1.

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Sullivan, Marin R. "The Weakness of Lead: Materiality and Modern American Sculpture." In Lead in Modern and Contemporary Art. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781350196476.ch-004.

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Desmond, Will D. "Art." In Hegel's Antiquity, 111–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198839064.003.0003.

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Hegel’s Lectures on Fine Art offer a veritable ‘world history of art’, and have led to his being called the real ‘father of art history’, but at their heart is a close identification of beauty with ‘the ideal’ and of art with ‘the classical’—and hence with (Greek) antiquity. With reference to the legacies of Winckelmann and Kantian aesthetic theory, this chapter begins by explicating the main features of Hegel’s aesthetics: the notion of ‘the ideal’ and of art’s vocation to reveal ‘the truth’ sensuously; the classification of artistic styles into Symbolic, Classical, and Romantic; and the division of basic art forms into architecture, sculpture, painting, music, and poetry. The chapter tackles each of these art forms in turn, focusing on Hegel’s sources and understanding of their role in Greek and Roman civilizations. His discussions of the Greek temple, Greek sculpture, epic, lyric, and comedy are relatively neglected, but all contribute as much as tragedy to his Winckelmannian understanding of the Greeks as ‘the people of art’ and of the ‘sculptural’ nature of the Greek mind. Here his Romans play counterpoint, as a derivative and aesthetically uncreative people—except in the genre of satire, which also fills out Hegel’s portrait of Roman ‘prose’, alienation, and increasing self-awareness. Though each of the art-forms peaks in a certain historical period, Hegel tends to associate each peak with the ‘classical’ ideal—an association that may help to illuminate his controversial statements about the ‘end of art’ in the modern, Romantic style.

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