Academic literature on the topic 'Sculpture materials'
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Journal articles on the topic "Sculpture materials"
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Luecking, Stephen. "Sculpture from Patchwise Modules." Mathematics 7, no. 2 (February 19, 2019): 197. http://dx.doi.org/10.3390/math7020197.
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The sculptor adapts the geometry of spline surfaces commonly used in 3D modeling programs in order to translate some of the topological nature of these virtual surfaces into his sculpture. He realizes the patchwise geometry of such surfaces by gluing square modules of neoprene rubber edge to edge to define the surface which he then torques and bends into sculptures. While limited by the nature of actual materials, the finished sculptures successfully incorporate the expressive tension and flow of forms sought by the sculptor. He presents images of finished works and provides an analysis of the emotive values of a select sculpture.
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Elezović, Zvezdana. "Affirmation of Serbian sculptures in Kosovo and Metohija." Bastina, no. 56 (2022): 553–62. http://dx.doi.org/10.5937/bastina32-36832.
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The paper discusses the affirmation of Serbian sculptors in Kosovo and Metohija in the second half of the XX century. It began to develop in the province in parallel with painting, and the founding of the Academy of Arts in Pristina in 1973 can be taken as a turning point. Most artists have already been involved in current creative trends in fine arts in Kosovo and Metohija and beyond. Bužančić says that sculptural achievements, as well as facts from the art scene at the time and a promising future, reject any allusion that sculpture was still a less important sector of Kosovo's art. As the founders of Serbian sculpture in Kosovo and Metohija, we can mention Svetomir Arsić Basara, Radoslav Musa Miketić, and after some time Zoran Karalejić, and they raised sculpture in Kosovo and Metohija with their artistic creation and pedagogical work. The circle of Serbian sculptors then began to expand and prosper, with new profiles and sensibilities, enriching sculptural production in the province.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.
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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.
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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.
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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.
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Fuentes Pérez, Gerardo. "La escultura. Engañando a la gravedad." ACCADERE. Revista de Historia del Arte, no. 1 (2021): 69–85. http://dx.doi.org/10.25145/j.histarte.2021.01.04.
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Sculptures are not capable of creating as complex scenes as painting does, except sculptural relief that creates the illusion of perspective and narration through the different planes. And it is not a question of establishing conceptual criteria in the manner of El Paragone, but rather discovering the constructive possibilities of sculpture in certain proposals, such as the representation of content through mass, height and depth, that is, the three-dimensionality. Already in the past, sculptors made an effort to obtain complex results such as the challenge to gravity (deceiving gravity), by means of optical effects, the colour, using movement, light and other components. The Niké by Peonio, the Ecstasy of Saint Teresa by Bernini, the Annunciation by Günther or many of the works by Canova, Orrico, Quinn, Bethencourt, etc. are samples of those professional boasting, always depending on the materials used. The Baroque period is the most fruitful stage in the production of these sculptural purposes, creating, as Quirin Asam did, authentic theatrical productions where the characters seem to float.
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Østergaard, Jan Stubbe. "Farven vender tilbage. Et “sandere billede” af antik skulptur." Periskop – Forum for kunsthistorisk debat, no. 18 (August 14, 2017): 118–37. http://dx.doi.org/10.7146/periskop.v15i18.105150.
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The Re-Emergence of Colour. A “Truer Picture” of the Sculpture of Classical AntiquityThough often held to be a well-known fact, the consequences of the re-emergence of polychromy of ancient Greek and Roman sculpture have not yet made themselves noticeably felt in the practice of disciplines most affected, namely classical archaeology and art history. Yet it challenges what we have long held to be “the true picture” of classical sculpture, as well as ideas on the aesthetics of later European sculpture. The absence of studies of the aesthetic dimension of polychrome sculptures of these later periods is remarkable. An outline of views on the aesthetics of the portrait of Nefertiti, a world famous masterpiece of ancient Egyptian polychrome sculpture, is followed by sections dealing in chronological order with some of aspects of how polychromy affects the picture we have of Greek and Roman sculpture. The relatively recent recognition of the unity of form and colour in Archaic sculpture is discussed on the background of the reception of the period; similarly, the unity of the sensuality of polychromy with ideal forms is the theme of the Classical section. In archaeology and art history, academic taxonomies of sculpture are established on the basis of materials, formats and dimensionalities. The advent of polychromy creates a continuum across these categories, in all periods, but is most clearly to be traced in the Hellenistic. In Roman sculpture, “copies” of Greek originals have for some time been the subject of increasingly varied, positive appreciation. The term “copy” is therefore being replaced by others, reflecting the “originality” of the contribution made by the Roman sculptors. To this can now be added that of the sculpture painter, leading to a whole new set of research questions. Were identical copies similar in their polychromy as well? This touches on the concept of “copy” and “original” in a Greek and Roman context. A final section reflects briefly on how this affects “true pictures” of later European sculpture and architecture.
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.
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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Bentum, Samuel Adentwi, and Mercy Gyamea Atiemoh. "Sculpture and Catering Symbiosis: The Trade of Equals." International Journal of Vocational and Technical Education Research 8, no. 1 (January 15, 2022): 23–38. http://dx.doi.org/10.37745/ijvter.15/vol8n1pp2338.
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This paper aims to explore the relationships between sculpture and catering in the area of tools, equipment, materials, and techniques in their exposition. It also aims to expose the health, safety, and environmental measures associated with the practices of these great trades. The methodology involves the use of descriptive and experiential methods. The study employed a descriptive method because the tools, equipment, materials and techniques required for these trades needed to be exposed and appreciated. Experiential method was adopted because the researchers were exploring a new merger. The qualitative technique was engaged as the research centred on information obtained from sculptors, caterers, sculpture and catering trainees, vendors and patrons of sculpture and catering products. Primary information was acquired through interaction and observation, while secondary information was obtained from literary materials. This paper resolves that sculpture and catering as trade have working tools, equipment, materials, techniques, and safety practices worthy of embracing. The study concludes that sculpture and catering have a strong relationship in their practice and processes. The research recommends that sculpture and catering trades have common practices, processes and safety measures since the same or similar tools, equipment, materials and techniques are employed in their trades/practices. It can be said that Sculpture and Catering symbiosis as a trade of equals is real and possible.
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Granzotto, Clara, Ken Sutherland, Young Ah Goo, and Amra Aksamija. "Characterization of surface materials on African sculptures: new insights from a multi-analytical study including proteomics." Analyst 146, no. 10 (2021): 3305–16. http://dx.doi.org/10.1039/d1an00228g.
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Multiple analytical techniques, including proteomics, were used to characterize materials from the surfaces of two African sculptures in the collection of the Art Institute of Chicago: a Bamana power object (boli), and a Yoruba wooden sculpture.
Dissertations / Theses on the topic "Sculpture materials"
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Corigliano, Michael. "Materials and Meaning." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3270.
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Decisive moments and their fleeting experiences are born from an individual’s interaction within a defined physical space. It is here at the intersection of environment and context that my work in site-specific art begins. I endeavor to create an examination of socio-political and environmental issues through a manipulation of materials, thereby altering one’s private, communal, and cultural response to them. My installations are comprised of slip casted multiples which reference the human form. I place these forms in galleries and specific exterior locations, and incorporate materials that are charged with societal discord, such as used motor oil and post-consumer detritus, in order to still the blur of contemporary life. This allows for a contemplative pause that pulls into focus the effect of pursuing our individual wants and desires against the consequences of these pursuits on the larger society and environment.
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Hazewinkel, Andrew Clemens. "Stone authority violence: relating body, materials, remembering." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13635.
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In this doctoral thesis I experiment with images of damaged ancient figurative sculpture, physical space and a specific set of materials in order to generate a fresh understanding of how one’s personal experiences mingle with the residues, presences and traces of others peoples’ pasts, presents and perhaps, futures. Two questions drive this thesis. How are materials and material culture caught up with remembering? And, how are the broken stone and bronze bodies of Antiquity entangled with our contemporary social dimension? First investigating early photography’s association with violence and then considering the material properties and qualities of ancient figurative sculpture I investigate the relationships between materials and remembering. This research then goes on to coin and explore the the concept of premembering which through the development of this thesis I have come to define as a distributed system of memory-related cognition that extends beyond the individual and is enacted through a process of active externalism that embraces both the properties and qualities of materials in processes of mutual participation. Then taking this highly personal and psychic sensation to a social level, I examine premembering as the materially triggered understanding of events, circumstances or conditions that one may have not directly experienced, but which one’s culture already knows and stores up for all its future participants. Finally, considering this notion of premembering within the context of Michel Serres’ conception of collective acceptance, complicity and intentionality (in relation to violence), I consider the contemporary socio-cultural legacies of damaged ancient figurative sculpture and question how, through the conflation of the properties, qualities and sensed histories of materials, premembering might be considered a future-shaping force that can be made manifest in original artworks.
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Petrillo, Lucido. "La cascarilla cerámica como material escultórico." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/104110.
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La cascarilla cerámica es un material que se emplea principalmente para la realización de moldes en fundición.
Esta investigación demuestra que la cascarilla cerámica puede ser empleada para la realización de escultura con una definición excepcional en su acabado.
La investigación ha permitido identificar una serie de ventajas que presenta el material para afrontar las dificultades de un artista durante la realización de una escultura.
La investigación se ha desarrollado en cinco etapas:
En la primera etapa se recogió información sobre la cascarilla como material de proceso. Este fue el punto de partida para la investigación.
En la segunda etapa se estableció la composición adecuada de la papilla, tanto en porcentajes como en tipo de aglutinante, y la curva de cocción. Para ello, se valoró sus características para la aplicación, el espesor, el secado, la resistencia mecánica, el coeficiente de reducción y la porosidad.
En la tercera etapa se verificó que la cascarilla se adapta a todo tipo de materiales que ejercen de soporte. Se comprobó también que la papilla puede ser empleada con distintos procedimientos escultóricos: modelado, moldeado mediante molde de silicona o escayola, encofrado, con armazón metálico interno, etc. Además se establecieron métodos para reparar y modificar la cascarilla mediante herramientas manuales y eléctricas.
En la cuarta etapa hemos comprobado distintas maneras de modificar la superficie de la cascarilla mediante otro tipo de minerales que no afectan la estructura: introducción de limadura de cobre, bronce y hierro en la papilla cerámica, distintos procedimiento de coloración en frío o caliente, mediante esmalte, engobe, etc.
En la quinta etapa se realizaron esculturas empleando los métodos que se establecieron en las etapas anteriores, para verificar dicha hipótesis.The ceramic shell is a material mainly used for making foundry molds. This research demonstrates that ceramic shell can be used for making sculptures with exceptional definition in its finish. The research has identified a number of advantages of the material to meet the challenges of an artist during the making of a sculpture. The research has been developed in five stages: In the first stage data were collected from the chaff as the process material. This was the starting point for research. In the second stage, we have set the appropriate composition of the slurry, both in percentage and type of binder, and firing curve. To this end, we evaluated the application characteristics, thickness, drying, mechanical strength, the reduction coefficient and porosity. In the third stage it was observed that the husk is suitable for all types of materials acting as support. It was also found that the slurry can be used with various sculptural processes: modeling, molding using silicone or plaster mold, shuttering, with internal metal frame, and so on. In addition, we have established methods to repair and modify the husk by hand and power tools. In the fourth stage we have found ways to modify the surface of the husk with other minerals that affect the structure: introduction of filing of copper, bronze and iron in the slurry ceramics, different staining procedure in hot or cold, by enamel slip, and so on. In the fifth stage sculptures were made using the methods established in the previous stages, to verify this hypothesis.
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Nurmi, Kaela L. "Challenges Surrounding the Conservation and Replication of Eva Hesse’s Sculpture." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/709.
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The sculpture of German-born American artist, Eva Hesse (1936-1970), presents many conservation challenges. Hesse’s experimentations with latex and fiberglass created stunningly innovative works of art in the late 1960s bringing these unorthodox materials into the world of fine art; but now these materials are creating major conservation problems. Her artwork is an extreme example of the conservation challenges of contemporary art. This thesis examines the challenges surrounding the conservation and replication of Eva Hesse’s large-scale latex and fiberglass sculptures. The latex and fiberglass materials that captivated Hesse are compromising the structural integrity of her large-scale sculptures today. Hesse’s art forces conservators to establish conservation practices specific to modern and contemporary art. Although replication pushes conservators to re-examine their usual practices and violates the standard notion of minimal intervention, the replication of Hesse’s sculptural works is necessary to represent her artistic vision.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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Vallverdú, Jaume R. (Jaume Ros) 1954. "Reflexions sobre l'escultura en pedra: anàlisi, concepte i tècnica: la pròpia obra." Doctoral thesis, Universitat de Barcelona, 1988. http://hdl.handle.net/10803/672109.
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Este es el trabajo de un escultor que entre otras cosas explica cuáles son sus medios y materias. Se decanta claramente por la piedra y específicamente por el mármol, el cual es utilizado como materia prima en la realización de su obra. Podríamos diferenciar en la presente tesis diversos aspectos:
1.- Aquello que nos motiva (precedentes, material cultural, etc).
2.- Análisis de nuestras conductas y acciones escultóricas. En este bloque se tratan las cuestiones específicas de la aportación personal, así como una parte importante de asuntos que se refieren al apartado técnico y especifico de la propia materia.
El último bloque del titulo de la presente tesis, “La propia obra”, sitúa los trabajos artísticos personales aunque sin separarlos del resto del trabajo presentado, sino todo lo contrario, enlazándolos como resultados visuales concretos y palpables de la tarea en la que se centra la temática tratada.
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Afonso, Luís Filipe Soares. "A relação da escultura com o som: as formas, os materiais e as técnicas." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/14708.
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A presente investigação tem como objecto de estudo a escultura sonora, centrando-
se essencialmente na correlação de duas áreas, a escultura e o som. Procura analisar
e definir a escultura sonora através de uma pesquisa interdisciplinar entre a ciência,
a tecnologia e as artes visuais.
Este estudo tem por objectivo analisar a origem do entrosamento entre a
escultura e o som, caracterizando o que se pode definir como escultura sonora dentro
do universo ambíguo das artes sonoras e o que a distingue de um instrumento musical.
Neste âmbito, procura desvelar quais foram os agentes que geraram mudança de paradigma
na escultura e de que modo o som foi integrado intencionalmente na produção
do objecto artístico. Para a caracterização utilizou-se uma metodologia baseada na observação
dos objectos, nas suas semelhanças e dissemelhanças, com base na leitura bibliográfica
de áreas específicas e afins, no estudo de casos e na investigação prática.
Conhecer as suas propriedades físicas, que materiais emprega na sua construção, que
formas tem e como o seu sinal acústico é despoletado e se propaga num determinado
meio, permitiu dar uma ordem a um vasto campo da escultura que andava à deriva e é
tendencialmente ‘desviado’ para o domínio musical.
A essência do movimento é efémera, tal como o som, consoante a maior ou
menor velocidade a deslocação de um objecto tem o potencial de vibrar com uma intensidade
capaz de gerar ondas sonoras audíveis. Nesta perspectiva, o estudo da
escultura cinética do início do século XX, a par da evocação do ruído como arte, são
elementos fundamentais na formação da escultura sonora e permitem delinear a barreira
temporal da nossa investigação. Depois da longa travessia pelo mundo dos objectos
sonoros, desde os engenhos mais primitivos até às peças elaboradas com as tecnologias
mais contemporâneas, o caminho revela que o som sempre foi uma presença constante.
A sua integração como elemento plástico permitiu aos artistas a consciência de uma
dimensão temporal que transforma a escultura, porque lhe imprime uma identidade
invisível e acrescenta à experiência uma memória auditiva; Abstract:
The relationship of sculpture with sound
The purpose of this research is the study of the sound sculpture, focusing primarily on the
correlation of two areas, sculpture and sound. Seeks to analyze and define the sound sculpture through
an interdisciplinary research between science, technology and the visual arts.
This study aims to analyze the origin of the interplay between sculpture and sound, featuring
what can be defined as sound sculpture inside the ambiguous universe of sound arts and what distinguishes
it from a musical instrument. In this context, seeks to reveal what were the agents that generated
a paradigm shift in sculpture and the sound was so intentionally integrated into the production of
the artistic object. Used to characterize a methodology based on the observation of objects in their similarities
and dissimilarities, based on the literature of specific reading and related areas, the case study
research and practice. Meet their physical properties, which employs materials in its construction, which
shapes and has as its acoustic signal is triggered and propagates in a given medium, allowed to give an
order to a vast field of sculpture who was adrift and tends to be 'diverted 'to the musical domain.
The essence of the movement is ephemeral, as the sound, depending on the higher or lower
speed displacement of an object has the potential to vibrate with a strength capable of generating audible
sound waves. In this perspective, the study of kinetic sculpture from the early twentieth century,
alongside the evocation of noise as art, are key elements in the formation of sound sculpture and to
delineate the temporal barrier of our investigation. After the long journey through the world of sound
objects, from the most primitive devices to the more elaborated pieces with contemporary technologies, the
path reveals that the sound has always been a constant presence. Its integration as a plastic element
allowed the artists to realize a temporal dimension that transforms the sculpture, because it prints an
invisible identity and adds to the experience an auditory memory.
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Snowdon, Roger J. III. "Tension in Space." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461418173.
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Madanska, Dessislava. "New Rituals : Materials, Objects and Space." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7426.
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My project unfolds on three different scales: Materials, Objects and a Space. A research on materials and new technique for their transformation, a creation of functional objects out of the transformed materials, and finally, a spatial environment for the created objects. Real-life site visits to various factories and craftsmen, discussions with makers, sourcing leftover materials, transforming materials into borderline art/design objects are among the key elements of my research methodology. The three scales of my work are unified by the notion of Rituals. My understanding of rituals is not about creating a new religion but focuses rather on the activities in our everyday that can become rituals. It is about finding magic in the mundane. Daily routines and rituals are one of the main things that can keep us grounded, especially in a time of crisis. I believe that material explorations and working with the senses are important and relevant for the field of Spatial design and that my approach to engaging different scales within the project brings something new and yet not vastly explored.
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McNamee, Aaron. "Some Kind of Time." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1194.
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This critical analysis examines the progression and trajectory of my studio practices over the final two years of my graduate career. The pinnacle of my development became a meditation on time and its overall encompassing effects. The mundane and the fantastic are all bound by time. Many archetypes have ventured to escape the clutches of time. Found objects are remnants of time, linking past to present, present to future. Scars and blemishes are also vestiges of time, marking us like scratches on a record. The detritus of our lives defines our time, as it defines us. This thesis will elaborate on my exploration of time and its implications. It will describe works and identify the evolution of concepts from one work to the next. By defining what the work is and how it operates, the analysis will explore the larger implications of that work.
Books on the topic "Sculpture materials"
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Verhelst, Wilbert. Sculpture: Tools, materials, and techniques. 2nd ed. Englewood Cliffs, N.J: Prentice-Hall, 1988.
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Verhelst, Wilbert. Sculpture: Tools, materials, and techniques. 2nd ed. Englewood Cliffs, N.J: Prentice-Hall, 1988.
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Kuhtz, Cleo. Sculpture: Materials, technique, styles, and practice. New York: Britannica Educational Publishing in Association with Rosen Educational Services, 2016.
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The sculpture reference illustrated: Contemporary techniques, terms, tools, materials, and sculpture. Gulfport, MS: Sculpture Books, 2005.
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Marjorie, Trusted, ed. The making of sculpture: The materials and techniques of European sculpture. London: V & A Publications, 2007.
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Widman, Lorraine Balmuth. Sculpture: A studioguide : concepts, methods and materials. Englewood Cliffs: Prentice Hall, 1989.
Find full textBook chapters on the topic "Sculpture materials"
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Irvin, Sherri. "Materials and Meaning in Contemporary Sculpture." In Philosophy of Sculpture, 165–86. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429462573-10.
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Faltermeier, Robert B. "Modern Materials and Sculptures." In An Easy Guide to Care for Sculpture and Antique Art Collections, 73–81. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_9.
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Faltermeier, Robert B. "Wooden Materials." In An Easy Guide to Care for Sculpture and Antique Art Collections, 65–72. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_8.
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Abidin, Mursyidah Zainal, Mohd Razif Mohd Rathi, Clement Jimel, Zaidi Wasli, and Noraziah Mohd Razali. "Form and Meaning: Metal Feline Public Sculpture from Recyclables Materials at Kuching, Sarawak." In Proceedings of the Art and Design International Conference (AnDIC 2016), 263–72. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_29.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Marion Spielmann, British Sculpture and Sculptors of Today." In Victorian Material Culture, 127–28. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-38.
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Gilmore, Jonathan. "Material, Medium, and Sculptural Imagining." In Philosophy of Sculpture, 149–64. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429462573-9.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Ancient and Modern Sculpture’." In Victorian Material Culture, 154. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-50.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Harriet Hosmer, ‘The Process of Sculpture’." In Victorian Material Culture, 133–36. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-42.
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Lakhtakia, Akhlesh, and Joseph B. Geddes. "Thin-Film Metamaterials Called Sculptured Thin Films." In Engineering Materials, 59–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-12070-1_3.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Edmund Gosse, ‘Sculpture at the Royal Academy’." In Victorian Material Culture, 122. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-35.
Full textConference papers on the topic "Sculpture materials"
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Liu, Maomao. "Application of Ceramic Materials in Modern Urban Sculpture." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.348.
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Vuga, Martina. "Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13509.
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This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”.
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Bieger, Isabel. "Making Art Through Textile." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001555.
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Art is an important point in our life. Show our culture, our ideas, our knowledge, our creativity and our sensibility. Through art we can Know what the people think in the time of history. Art is the manifestation of beliefs, showing what people demonstrating critical capacity of the history that we are living or lived in some time. For doing art artists using different kind of material. Someone paints, others do sculptures, or even many materials are possible to use together for manifestation art and opinions. Here we will talk about textile material. The many facets of the fabric, how it can be transformed in art with creativity.We choose to talk about the work that Daisy May Collingridge do to transform simple textile in real work of art. How she manifests her opinion through art using textile like a base for after, transform into squishier. Sometimes criticized about the impact caused in the public, her brilliant idea of transforming fabric in sculpture show us her personality.
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Chen, Xuehui, Genfu Yuan, and Zhen Yu. "Model-making of building & sculpture based on Laser rapid prototyping technology." In PICALO 2008: 3rd Pacific International Conference on Laser Materials Processing, Micro, Nano and Ultrafast Fabrication. Laser Institute of America, 2008. http://dx.doi.org/10.2351/1.5057016.
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Schwerdtfeger, M., K. Krugener, W. Viol, M. Koch, and E. Castro-Camus. "Measuring a crack: Three-dimensional imaging of sub-wavelength fractures in sculpture and construction materials." In 2013 38th International Conference on Infrared, Millimeter, and Terahertz Waves (IRMMW-THz 2013). IEEE, 2013. http://dx.doi.org/10.1109/irmmw-thz.2013.6665872.
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García González, María Dolores. "El uso de Instagram en la formación del alumnado de arte como complemento a la docencia presencial y a la docencia online universitaria." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.12015.
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This communication exposes the results of an ongoing study related to the use and potential of the Instagram social network as a complementary tool in the acquisition of competences for the students of the Sculpture II subject in face-to-face and online teaching. The objective of this research is to establish the theoretical foundations of a working model based on the use of ICT and social networks as possible propelling and inspiring elements of artistic practices, especially those oriented to the sculptural field. For this study, the group_f52 Instagram account has been created in order to enhance the learning of the contents of the subject, based on the communicative power that the image has on this platform, the possibilities of interaction and multiple contents that it offers, thus as its accessibility. The study, which is in the Interaction and redirection phase towards online teaching, was well received by the reference group. The audiovisual materials have been viewed by 80% of the members who follow the account and it is expected that, after the closure of the facilities, Instagram will become a virtual space for coexistence for the group.
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Avila Forero, Juan Sebastian. "Design of training materials for teaching anatomy." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.2955.
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The present work is part of the Doctoral Research in Design, Manufacturing and Industrial Projects Management of the Universidad Politecnica de Valencia (UPV) and is incorporated in the PhD project called ¨The implementation of digital design and manufacturing technologies in the teaching of anatomy¨. It is based on the experience as a thesis director in the Design Faculty of the University El Bosque in Bogota. The project discussed thereafter aims to strengthen the skills of students in Industrial design. With a strong technological component, the project’s method relies on the elaboration of a design project, in order to deepen the knowledge of organic 3D modeling techniques and digital sculpture, taking advantage of the boom in digital manufacturing. The project focuses on strengthening the students’ communicative and interactive skills with third parties, it particularly empowers the cognitive abilities needed to work in an interdisciplinary environment. Here the study case concentrates on education in health sciences, specifically the teaching and learning of anatomy in different disciplines. In the initial phase of the project, 3-dimensional physical teaching materials were selected to provide the pedagogical approach to Anatomy and Dental Morphology classes of the Faculty of Dentistry. Said materials constituted the starting point for further experiences and indeed it triggered the implementation of various similar projects with other departments at the UEB, all aiming to facilitate the experience of teaching - learning, guaranteeing students a theoretical and practical training through three-dimensional resources. The main feature of such training consists in a better comprehension of information, thanks to a direct and concrete interaction. This article seeks to illustrate the use given to digital design and manufacturing technology to expand the range of opportunities that could be transmitted to students in academia and such process could permeate non-traditional fields for future industrial designers, demystifying their profile solely as form-esthetics configurators toward eventually emerging as leading projects coordinators in a multidisciplinary field of work. 3D printers of fused deposition modeling (FDM) can create complex didactic models. The present paper will discuss the results of the first year and a half of work based on the academic results of design students under the direction of Professor XXX, PhD student at the UPV.DOI: http://dx.doi.org/10.4995/IFDP.2016.2955
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Kumar, Goldy, and Vadim Shapiro. "Analysis of Multi-Material Bonded Assemblies on a Non-Conforming Mesh." In ASME 2012 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/detc2012-70748.
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Bonded multi-material assemblies arise frequently in design, manufacturing, architecture, and materials design. It is a common wisdom that finite element analysis of such assemblies usually requires all components to be represented by compatible finite element meshes; application of meshfree methods in such situations is often considered problematic due to the need to impose additional interface conditions. Neither approach scales to deal with realistically complex models arising in many applications. We propose a simple extension of meshfree analysis on a non-conforming mesh for linear structural analysis of such multimaterial assemblies. The method is simple, can be implemented within most FEA packages and does not require either compatible meshing or complex interface boundary conditions. Our numerical experiments demonstrate that computed results are in good agreement with known analytical and computational results for well studied multi-material bonded assemblies (lap and butt joints). We also demonstrate application of the proposed method to realistically complex assembly of a mounted sculpture that cannot be easily analysed by other methods.
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Mirwa, Tety, Sugito Sugito, Nelson Tarigan, and Khaerul Saleh. "Visual Characteristics Of Monuments Statue And Monuments In Medan City As Enrichment Of Teaching Materials Sculpture In Fine Arts Department At State University Of Medan." In Proceedings of the 4th International Conference on Innovation in Education, Science and Culture, ICIESC 2022, 11 October 2022, Medan, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.11-10-2022.2325519.
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Tonini, Francesca. "With a little help of my friends. A hopeful educational methodology on retouching for conservation-restoration students on wooden sculpture." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13583.
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Is it possible to mix and match the theoretical foundations of Cesare Brandi - internationally recognized - with the new theories of Muñoz Viñas for a new ethics of restoration, taking into account the suggestions of Paul Philippot, who was the first to deal with the restoration of wooden sculpture? For educational purposes in restoration schools, is not easy to cover all these aspects of retouching, but it is important to find a method that allows students to acquire a solid foundation, and then to deepen the different aspects of the question, hopefully simple but at the same time effective. The Author develops a proposal based on three basic cornerstones: 1. familiarity with the techniques of execution of the work of art and the materials of which it is composed (study of technical art history, and laboratory practice from painting to gilding); 2. study of the basic principles of the restoration theory; 3. practical experiments with the different techniques of pictorial integration (tratteggio, selezione cromatica, selezione effetto oro, dots, mimetic retouching), of the different retouching materials (watercolors, tempera, varnish colors, micaceous), and with protective coatings. In all situations the basic theoretical principles are: 1. recognizability: the pictorial restoration must always be easily recognizable (also using modern technologies); 2. reversibility, i.e. the retouching must be easily reversible without endangering the original work. Thus, the proposed methodology will be a useful tool to contribute and work on the wooden cultural heritage by including not only tangible aspects but also emotional, ideological and above all identity meanings.
Reports on the topic "Sculpture materials"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.