Number Of Artworks Research Articles

The Mythography of Socialism in Contemporary Angolan Art

Abstract The period of political socialism (1975–1991) in Angola was relatively short but has left remnants – both as physical and ideological manifestations. These have been also increasingly addressed by artists who revisit and reinvent this political and aesthetic period. This paper looks at contemporary Angolan art's engagement with the ideological power represented by socialism and at the same time analyzes the mystification and “iconization” of its political leaders. Working with the analytical concept of “mythography” introduced by Boris Groys and based on a number of artworks as examples it argues that artists can be considered as mythographers of socialist history by constantly rewriting the myths of socialism.

Artists Reputation And Prices of Artworks

The price of an artwork depends on many factors, including aspects related to the artwork itself, sales or the artist. Among the artist-related price determinants, the artists reputation can be distinguished. The artists reputation is an intangible aspect which makes it a challenge to include it in art pricing models. How is this concept defined and operationalized in art market research? Artists reputation refers to two dimensions renown and recognition and is also linked to other constructs like fame or stardom. The following ways to measure reputation, among others, have been considered in the studies: the average price of an artwork, highest selling price, the number of artworks in an artists oeuvre, the prestige of institutions hosting exhibitions of artists artworks or the number of the artists name search on Google. Reputation is also relevant to various phenomena observed in the art market such as the death effect.

Strategies for the deployment of microclimate sensors in spaces housing collections

The study of the microclimate is pivotal for the protection and conservation of cultural heritage. This paper describes specific procedures aimed at the deployment of microclimate sensors in spaces housing collections (e.g., museums) under different scenarios. The decision making involves a multidisciplinary discussion among museum manager, conservator and conservation scientist and implies five steps. Since the sensor’s deployment depends on the number of available sensors, we have identified two possible circumstances: (a) artwork-related deployment (i.e., there are as many sensors as the number of artworks) and (b) artwork-envelope-related deployment (i.e., the number of available sensors is less than the number of artworks). The former circumstance is advisable when the artwork is often moved from a museum to another one. The latter circumstance is usually the case of permanent collections, and, according to the Museum Scenario (MS), the related procedures can be further subdivided into basic (MSI and MSII) and advanced (MSIII and MSIV). Advanced procedures are preferable over basic procedures when several time series of microclimate data have been collected for at least one calendar year in several sampling points. All these procedures make it possible to design where to deploy sensors both in the case of an initial deployment and of optimisation of already installed sensors.

Feeling, emotion and imagination: in defence of Collingwood's expression theory of art

ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only ever concerned with communicating quotidian affective states, like anger, fear or love. Surely he has some more sophisticated notion of emotion in mind, and quite probably of expression too. And it turns out that those sophisticated notions can be pushed towards a version of the expression theory that meets the extensional challenge. If we interpret Collingwood as saying that expression is a particular application of imagination, and that imagination is the faculty that refines ideas of emotions, and that ‘emotions’ are the phenomenal feels of experiences, then all manner of things that would be omitted on an ordinary understanding of emotion are brought into the ambit of expression, and the expression theory is rendered adequate to art’s extension.

When Time Stood Still: Thoughts about Time in Primitive Mental States

Deciphering the way patients experience time provides an additional key to primitive mental areas which do not express themselves in the usual verbal or symbolic ways and can help us and our patients better understand these deep layers of the psyche. It is when the issue of time moves to the centre of experience as a separate and predominant aspect of existence, that there and then occurs a disturbance in our continuous and natural transition between various temporalities, one that often exposes an inner rupture, many times of a very early origin. The paper first focuses on a number of art works which portray attempts to deal with death anxiety by capturing the moment, or watching, controlling, organizing, cataloguing the movement of time as though such attempts could freeze time and make it endlessly prolongued. Second, theoretical aspects and clinical vignettes focus on understanding the experience of time as fractured and fragmented; on experiences of timelessness, and, on stereotypical, ritualistic, autistic‐like relations to time, perceived as frozen still. In addition, conceptualizing the analyst/writer's experience of time in the presence of her patients provided a unique tool for expanding the understanding of the patients' internal world.

Human Heart by Art

Heart is of great importance in maintaining the life of the body. Enough to stop working for a few minutes to cause death, and hence the great importance in physiology, medicine, and research. This fact was already emphasized in the Bible in the Book of Proverbs, chapter 4 verse 23: "Keep your heart with all diligence, for out of it is the wellspring of life." Art was able to demonstrate the heart from various aspects; realistically, as done by Leonardo de Vinci who demonstrated the halves of the heart and its blood vessels. Symbolically, as a source of life, the heart was demonstrated by the artist Mrs. Erlondeiel, as a caricature by Salvador Dali, as an open heart by Sawaya, etc. Finally, it should be emphasized that different demonstrations of the human heart by many artworks make this most important organ of our body (that cannot be seen from outside) more familiar and clearer to us. And this is the purpose of this article-to demonstrate the heart through a large number of artworks of different kinds.

Advances in the treatment of works on paper from the Asian Art Collection of the National Gallery of Victoria

The National Gallery of Victoria exhibition The cricket and the dragon: Animals in Asian Art included 120 works and presented an ideal opportunity to undertake conservation treatment on a number of artworks that had not previously been displayed due their fragile nature (Cains 2008, p. 5). The treatment program spanned 10 months and involved a number of interesting treatments that required considerable research into the various art forms. Using the case studies of an Indian miniature painting, an Indian paper cutting and Japanese hanging scroll, this paper presents an overview of our preparation for the exhibition, including research into materials and techniques, technical examination, sourcing indigenous tools and materials for use in treatment and the development of new techniques that embrace both contemporary and traditional materials for treating a diverse selection of works of art on paper.

Teresa Margolles's Crime Scene Aesthetics

When her exhibition “Operativo” opened at New York's Y Gallery, in July 2008, Mexican artist Teresa Margolles said, “Everyone dies but not everyone is murdered. I want people to recognize that.” Ostensibly, with this call for recognition, Margolles simultaneously gestures toward both the universality of death and the crucial differentiation of its genres. Death is not a standardized moment or an equal event; it can be untimely, premature, and violent. As such, death spotlights difference; death has a social life that is contextualized by brutality, inequality, poverty, and politics. To achieve this recognition Margolles works in medico-legal and forensic spaces, creating aesthetic pieces from the remains of crime. This essay examines a number of artworks by Margolles as she deals in death scenes that exceed the boundaries of “typical” criminological, political, or juridical discourse. The essay explores dimensions of Margolles's practice to examine additionally the constitutive value of aesthetic projects that deal in violent death.

Sophie Calle’s art of following and seduction

This paper considers a number of artworks by contemporary French artist Sophie Calle. The focus is on a number of these that have a ‘public’ aspect. Through Calle’s work, idioms of following, documenting, seduction and love are discussed, and artistic and representational dichotomies: documentation and action are critiqued. The essay contextualizes Calle’s art through its dynamic relationships with conceptual art generally and particularly work that involves following as a performance strategy. The possibility of love’s fabrication as a dramatic means of critical art practice and analytical writing are foregrounded through encounters with Jean Baudrillard’s writings on seduction and on Calle.

PITUITARY DISTURBANCES: GIGANTISM

An unknown master of the Siena school painted a picture of the Holy Family which now hangs in the picture gallery in Dresden. In this the child shows unmistakable evidences of pituitary disturbance as is evidenced by the considerable overgrowth. The tendency to gigantism is very apparent. There are a number of art works which show endocrine disturbances, but few of this type. The photograph is by F. Bruckman of Munich.