Life-size Figures Research Articles

The Feast of the Nazarene of Caguach: Religious Identity, Geography, and Community in the Archipelago of Chiloé

Abstract Every 30 August in the archipelago of Chiloé, the small island of Caguach welcomes hundreds of pilgrim seafarers who participate in the feast of Jesus Christ the Nazarene. The life-size figure of Christ carrying the cross is the most important cult image of Chiloé, and its worship can be seen as a transcultural product of the contact between Europeans and the Indigenous population since colonial times. In order to understand the emergence and dynamics of the feast as well as its significance for Chiloé’s religious identity, this article makes use of an ethnohistorical approach that connects Indigenous cultural practices with the structural characteristics and material culture of the Jesuit circular mission and the narrative roots of the feast. In this regard, two aspects are highlighted as particularly significant: first, the social structures based on the principles of collectivity and reciprocity that both shaped Indigenous and Catholic practices, especially concerning the intimate relationship between the local population and the images involved in the cult; and second, the importance of the natural space and its elements, such as water, mountains, or rain, which in Indigenous mythology and religion represented powerful entities with which people interacted continuously. These transcultural practices came into conflict with the nineteenth- and twentieth-century Catholic reform policies that aimed to “civilize” the local veneration of saints.

Merchandising – a way to attract and retain customers

Merchandising, as one of the branches of marketing, is currently a rapidly developing field. It is noted that this term is approaching in number of formulations to the multi-valued term "quality". The authors of the article consider the concept of "merchandising" of goods. A general classification of merchandising (manufacturer and seller) is given, as well as its types (category and visual). The main techniques of merchandising include the following types: manipulating the flow of store visitors; positioning shelves; allocating limited space between competing offerings; using materials at the point of sale and installing special displays. It is noted that the consumer receives up to 80...86% of information through the most important sensory modality - vision. Due to the understanding of the importance of vision and sense of aesthetics and taste in merchandising has appeared a whole separate area - visual merchandising. This article discusses 25 types of POS materials ("Points of Sale Materials"). These include advertising wobblers, shelf talkers, hardposters, teabaggers, dorhangers, jumbies, magnetic bookmarks, nekhengers, menhoders and others. Examples are given of the use of basic merchandising principles in practice: bierdeckel - as an active advertising of the institution and drinks; the location of posters (or billboards) in front of the entrance to the public catering establishment; advertising stands in retail outlets for consumer appreciation of new foods; moulage dishes or popular products to attract consumer attention in stores, catering establishments and exhibitions; life-size figures, etc. POS materials should be aimed at performing five steps or stages of sale in terms of influencing the customer: attracting attention, arouse interest, creating desire, building confidence and direction of action. It is noted that the effective promotion of goods, works and services is possible only when the implementation of merchandising principles are approached from the positions of a systematic approach, which includes methodological work on teaching and training of specialists, merchandisers

Cut-outs and ‘silent companions’: theatricality and satire in Lubaina Himid’s ‘A Fashionable Marriage’

The article discusses Himid’s first cut-out series A Fashionable Marriage, a remaking in life-size cut-out figures of William Hogarth’s Marriage a la mode. The author draws links between Himid, David Hockney and Hogarth, and especially their shared love of the theatre. An extended analysis of the work shows how Himid uses satire to stake a place for Black and British art; reflective of the politics of the Black Arts Movement of the 1980s. The cut-out form is then discussed in relation to later work by Himid and linked to 17th-century Dutch ‘dummy boards’ or ‘silent companions’.

PORTRAITS OF A PARTHIAN KING: ROCK-RELIEFS AND THE MOUNTAIN FORTRESSES OF RABANA-MERQULY IN IRAQI KURDISTAN

This article presents detailed illustrations of two rock-reliefs from the neighbouring sites Rabana and Merquly, located on the flanks of Mt. Piramagrun in Iraqi Kurdistan. Both matching sculptures are aligned with perimeter fortifications that enclose substantial architectural remains. Based on numismatic parallels, supported by archaeological evidence, it is proposed that these depictions of near life-size figures represent an anonymous Arsacid King of Kings from the early first millennium (c.a.d.50-150), who was credited with construction of the mountain fortresses. Rabana and Merquly together form an important landscape of settlement on the north-western frontier of the Parthian Empire.

Stimulus size matters: do life-sized stimuli induce stronger embodiment effects in mental rotation?

ABSTRACTAgainst the background of the embodied cognition approach this experiment investigated the influence of motor expertise on object-based vs. egocentric transformations in a chronometric mental rotation (MR) task using images of either the own or another person’s body as stimulus material. The present study aimed to clarify two issues: (1) whether stimulus size (life size vs. small) is able to induce embodiment effects and (2) which role self-awareness processes play when using stimuli of the own body. The same design was conducted twice using both small stimuli (Study 1) and life-size human figures (Study 2). Using life-sized figures in Study 2 resulted in an explicit advantage of self-related stimuli and improved performance for motor experts compared to non-motor experts in both object-based and egocentric transformations. In conclusion, these results suggest that life-sized figures do indeed induce stronger embodiment effects in MR.

Rembrandt's ‘Saul and David’ (c. 1652): Use of multiple types of smalt evidenced by means of non-destructive imaging

The painting Saul and David, considered to date from c. 1652 and previously attributed to Rembrandt van Rijn and/or his studio, is a complex work of art that has been recently subjected to intensive investigation and conservation treatment. The goal of the research was to give insight into the painting's physical construction and condition in preparation for conservation treatment. It was also anticipated that analysis would shed light on authenticity questions and Rembrandt's role in the creation of the painting. The painting depicts the Old Testament figures of King Saul and David. At left is Saul, seated, holding a spear and wiping a tear from his eye with a curtain. David kneels before him at the right playing his harp. In the past, the large sections with the life-size figures were cut apart and later reassembled. A third piece of canvas was added to replace a missing piece of canvas above the head of David. As part of the investigation into the authenticity of the curtain area, a number of paint micro samples were examined with LM and SEM–EDX. Given that the earth, smalt and lake pigments used in the painting could not be imaged with traditional imaging techniques, the entire painting was also examined with state of the art non-destructive imaging techniques. Special attention was devoted to the presence of cobalt-containing materials, specifically the blue glass pigment smalt considered characteristic for the late Rembrandt. A combination of quantitative electron microprobe analysis and macroscopic X-ray fluorescence scanning revealed that three types of cobalt-containing materials are present in the painting. The first type is a cobalt drier that was found in the overpaint used to cover up the canvas inset and the joins that were added in the 19th century. The other two Co-containing materials are part of the original paint used by Rembrandt and comprise two varieties of smalt, a K-rich glass pigment that derives its gray–blue color by doping with Co-ions. Smalt paint with a higher Ni content (NiO:CoO ratio of around 1:4) was used to depict the blue stripes in Saul's colorful turban, while smalt with a lower Ni content was employed (NiO:CoO ratio of around 1:5) for the broad expanses of Saul's garments. The presence of two types of smalt not only supports the recent re-attribution of the painting to Rembrandt, but also that the picture was painted in two phases. Saul's dark red garment is painted in a rough, “loose” manner and the now discolored smalt-rich layer was found to have been partially removed during a past restoration treatment/s. In contrast, the blue-green smalt in the turban is much better preserved and provides a colorful accent. While the use of different types of smalt in a Rembrandt painting has been previously identified using quantitative EDX analysis of paint cross-sections, to the best of our knowledge this is the first time such a distinction has been observed in a 17th-century painting using non-destructive imaging techniques. In addition to the XRF-based non-invasive elemental mapping, hyperspectral imaging in the visual to near-infrared (VNIR) region was also carried out.

Az ifjú Mária Terézia portréja Martin van Meytenstől

An oil painting on a copper plate in an ornate brownstained wooden frame with carved rosettes and meanders from around 1700 cropped up in the art trade. It shows a young woman in decorative garments reminiscent of Maria Theresa’s portraits. She is wearing a diadem studded with gems and pearls, and holds a palm branch in her right hand with a bracelet of pearls on her wrist. Her charming but self-assured smile evokes a legend. There is a sword stuck into her above her heart – the attribute of her martyrdom. She holds her golden mantle interwoven with blood red in her left hand. As the iconographic marks reveal, the picture represents St Justina of Padua. In the Martyrologium Romanum of great source value compiled by the historian cardinal of the Apostolic Library, Baronius in 1631 during Pope Urban VIII the feast day of St Justina is October 7. In it he notes that Venantius Fortunatus (540-600), the excellent early Christian poet also eulogized her. In Missale Romanum ordered by Saint pope Pius V in 1570 there is one martyred virgin saint from Antioch by this name with the feast day of 26 September, for October 7 was the commemoration day of the victory over the enormous Ottoman army at Lepanto from that year on by the name of S. Maria de Victoria, the Victorious Virgin. In the diocese of Padua, in Venice and in the order of St Benedict St Justina as shown in this picture has been venerated from the Middle Ages. They selected her as their patron saint, minted their coins with her portrait. The grand church of the saint is a Benedictine abbey. Justina came from a high-class family. From her youth she professed her faith bravely and encouraged her fellow believers to do so. Emperor Maximilian arrived in Padua in 307 and had several Christians brought there to pass judgement on them. Hearing it, Justina donned a festive costume and rushed to the help of the captive Christians. When she was interrogated, not even the emperor could get her to denounce her faith and she was sentence to death. Over her tomb the prefect of the city Oppilio had a commemorative chapel and later a church built in the early 5th century. Remains of the latter can still be seen in the huge Renaissance basilica built between 1502 and 1550. The high altar includes the corpse of St Justina and a large statue of her is also on the altar. In terms of art more important is the life-size figure of Justina in the sculptural group created by Donatello for the high altar of the St Anthony Basilica. It is presumable that the votive picture was brought home by a Hungarian student returning from his studies in Padua.

Momentary vs. monumentary: Medardo Rosso and public sculpture

This article explores the reasons behind Italian sculptor Medardo Rosso's failure to conceive, secure and realize a monumental commission. After describing the nineteenth-century phenomenon of ‘monumentomania’, it offers an anthology of the critics' and public's reactions to Rosso's anti-monumental style. It analyses Rosso's experimentation with life-sized figures and his theoretical and technical difficulties in producing them. It also argues that Rosso manipulated the public's perception of the real size of his pieces by photographing them without scale indicators, so that his ‘broad’ style would make the works appear physically big. It describes how, when Rodin unveiled his Monument to Balzac, Rosso publicly challenged him claiming the authorship of the sculpture's conception. Lastly, it investigates some technical aspects regarding plaster casting and arming. Analysing Rosso's studio photographs, one can notice the absence of proper arming materials and tools, a further fact that would have limited Ro...

A Quality Assurance Project to Track Compliance with Autoclave Maintenance and Use of Biological Indicators in Outpatient Physician Offices

percent). In 2004, a targeted assessment of HCWs compliance with HH was conducted in our facility identifying a similar compliance rate to the nation. In order to improve compliance, the HH Program was created comprising of the Hand Hygiene Compliance Team. Project: Our Program was based on the Institute of Healthcare Improvement (IHI) “How to Guide: Improving Hand Hygiene.” The four IHI components to improve compliance were implemented: 1) education of staff was conducted through employee training and multi-component publicity campaigns, 2) improvement of HH technique using several methods, 3) increase availability of alcoholbased hand rubs(ABHRs) throughout the facility, 4) HH observations performed using Center for Disease Control and Prevention (CDC) guidelines. Results: 1) Education of staff was conducted through orientation, annual training and section specific training. Twomulti-component campaigns were implemented-first one in 2006, and the second in 2008. Campaigns included: HH posters, life size figure of facility leader, HH pamphlets, quarterly HH articles, HH trophy, incentives for patients/staff and HH surveys for the second campaign. Survey results (2009-2011) reveal that staff awareness of the campaign increased with each year and was above 90% and patient awareness was above 80%. 2) Correct techniques for using an ABHR and handwashing were discussed during educational sessions, 2 videotape Presentations, and using fluorescent dye-based training methods. 3) Pocket-size ABHRswere distributed and a survey of the facility was conducted to maximize the availability of ABHR wall units in patient care areas. 4) HH compliance checklist was created for use by trained observers. Targeted areas were surveyedmonthly with a minimum of 30 opportunities for HH observed, immediate feedback given, and compliance rates reported to leadership. Results: 24,840 observations were performed from 2006 to 2011, with the most observations done in 2006 (5,369) and the least in 2011 (2,991). The facility goal was set at 90% compliance rate and was reached in the latter part of 2008.The lowest overall compliance rate was 77% in 2006/2007, and the highest compliance rate was 94% in 2011. Physicians/Respiratory Therapy technicians improved the most.

The Terra Cotta Army: China's first emperor and the birth of a nation

The Terra Cotta Army is one of the greatest archaeological discoveries ever made. Over seven thousand life-size figures of warriors and horses were interred in the mausoleum of the first emperor of Chinaand each figure was individually carved. Weaving together history and a first-hand account of his experiences in China, John Man tells the fascinating story of how and why these astonishing figures were created in the third century BC, and how they have become a symbol of Chinas history, culture, and society.

Other Monuments to Inhalation Anesthesia

Other Monuments to Inhalation Anesthesia

Napoleon, David: The Image Enthroned (review)

Napoleon, David:The Image Enthroned Tony Osborne Napoleon, David: The Image Enthroned (2005) Written and directed by Patric Jean. Distributed by First Run / Icarus Films, www.frif.com 51 minutes. On December 2, 1804, Napoleon Bonaparte endeavored to legitimate his claim to absolute power by stage-managing a magnificent pageant in Notre Dame Cathedral that transmogrified ancient myths, church rituals, and symbols of empire and monarchy. The five-hour ceremony, a disjointed pairing of a secular coronation with a pre-Revolutionary papal anointment, culminated in an act of audacious ritual usurpation: at the moment of consecration, Napoleon trampled papal sanctity and crowned himself Emperor, publicly humiliating Pope Pius VII, whose authority—toppled by the Revolution—Bonaparte had restored specifically for this unprecedented royal anointment. However, as Patric Jean reveals in Napoleon, David: the Image Enthroned (2005), this "surprise" denouement had been prearranged, capping four months of bitter papal negotiations. In return for an opportunity to proselytize in France, the Pope agreed to journey to Paris to play a supplicant role in a public spectacle that placed the Vatican beneath the Emperor of the French People. Looking down from a lavishly draped spectator's box, Jacques-Louis David, the premiere neo-classical painter of the age, sketched this epochal moment and filled his notebooks with impressions of the royal entourage. David set up his studio in the chapel, and guided by mock-ups and clay figurines, completed Napoleon's Coronation in two years. Upon inspecting the finished work—one of four that Napoleon had commissioned to commemorate his ascendancy—the Emperor exclaimed, "It is not a painting. There are people walking in this picture. Life is everywhere. David, I salute you. You have made me a French knight." Resplendent with 150 life-sized figures, this enormous canvas (some 660 square feet), which now hangs in the Louvre, is the organizing motif of Napoleon, David. The Coronation painting is on screen for nearly 15 minutes of Jean's 51-minute film about the ritual machinations of power and image. Jean explores the painting's terrain inch by inch—close enough to reveal canvas dimples beneath the paint. As the camera drinks in characters, colors, and gestures from multiple angles, Jean exposes the Coronation's distortions of fact, both delicate and gross. Originally, David had painted Napoleon crowning himself with a golden laurel wreath. However, to render the Emperor more chivalrous, David recast him crowning a kneeling Josephine. A close-up reveals the after-image of the original composition, a ghostly crown floating above an unsuspecting churchman. David gave 41-year-old Josephine a maiden's rosy, unlined face. Napoleon's mother, who loathed Josephine, snubbed the event, remaining in Rome. On Napoleon's orders, David conspicuously placed her in the main tribune. David had painted a passive Pope, hands in his lap. This displeased Napoleon: "I didn't have him travel this far to sit idly." Hence, for posterity, the pontiff is blessing the moment. Napoleon, David portrays the Emperor as a consummate propagandist who understood the primacy of image in sustaining power. In the 1799 Syrian campaign, Napoleon deserted the sick and wounded and ultimately lost half his army. To squelch rumors, Josephine commissioned Antoine-Jean Gros to reframe history. Thus, in Napoleon at the Penthouse at Jaffa (1804), impervious to infection, like some god, the benevolent leader comforts bubonic plague victims. In David, Napoleon found the perfect image maker, a republican whose allegorical paintings—such as The Oath of the Horatii (1784), commissioned [End Page 80] by Louis XVI—inculcated Roman virtue. In Napoleon, David found the ideal subject, a conqueror with the perfect visage and an imperious flair for grandiosity. "What a fine face he has," David said during a sitting in 1798. "It is pure. It is grand. Like antiquity." Napoleon sought to dissemble naked power in reverence for the past. Thus, his Coronation featured a pastiche of ritual objects and costumes, some invented—such as the ersatz crown of Charlemagne. Napoleon's white silk tunic, embroidered with bees, a symbol of empire, a hive with one leader, was genuinely emblematic of Charlemagne. The red velvet robes, the yards and yards of ermine and gold trim, recalled the...

The Cyclopes in Odysseus' Apologos

In Homer's Odyssey, Odysseus narrates the lifestyle and behavior of the Cyclopes. They were no larger than life-sized figures and lived in a land rich in natural products but cultivated nothing. They dwelled in caves, and their sociopolitical system was based on the family unit. There were no interfamilial congregations, institutions, or laws. They had no ships, nor were there any craftsmen who might build ships to visit the cities of other men. Perhaps the land of the Cyclopes described in Homer's Odyssey may have represented a place somewhat like the hospitals or islands which were used to isolate patients with leprosy. Otherwise, we can follow Thucydides' opinion: let it suffice, as the story has been told by poets, and each man has formed his own opinion about them.

Enemy Women (review)

linen sheets for his "Silent Woman." He entertains the illusion that he is bringing his "woman" back to him, and he recoils with disgust when Fräulein Moos speaks of "Shipment . . . as if his beloved were freight!" For Oskar, the "idol" who will be arriving in a packing crate must be "his bride" for their "honeymoon cottage." He recognizes that he is "devoting himselfto fantasy and falsehood," yethow else "to keep himself alive?" The arrival of the packing crate with the life-sized figure of Alma causes Oskar to realize profoundly the extent of his delusion; this realization leads to considerable pain and suffering. He soon becomes two distinct persons: in public, a vivacious, talkative man; in private, introspective and grieving. If he finds solace in humor, referring to Madame as "rather beastly," inside he is bitterly struggling with the shocking disparity between actual and ideal. Only when Oskar the public man displays his life-sized doll figure at a party with his friends and colleagues is the spell broken—with some hilarity and, on Oskar's part, considerable emotional bloodletting. Madame, the "woman" object, is finally demystified for Oskar, and the very next morning he is willing to consign the mangled "toy" to the dustman's cart. But by now it has done its work; his passion back, Oskar has begun to paint. Oskar's own madness, while it held him in the grip ofa delusion, has nonetheless given him back his passion. The Silent Woman powerfully evokes the truth of this assertion: without passion, the artist is dead. With fire, the artist is prepared to live as well as to pursue the elusive ideal—to avoid thinking and to listen with his eyes. 0S) Enemy Women by Paulette Jiles William Morrow, 2002, 321 pp., $24.95 A war tale, a love story, a woman imprisoned, a jailbreak, arduous journeys home—Paulette Jiles's first novel, Enemy Women, has mountains of promise, and the poet-turnednovelist delivers. In history, what paraUel exists for the Civil War in the Missouri Ozarks? Maybe only in the Balkans can one cite a similar rampage of human evü. To this violent time Jiles brings a heroine with a sharp mind, quick tongue and miles of fortitude. Adair Randolph CoUey is the daughter of a justice of the peace. The CoUeys have no discernible aUegiances. But when the war obliterates civilized authority, a Union militia batters and captures her father, steals aU their horses and sets fire to the house. Adair is arrested and taken to the women's prison in St. Louis. There Major William Neumann interrogates her. As he arranges her escape, Neumann promises he wtil find her after the war. Meanwhile, he receives his long-awaited transfer to a combat unit at the worst time—just when he has faUen for her. The latter half of the book details Adair's difficult trek home and Neumann 'sharrowing trip through war. In the tense closing chapters, both characters struggle toward a reunion. Testifying to the author's prodigious talent as a fiction writer is the account of Neumann's battle experience in Alabama. She writes this sandy, sunny, bloody scenery as weU as she writes any slough or swamp in southeast Missouri. 204 · The Missouri Review Jiles is no sentimentalist. Bears tear people apart. Horses panic, bite and wedge riders between cypresses. Yet no novelist since Donald Harington has so vibrantly evoked the wilderness of the Ozarks. She knows every tree, vine and wildflower, every creature on wing, hoof or padded claw, and on her trek home, Adair spots them aU. Jiles delights in schooling us with Ozark Civil War knowledge and folkways . And she teUs mighty good history. Her prologue, a briefing on the war before the novel's 1864 start, could hold its own with any chunk of James McPherson or Albert Castel. Reviewers have compared this book to Cold Mountain. In the end, Enemy Women is the more satisfying book. Jiles indulges no one. Ozarkers, even Adair, can be as mean, narrow, spiteful, bigoted and hateful as the times warrant. Heroes win no great rewards. Sometimes ladies steal to survive. Enemy Women is on many levels more the real...

"Drill into us... the Rebel Tradition": The Contest over Southern Identity in Black and White Women's Clubs, South Carolina, 1898-1930

IN HER MEMOIRS, MAMIE GARVIN FIELDS, AN AFRICAN AMERICAN CLUB-WOMAN from Charleston, South Carolina, relates a story about the statue of South Carolina statesman John C. Calhoun that still stands in Francis Marion Square, in the center of downtown Charleston. According to Fields: At the same time that [Frederick] Douglass was preaching against slavery, John C. Calhoun was preaching for it.... Our white city fathers wanted to keep what [Calhoun] stood for alive.... [T]hey put up a life-size figure of John C. Calhoun preaching.... Blacks took that statue personally. As you passed by, here was Calhoun looking you in the face and telling you, Nigger, you may not be a slave, but I am back to see you stay in your place. Fields describes how black residents threw rocks at and otherwise defaced the statue, until it had to be raised out of reach of passersby.(1) Her words indicate that at the turn of the century--almost forty years after the South's defeat in the Civil War--black and white southerners still struggled with the meaning of defeat and emancipation. Many white women turned to the Lost Cause, the movement to honor the Confederacy, in order to recapture what they believed were the glory days of the South--the antebellum South of their childhood or of their parents. African American Charlestonians, on the other hand, rejected the message of black inferiority implicit in such statues as they sought to improve their and economic conditions. They focused instead on black history, pride, and American citizenship. Recently, historians have provided excellent analyses of white southern women's clubs' participation in Progressive-era reform and black clubwomen's efforts to uplift the race through similar, but separate, welfare programs.(2) This article focuses instead on the tension between black and white elite clubwomen's attempts to tell the story of southern, and American, history. The self-education component of women's clubs--their programs in history and literature--was important because it provided an opportunity for women's edification and growth, and the content of these offerings is critical as well. A survey of the history and literature examined by South Carolina club-women reveals how their consideration of these materials shaped their understanding of what it meant to be black or white in the postbellum South. Their attention to history and literature is compelling because clubwomen did more than simply study within the confines of the club. Through educational outreach and support for community libraries, they also attempted to transmit to children and the general public the ideals of southern, American, and racial identity that they celebrated. What is significant about black and white clubwomen in South Carolina, therefore, is not only their progressive behavior as reformers but also their ability to fuse history and identity construction with reform Their program of building southern identity through the study of southern history and literature--their cultural work--shaped the New South as much as their social work. Furthermore, their literary agenda is evident in their reform agenda: the welfare programs that white clubwomen built and lobbied for were for whites only, and white clubwomen in South Carolina did not embrace the interracial work that church women in the 1920s would promote. At the same time and without state aid, black clubwomen used their own resources to fund welfare programs for blacks. Ultimately, the racial underpinnings of the history that black and white clubwomen read, studied, and repeated, made white women part of the effort to create a culture of segregation in the New South as black women fought to combat that culture. In the late nineteenth century, building on an earlier tradition of charity through church and benevolence societies, vast numbers of black and white women across the nation began to participate in a myriad of women's organizations, including the Woman's Christian Temperance Union (WCTU), church missionary societies, and woman suffrage associations. …

The Work of Art in the Age of Mechanical Digestion

Research Article| April 01 1999 The Work of Art in the Age of Mechanical Digestion Daniel Cottom Daniel Cottom Search for other works by this author on: This Site PubMed Google Scholar Representations (1999) 66: 52–74. https://doi.org/10.2307/2902879 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Daniel Cottom; The Work of Art in the Age of Mechanical Digestion. Representations 1 April 1999; 66 52–74. doi: https://doi.org/10.2307/2902879 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentRepresentations Search This content is only available via PDF. Copyright 1999 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Authority is an Attribute … Revisited

As we drove down the Red Squirrel Road to attend the conference that gave rise to this issue, the foliage was lush. I hadn't been down this road for a long time. I had expected everything to be the same, but it was different. A knot formed in my stomach. This puzzled me. I stretched to see traces of the former clear-cuts. Occasionally, I detected a barren area about 20 feet in. On an earlier trip, I had photographed a collection of three-year-old pines planted in gravel not too far from the road. Those pines struggled to attach themselves to the rock. I still have the photographs; but the pines are gone, and poplars have grown in. famous Red Squirrel Road....Certainly the events of the Red Squirrel Road blockades and the Bear Island land claim had extended the direction of my art work. blending of my art and my activism became my means of support for the Red Squirrel Road blockades. During the blockades, the local and provincial governments negotiated to ensure the manifestation was a peaceful one. It appeared that strategies used by the empowered had significantly changed since my involvement with civil disobedience in the 1960s and 1970s. But, was this the case or, rather, had the violence of authority been hidden behind a charade of negotiation, as in Chief Justice McEachern's ruling on the Gitksan/Wet'suweten land claim in British Columbia? And perhaps here, with the irregular prosecution of demonstrators on the Red Squirrel Road blockades? I wanted to know more, how and why. As in the past, I am able to research my questions and experiences by means of making art.The original exhibition, Authority is an Attribute [Part 1], investigated the dynamics of power versus authority relationships. It failed, however, to scrutinize the complexities and complicities of this theme beyond the expressive, knee-jerk polarities of victim and exploiter. collaboration was an opportunity to develop these concepts more thoroughly, at the same time as bringing their cause to the gallery-going public. Authority is an Attribute ... Part II, explored the concept of authority as it extends into power relations and gamesmanship-like strategies. To represent this visually, I designed the installation to provoke tension between three major components: Cautioned Homes and Gardens, The Game Players and Authority is an Attribute of Power Relations. work went through many stages before it arrived at this form, however, and became a collaboration with the Teme-Augama Anishnabai.My initial gesture was simple, and perhaps naive. I photographed models (my urban friends) dressed as they would appear for work. They were directed to look at the camera through a large pair of binoculars. It was important for them to look benign in every way, as I wanted them to represent an ordinary range of the general public. binoculars would re-position the reading of the commonplace to include connotations of desire and scrutiny. These images were printed life-sized and placed along the logging road to be photographed. I also photographed them in the forests and the clear- cuts. As I trundled though dense bush with an armament of photographic equipment and armloads of stand-up photos, my friends from Bear Island alternated between laughing at the city chick and using those life-sized figures to act out their frustration with the Ontario government. As I watched and listened, I began to hear the stories not printed in the Globe and Mail or in the literature from the Temagami Wilderness Society.These animated sessions with friends and the cut-out photo-figures was where the collaboration really began to extend beyond the agit- prop gesture into the newer forms of documentary photography. I knew that the Temagami issue was not just a clash between logging and conservation. Yet at the time that was the perception of the Toronto public, stripped of its braided historical relationship to aboriginal rights, forestry policies and tourism. …

CONSERVATION STRATEGIES FOR MODERN ARCHAEOLOGICAL SCULPTURAL SITES

Our continuing conservation research aims to study the factors affecting the deterioration of outdoor mixed-media sculpture in the Upper Midwest of the USA and to help develop strategies for the preservation of these modem artifacts. Many of the aboveground archaeological sites are known as 'art parks' or outdoor sculpture gardens. Several of these sculptural sites are located in the state of Wisconsin. Created by self-taught artists commonly referred to as 'outsiders' or 'primitives', the sites evolved over a 60-year period between 1920 and 1980; many were subsequently abandoned. The preferred materials of the spontaneous constructions of these rural visionaries included wood, concrete, glass, metal, plastic and stone. Working in apparent isolation, the artists relied upon an inner vision and inspiration from religious, civil and historical events to guide them in their creative endeavors. Preservation efforts at all the sites have been hampered by a harsh climate marked by frigid, snowy winters and sweltering, humid summers. Biological growth, including lichen and moss, plagues many of the sculptures. In addition, the remote rural locations of many of the sites and the unusual construction materials often utilized by the artists have made site work difficult, requiring preventive conservation strategies tied to economic reality. Our research project has focused on biological, chemical and physical components in the degradation and biodeterioration of these sculptures. The 'primary focus of our research has been the Wisconsin Concrete Archaeological Park, created by retired lumberjack Fred Smith (1886-1976), which consists of well over 200 life-sized concrete figures which surround his rural home and tavern near Philips, Wisconsin. The site became a county park after a restoration in 1977. Utilizing the ICC ROM model for an historic object within its outdoor environment, we are studying the factors affecting the objects at the site. Lichen, fungus, moss and wood have been identified in order to understand the mechanisms of biological and physicochemical degradation affecting the pieces. In addition, climate studies have indicated periods of high wind, subzero freezing, and dramatic fluctuations in temperature through the day and the year. Future research will focus on the identification of mortar and metallic corrosion, and on creating models for potential sculpture stabilization. Working with the Friends of Fred Smith Association, some preventive conservation procedures have included the planting of native prairie grasses near the sculptures to prevent touching by the public, inventorying glass shards which have fallen from the sculptures, covering some of the statues in the winter, and keeping improved written records on each piece. Routine maintenance and periodic controls are sometimes the only way to prevent biological attack in an outdoor environment. In addition, we are writing a site maintenance manual and documentation archives along with a new guidebook. Within the past few years, summer archaeological workshops have focused on stabilizing the sculptures and the creation of a new visitor parking-lot. A new site fence is also planned. Along with closer environmental monitoring we are constructing portable winter covers for the objects in order to reduce the penetration of precipitation, snow as well as rain. Finally, we are exploring the possibility of removing some artifacts to a local museum. Research continues into the materials and techniques used in the construction of the Concrete Archaeological Park, as well as other sites throughout Wisconsin, and their deterioration, and we are in contact with colleagues working at other archaeological sites, including the Garden of Eden, Kansas. Research at the University of Wisconsin and the Forest Products Laboratory continues to explore the physical composition of the sculptures and the ways in which their materials behave in the outdoor environment. Developing strategies to conserve these eccentric sculptures has been a perplexing challenge: a challenge worthy of continued efforts. Anton Rajer is an art conservator, PO Box 567, Madison, WI 53701, USA. Dr Harry Alden and Dr Frederick Green are based at the University o/Wisconsin, Forest Products Laboratory.

CONSERVATION OF THE OLDEST OUTDOOR BRONZE SCULPTURE CAST IN AUSTRALIA

In the 1860s Charles Summers, a sculptor living in Melbourne, won a competition to produce a public monument to the ill-fated Burke and Wills expedition. Such was Summers’ enthusiasm for the project that he decided to cast the double life-size figures in his Collins Street studio in the centre ofthe Melbourne Central Business District (CBD).The memorial has been moved five times since its original unveiling in 1865. Its last home, sited above a chemically-treated water feature, had caused extensive damage to the surface of the casting.In May 1993, the conservation treatment of this bronze memorial began. This paper traces the memorial’s history, that of the sculptor Charles Summers, and the inception of the sculpture. It also discusses the conservation treatment and how the unique marriage of conservation science and foundry technology made such a treatment so successful.

Likeness of No One: (Re)presenting the First Emperor's Army

The army of the life-size terra-cotta figures of soldiers unearthed near the tomb of the first Chinese emperor is commonly understood as substituting for the real army. This article attempts to specify what exactly these figures represent, to determine their status more precisely, and to account for their facial diversity. It is suggested that even though the clay warriors do not represent individuals, they do refer to specific members of the army whose status is determined by their participation in the whole. Here, the traditional dichotomy between individual and type is challenged.