history of art
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Technologies ◽  
2022 ◽  
Vol 10 (1) ◽  
pp. 9
Author(s):  
G.-Fivos Sargentis ◽  
Evangelia Frangedaki ◽  
Michalis Chiotinis ◽  
Demetris Koutsoyiannis ◽  
Stephanos Camarinopoulos ◽  
...  

The creation of innovative tools, objects and artifacts that introduce abstract ideas in the real world is a necessary step for the evolution process and characterize the creative capacity of civilization. Sculpture is based on the available technology for its creation process and is strongly related to the level of technological sophistication of each era. This paper analyzes the evolution of basic sculpture techniques (carving, lost-wax casting and 3D scanning/printing), and their importance as a culture footprint. It also presents and evaluates the added creative capacities of each technological step and the different methods of 3D scanning/printing concerning sculpture. It is also an attempt to define the term “material poetics”, which is connected to sculpture artifacts. We conclude that 3D scanning/printing is an important sign of civilization, although artifacts lose a part of material poetics with additive manufacturing. Subsequently, there are various causes of the destruction of sculptures, leaving a hole in the history of art. Finally, this paper showcases the importance of 3D scanning/printing in salvaging cultural heritage, as it has radically altered the way we “backup” objects.


2022 ◽  
Vol 2022 (142) ◽  
pp. 152-168
Author(s):  
Alexis L. Boylan

Abstract Interview with Derek Conrad Murray, professor of history of art and visual culture at the University of California, Santa Cruz. Murray discusses his new book, Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020), selfies, and the present and future potentials and limitations of visual studies.


2021 ◽  
Vol 13 (2) ◽  
pp. 36-41
Author(s):  
Oksana Salata

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.


2021 ◽  
Author(s):  
Anna Grasskamp

During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide. Focusing on shells and pearls exchanged within local and global networks, this monograph compares and connects Asian, in particular Chinese, and European practices of oceanic exploitation in the framework of a transcultural history of art with an understanding of maritime material culture as gendered. Perceiving the ocean as mother of all things, as womb and birthplace, Chinese and European artists and collectors exoticized and eroticized shells' shapes and surfaces. Defining China and Europe as spaces entangled with South and Southeast Asian sites of knowledge production, source and supply between 1500 and 1700, the book understands oceanic goods and maritime networks as transcending and subverting territorial and topographical boundaries. It also links the study of globally connected port cities to local ecologies of oceanic exploitation and creative practices.


2021 ◽  
Vol 79 (6) ◽  
pp. 956-970
Author(s):  
Ivana Rochovská ◽  
Božena Švábová

The research focuses on examining the use of the interpretation of works of art in pre-school education in three dimensions - the current state of the use of the interpretation of works of art, the opinions of kindergarten teachers on art, and the opportunities for kindergarten teachers to acquire knowledge about the theory and history of art in their undergraduate training or in other forms of education. The aim of the research was to determine a correlation between the aforementioned variables. 366 kindergarten teachers responded to the items of the self-constructed questionnaire. It has been proven that the current state of the use of the interpretation of works of art in pre-school education can be described as below average, the opportunities for kindergarten teachers to acquire knowledge from the theory and history of art in their pre-graduate training or in other forms of education were lower than average, and the opinions of kindergarten teachers on art can also be described as below average. There is a statistically significant positive correlation between the aforementioned dimensions of the interpretation of works of art in pre-school education. Keywords: empirical experience, kindergarten teacher, pre-school education, works of art


2021 ◽  
pp. 133-184
Author(s):  
Jaś Elsner

This chapter interrogates a number of normative assumptions about “landscape” as an art-historical category current in the discipline. It proceeds by means of some very diverse thought-objects significantly separated by time and space—Chinese pagoda paintings found in the Dunhuang caves that are simultaneously concrete poems, British stone circles such as Stonehenge and standing crosses including that at Bewcastle, Roman wall paintings from Pompeii—because the issues are not specifically historical or historicist but rather more broadly conceptual and span the archaeological history of art from the Neolithic to modernity, not least interrogating certain practices in contemporary earth art. The intent is to interrogate what is meant by ‘landscape’ when treated as an art-historical category.


2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>


2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>


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