Original Artwork Research Articles

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“Vanguards of the Future”

ABSTRACT One aspect of modernity, from the French Revolution on, has been the drive toward a utopian future. This has been apparent in artists as well as conscious political revolutionaries or philosophers like Marx. Like his avant-garde contemporaries, Bernard Shaw was not content to turn away from the masses and make works of art for the contemplation of a select minority. He wished to create works of art that might have a place in forging the “new man,” a major trope of the period and of special importance not only to Shaw but also to the avant-garde. Both Shaw and the avant-garde wanted to create original works of art, of course, but they were actually more concerned with giving form to the chaotic, inchoate modern world itself, a time of anxiety but also of excitement and promise. They were cultural politicians, scientists in the laboratory of life hoping to make a new man with the revolutionary artistic techniques fashioned out of their own genius. This essay explores what the author refers to as Shaw's utopian modernism, particularly as it merged in his politics and in his artistic creation, and compares it to the utopian modernism and politics of the avant-garde, most particularly the Italian futurists and the Russian constructivists.

M-mode colour Doppler: whereartmeetsscience.

The electronic reproduction of a transesophageal echocardiographic (TEE) 2D M-mode colour Doppler image of three cardiac cycles depicts severe mitral regurgitation in a female patient undergoing mitral valve repair. The image was originally captured (bottom panel) and electronically archived using an iE33 TEE platform (Philips North America, Andover, MA, USA). The image was de-identified and the colour values (hues) of the original were digitally modified (top two panels) using image editor software (Adobe Photoshop). The final image was then printed on canvas (91 cm 9 182 cm), framed, and mounted. The original artwork can be viewed in Detroit, MI, USA.

The Appropriation of Fine Art into Contemporary Narrative Picturebooks

Many picturebook artists have been formally trained in specific artistic styles, movements, and techniques. These artists appropriate and transform works of fine art to varying degrees to fit the themes and designs of the stories they illustrate and publish, and to increase the significance and impact of their illustrations. The intertextual-intervisual associations among picturebook illustrations and works of fine art are important considerations for understanding the meaning potentials of the designs and illustrations of contemporary narrative picturebooks. This paper focuses on the appropriation and transformation of works of fine art into contemporary narrative picturebook illustrations. The analysis of numerous picturebooks asserts three forms of appropriation, namely: (1) reproduction, (2) transfiguration, (3) stylization. These three forms of appropriation may be further conceptualized as falling along a continuum ranging from faithful reproductions to stylistic conventionalizations. Reproduction is conceptualized as a mimetic reproduction of an original work of fine art. It is a faithful rendering of an original artwork, most frequently achieved through a photographic or digital rendering process. In the second form of appropriation, transfiguration, a single work of fine art is identifiable but the picturebook artist has transformed the image to fit the context and purpose of a particular picturebook narrative and design. In stylization, a specific work of art is not readily identifiable, but a particular art movement, for example cubism, surrealism, or folk art is drawn upon by the illustrator.

Color Rendering of Images in the Internet and Print Reproductions of the Sistine Chapel’s Frescos

ABSTRACTMany digital reproductions of artefacts can be found on the Internet. In this study we investigate differences between original works of art and digital reproductions downloaded from several online databases. Four frescos in the Sistine Chapel were selected for detailed investigation. Representative colored patches were measured on these reproductions from the Internet and from two printed albums. These data were compared with the Vatican Museum’s measurements of the original frescos and measurements in the Sistine Chapel taken by the researchers of the Virtual Environments and Imaging Technologies Laboratory of the University of Pannonia. Results presented in this article demonstrate that there are significant differences between the original artefacts and their digital reproductions. The source of these differences is very complex. One is the difference between the displaying techniques of different web browsers, which produces relevant aberrations in color rendering. Differences can also arise from the JPEG encoding and decoding methods. Implicit use of color spaces in browsers, missing or incorrect EXIF data, and noncalibrated displays together can result in very different forms of representation.

Parallel Style-Aware Image Cloning for Artworks.

We present style-aware image cloning, a novel image editing approach for artworks, which allows users to seamlessly insert any photorealistic or artificial objects into an artwork to create a new image that shares the same artistic style with the original artwork. To this end, a real-time image transfer algorithm is developed to stylize the cloned object according to a distance metric based on the artistic styles and semantic information. Several interactive functions, such as layering, shadowing, semantic labeling, and direction field editing, are provided to enhance the harmonization of the composite image. Extensive experimental results demonstrate the effectiveness of our method.

Escaping Sugamo Prison with a no. 2 pencil: the drawings of Japanese war criminal Tobita Tokio

Tobita Tokio spent 10 years as war crimes suspect and convicted war criminal in Sugamo Prison, a facility recommissioned by American occupiers in 1945 as one element of a larger programme designed to refashion Japan into a more peaceful and cooperative member of the community of nations. From 1945 to 1955, Tobita produced hundreds of drawings depicting life in Sugamo Prison and gave most of them to American jailors and fellow Japanese inmates. As ephemera and souvenirs, some of the drawings were short-lived. But many were carefully preserved. The drawings constitute a visual diary of prison life. But they were more than that. They played an important role in defusing post-war animosity between American and Japanese soldiers. At times, Tobita used them as a personal form of art therapy helping him deal with the psychological torments of prison life, especially when he was facing trial and sentencing. His drawings both highlighted and softened the caste and class tensions that challenged Japan during the war and post-war periods inside and outside the military and prison. As widely distributed original artworks within a relatively narrow social network, they constitute an excellent case study for agency-based theories of art production, distribution and consumption. They offer an opportunity to evaluate the overlap between art practices and wartime and post-war magical charm production in Japan. We argue there are structural similarities between Tobita’s drawings, the long tradition of ema votive offerings, and the wartime production and circulation of senninbari protective sashes, imon ningyo comfort dolls and signed Hinomaru flags.

Comics & Media: A Special Issue of Critical Inquiry Ed. by Hillary Chute and Patrick Jagoda

and edited by Hillary Chute and Patrick Jagoda Special issue, Critical Inquiry 40, no. 3 (2014). 284 pages The very first thing one notices about and Media, aside from its unmistakably Robert Crumb-drawn cover (in which a brawny drag queen and an effeminate youth hold hands in application for a marriage license), its size, its materiality--appropriately enough, considering collection's emphasis on materiality and embodiments of comics and, more broadly, media at large. In introduction to this collection, editors Hillary Chute and Patrick Jagoda describe size of this special issue of Critical Inquiry as unprecedented in journals history. Indeed, there much about and that somewhat unprecedented, particularly its unique blend of scholarly essays, panel transcripts and interviews, and original artwork by nine leading cartoonists. holds these disparate units together Chute and Jagoda s editorial emphasis on embodied practices of reading and creating, particularly amid the intertwining of theory and evident in and (2014,2). and had its inception at University of Chicago's May 2012 Comics: Philosophy and Practice conference, proceedings of which are printed in this edition. According to introduction to and Media, conference (organized by Chute) aimed to create generative exchange between arts practice and critical and theoretical (1). One might even push this claim a step further and argue that a key concept in and precisely arts practice as theoretical practice. In this sense, and continues work of Chute's Graphic Women (2010), in which she highlighted centrality of cartoonist's hand to intimacy of comics. What feels so intimate about comics that it looks like what it Chute argues; handwriting an irreducible part of its instantiation, as distinct from typeface in which a work of prose can be printed (Chute and Jagoda 11). Among sources informing Graphic Women were a number of interviews with five comics artists under consideration; in and artists themselves take floor and speak with each other, with interviewers, and as presenters. The contents of and can be divided into three categories: conference transcripts, original artwork, and critical essays. In first of these, text transcribes eight panels and interviews from May 2012 conference, and a few words should be said about contents of these eight transcripts. In lieu of a keynote lecture, Art Spiegelman and W.J.T. Mitchell address question What %$#! Happened to Comics?, considering recent elevation of comics studies as a line of serious inquiry. Spiegelman suggests that mongrel hybridity of word and image, of legitimacy and vulgarity present in comics has found acceptance thanks to contemporary pervasiveness of polyvocality, of using two different languages (29). Other public conversations reprinted include Joe Sacco on his work as leading comics journalist, Aline Kominsky-Crumb on trajectory of her career, Francoise Mouly on relationship between editing underground comics anthology RAW and working as art editor for New Yorker, and Alison Bechdel on her fascination with photography and archival material. In wake of Roland Barthes's declaration of death of author, foundational work in field of comics studies was conducted on largely formalist grounds, with figures like Will Eisner, Scott McCloud, and Thierry Groensteen theorizing comics by way of assessing and defining mechanics of medium. Comics and Media does not quite insist on resurrecting author, but it does allow these authors opportunity to talk back to academia, as when Bechdel admits that academic criticism of her work is kind of enlightening [and] I enjoy being analyzed (215). …

<em>Original und Reproduktion</em>: Alexander Dorner and the (Re)production of Art Experience

Original und Reproduktion was the title of a 1929 exhibition hosted by a small Hanover art society in which original artworks were displayed alongside replicas. Launched amid a lengthy published debate over the ethics of art facsimiles, the exhibition was overseen by curator Alexander Dorner, one of the more prolific contributors to the debate and perhaps its most radical apologist for the value of art reproductions. From the cautionary traditionalism of Dorner’s contemporaries Max Sauerlandt and Kurt Karl Eberlein to the more liberal provocations of Erwin Panofsky—and later reverberations in the work of Walter Benjamin—the debate saw repeated elisions of reproduction, restoration, and exhibition, revealing broader period anxieties about defining and protecting the true nature of artistic experience.

Photography: My New Score

The aim of this research is to demonstrate how photography is used as a creative tool in my compositional process. Purpose-built pictures are created solely with the goal of acting as musical scores, called graphic scores, from which performers improvise. This paves a way for me, the composer, to communicate my compositional ideas to the performers, resulting in new soundscapes and original artworks, without the restrictive barriers placed upon me, the composer, by convention. As an artist, the objective is to capture unique moments in time, where images are taken naturally or by manipulating the camera in a variety of predetermined ways. This idea could work with any picture, but for me, it is the innate musical language that I have developed over the years of my conventional musical training, that leads me to the precise construction of these new compositions. Initially, I was inspired by the writings of John ...

Peinture et bibelot: prégnance du pictural dans l’œuvre de Joris-Karl Huysmans par Jérémy Lambert

the topics that interest them are treated elsewhere. For example, although there are only two essays in the chapter on the danse macabre, it is discussed in other chapters. The Parisian Cemetery of the Holy Innocents has no single chapter devoted to it, but figures prominently in several essays. A broad spectrum of genres including epic and lyric poetry, Arthurian literature, beast epic, and romance share space with chapters organized around lies and suicide, laughing at death, and image and text. Carlos Clamote Carreto investigates the spilling of the martyr’s blood and the dismemberment of the epic hero. Vicenta Hernandez Alvarez ponders the cortege of words (38) announcing epic deaths. Pierre-Gilles Girault, observing death is everywhere in the Middle Ages (62), focuses on the pilgrim and the warrior, both journeying towards salvation.Agnès Echène considers the fatherless hero. Laurence Cousteix notes Merlin’s dis- and re-appearance in Arthurian literature. Lydie Lansard addresses the Passion of Christ in vernacular versions of the Gospel of Nicodemus. Jean-Louis Benoit expertly considers miracle stories, which are didactic but teach literarily rather than directly, and in which death lies on the path to eternal salvation.Alexandra-Kathrin StanislawKemenah provides close readings of Eustache Deschamps’s poems on senescence, wisdom and the ubi sunt motif. Caroline Denhez investigates the strange links between dance/(life) and death in the danse macabre. Karin Becker reads Martial D’Aubergne’s neglected Danse de femmes, based on an exhaustive tracing of the development of the danse macabre. ZoéVerveropoulou traces death’s cathartic working out in farce, a genre predicated on all death destroys: the body and its functions. Martijn Rus argues that in the Renaissance, death lost its absolute horror. Natalie Vrticka ponders post mortem silences and speech as signifiers of consolation and dis-illusion. Ji-Hyun Philippa Kim also examines stillness whether suicide or swoon. Ian Laurie stretches the death motif to argue compellingly that Eustache Deschamps suffered a double death, corporeal and literary.The Miroir de mariage,possibly three different works,may have been smoothed into cohesion by the poet himself, though interrupted by his death. Julie Singer locates Pierre de Hautville in indestructible loci, the cemetery, the poet’s own work, and the reader. Caroline Denhez returns the reader to the danse macabre and the inescapable connections between death and suffering, depicted satirically as the reader is asked to consider making his own good end. The volume concludes with Jean-François KostaTh éfaine’s own edition of Isabeau de Bavière’s will.This document lets us hear the voice of a medieval queen, who recognizes the diverse and deadly perils of her century. Stevens Institute of Technology (NJ) Deborah M. Sinnreich-Levi Lambert, Jérémy. Peinture et bibelot: prégnance du pictural dans l’œuvre de Joris-Karl Huysmans. Paris: Champion, 2012. ISBN 978-2-7453-2495-5. Pp. 227. 25 a. Contemporary interest in exploring ways in which text and image are linked should make this careful study of the close relationship between Huysmans’s writing 276 FRENCH REVIEW 88.4 Reviews 277 and the art of painting of interest to many. Lambert describes and analyzes what he calls the pictorial esthetic that organizes Huysmans’s life and oeuvre, beginning with a short chapter on Huysmans’s genetic and esthetic heritage. Born into a family of painters, the young Huysmans visited his father in his studio every evening until he died when Huysmans was only eight. Lambert interprets Huysmans’s life—and work—as a quest for meaning inspired by idealization of the lost father. Substituting the pen for a paintbrush, perhaps, Lambert posits, due to a lack of confidence in his own talent for painting, Huysmans sought Baudelairean correspondences between word and image, literature and painting, this world and another, in all he did. He often portrayed aspects of his life and self-image in his characters, confirmed aesthetes (and bachelors) who sought to become their own creators by making of their lives original and unreproducible works of art. This compelling story gets somewhat lost as Peinture et bibelot progresses. Lambert offers a highly structured, carefully documented, and extremely dense study of various images, influences...

L’éventail et le dandy: essai sur Musset et la fantaisie par Sylvain Ledda

Reviews 277 and the art of painting of interest to many. Lambert describes and analyzes what he calls the pictorial esthetic that organizes Huysmans’s life and oeuvre, beginning with a short chapter on Huysmans’s genetic and esthetic heritage. Born into a family of painters, the young Huysmans visited his father in his studio every evening until he died when Huysmans was only eight. Lambert interprets Huysmans’s life—and work—as a quest for meaning inspired by idealization of the lost father. Substituting the pen for a paintbrush, perhaps, Lambert posits, due to a lack of confidence in his own talent for painting, Huysmans sought Baudelairean correspondences between word and image, literature and painting, this world and another, in all he did. He often portrayed aspects of his life and self-image in his characters, confirmed aesthetes (and bachelors) who sought to become their own creators by making of their lives original and unreproducible works of art. This compelling story gets somewhat lost as Peinture et bibelot progresses. Lambert offers a highly structured, carefully documented, and extremely dense study of various images, influences, and references to painting in Huysmans’s work and life, but the story—or the image—that could unite and bestow meaning upon all this information becomes lost in the details. Lambert analyzes the “doubles”Huysmans created in his characters, the painterly aspects of his language, the pictorial images in his texts, his writing about art and artists, his mastery of color, the extreme attention he paid to the fabrication of his books as works of art in themselves. Although Lambert occasionally mentions the evolution of ideas in Huysmans’s oeuvre, he seems to assume that the writing style—and its relation to painting—remain fairly constant over time, thus referring randomly to writings from different periods and genres throughout the study. It is not clear, then, why he devoted an entire chapter to a close reading of the painterly elements in Huysmans’s first published writing, Le drageoir aux épices. More welcome would have been an analysis of the concept of the “bibelot”announced in the book’s title. Lambert mentions it only as a term to denote books as collectible objects of art. However, current critical interest in the bibelot as a carrier of culture and meaning, as well as the proliferation of bibelots in nineteenthcentury French literature, point to Huysmans’s writing as an attempt to correspond with his absent father and that father’s creations, not the least of which was Huysmans himself. Brandeis University (MA) Jane Hale Ledda, Sylvain. L’éventail et le dandy: essai sur Musset et la fantaisie. Genève: Droz, 2012. ISBN 978-2-600-01609-4. Pp. 287. 51 a. Another in a recent flurry of Musset scholarship that began around the 2010 bicentennial of the author’s birth, Ledda’s book explores the idea of “fantaisie,”weaving together strands of linguistic, generic, and biographic inquiry to illuminate both Musset’s work and the larger cultural context in which it emerged.The titular metaphor of the fan structures the project, which unfolds coyly, beginning with considerations of the various meanings of fantaisie, fantasque, etc. in the early to mid-nineteenth century, followed by an examination of the literary scene in which Musset débuted and quickly became a leading figure, and finally closing again with reflections on Musset’s literary life and legacy. One of the commonplaces of Musset criticism is that the author’s later work represents a poet in decline and is not worthy of notice. Ledda counteracts that view and takes into account all of Musset’s oeuvre, regardless of chronology or genre. As he argues in his introduction,“[i]nterroger la fantaisie, c’est [...] questionner les formes mineures et majeures de la littérature, c’est interroger la ‘situation’ des œuvres dans une aire géographique, intellectuelle [...] l’étude de la fantaisie permet de considérer la place de Musset dans l’histoire littéraire non en fonction de ‘dates-événements’, mais grâce à des notions esthétiques” (25). Ledda is largely successful in this enterprise, but it must be noted that readers not already in possession of an intimate knowledge...

From the Editors

We are proud to publish the 15th issue of The Medicine Forum. Since its inception, this journal has provided a medium for medical students and housestaff to share their scholarly pursuits and clinical experiences with the Jefferson community. It has served as a platform both for those pursuing careers in academic medicine as well as those wishing to share their personal experiences with a larger audience. This year we are introducing a new section called Clinical Images which will showcase interesting physical exam findings and radiographic images accompanied by brief patient vignettes. We have been fortunate to have received numerous fascinating case reports, review articles, and clinical images, as well as one narrative essay for this year’s edition. Additionally, we are very proud to present original photography, artwork, and illustrations by Internal Medicine housestaff throughout this edition. We appreciate the efforts of all those involved in the publication of The Medicine Forum, particularly those individuals who have donated funds to allow for this journal’s publication, the editorial staff, Jefferson Creative Services, and the Internal Medicine Department.

Powerful and Resonant: Native and First Nations Women's Filmic Presence

WORLDLITERATURETODAY.ORG 7 WE ARE ALL painfully aware of the dominant cinematic representations of Native women—the princess, the sexualized maiden, the work drudge (sq**w). Following a hundred years of cinematic tropes, films like Avatar (2009) utilize the Native woman as an exotic accoutrement to the white male hero, an access point into another culture, a way of claiming “Nativeness.” In others—The Searchers (1956), Little Big Man (1970), and Deer Woman (2005), for example—the woman’s symbolic death reinforces and validates America’s ongoing violent and colonial action against Native peoples. It’s a legacy that continues to haunt us all—but one that Native American and First Nations women have taken on full force for over one hundred years as actors, independent filmmakers, and producers. The vibrancy of their work resonates with the power and tenacity of Indigenous communities and Native women’s voices. In front of the camera, Native and First Nations women work within the Hollywood system and outside it, countering these age-old tropes with realistic portrayals of Native women and cultures. Lillian St. Cyr (Winnebago) stands in the heraldic position as the first Native American woman to star in a major film (Cecil B. DeMille’s The Squaw Man, 1914) and to work within the industry against these tropes. Her performance as Nat-U-ritch, the young mother who commits suicide when her son is taken from her, so powerfully portrayed the grief Native peoples suffered under the boarding school and adoption programs that it forced her co-stars to rethink their assumptions about Native people. Such ability to effect change in how we depict and perceive Native women is manifested throughout the industry and characterizes the more contemporary work of other actors whose work deconstructs Hollywood’s Indian woman and represents Native women as contemporary, resilient, powerful, and nuanced or complex mothers , sisters, aunties, lovers, and friends. Some of my current favorites across a variety of approaches highlight strong female subjects, a process of bearing witness through film, and the power of Indigenous storytelling in media. They include My Name Is Kahentiiosta (dir. Alanis Obomsawin , 1995), the sensitive documentary about a resilient Kahnawake woman’s participation in the Oka Crisis of 1990; Honey Moccasin (dir. Shelley Niro, 1998), the first Native American detective story that includes original artwork, performance art, and suspense; Older Than America (dir. Georgina Lightning, 2008), a powerful contemporary drama about the historical trauma of boarding schools; Fry Bread Babes (dir. Steffany Suttle, 2008), a documentary about Native women’s responses to dominant media representations of them; and Magic Wands (dir. Elizabeth Day, 2009), a bilingual (Ojibwe and English) and intergenerational short story about the “magic” of sticks used to harvest wild rice. M. Elise Marubbio is an associate professor at Augsburg College (Minneapolis). Her first book, Killing the Indian Maiden: Images of Native American Women in Film, won the Peter C. Rollins Book Award. world film Powerful and Resonant Native and First Nations Women’s Filmic Presence by M. Elise Marubbio above A still from Shelley Niro’s Honey Moccasin. Visit the WLT website to view trailers for the films listed here. Marubbio will give a keynote talk at the 2015 Native Crossroads film festival at the University of Oklahoma (March 5–7). Notebook ...

Harnessing Technology for Promoting Undergraduate Art Education: A Novel Model that Streamlines Learning between Classroom, Museum, and Home

We report on the development and evaluation of an innovative instructional model, which harnesses advanced technologies and local resources (an in-campus museum), to support undergraduate-level art history students in developing the skills required for analyzing artwork. Theory suggests that analyzing artwork requires theoretical knowledge and practical experience gained through critical dialogue and inquiry of original artwork. An instructional model was designed in which technology (website, collaborative docs, and mobile apps) supported streamlining of learning across settings (class, museum, and home) and conducting collaborative inquiry in situ (e.g., museum). Using a design research approach, the model was studied in three aspects: its potential to enable instructors to implement the cognitive apprenticeship instructional approach; its contribution to the students' development of independence and self-efficacy in analyzing artwork; and the contribution of technology to streamlining learning between settings. Data was collected from two enactments of the course. Findings indicate that the instructors gradually faded their modeling and coaching enabling students to become more active, hence the model we designed was largely implemented by the instructors. Furthermore, it supported students' gradual development of independence in practicing the newly learned skills. From the students' perspective, the integrated technologies created seamless learning between the three settings.

Process and Product: The Art of Edith Kramer

Edith Kramer (1916–2014) was a major figure in art therapy in the United States, contributing a seminal theory and practice that influenced generations of art therapists. This portfolio of original artworks by Kramer and accompanying essay authored by the curator was exhibited in 2009 at the Norwood Flynn Gallery in Dallas, Texas, in conjunction with the national conference of the American Art Therapy Association. The exhibition provided an introspective window through which to view the artwork of one of the founders of the field of art therapy and to revisit her original conception of the relationship between art and psychotherapy through her artist identity.

X-ray and optical spectroscopic study of the coloration of red glass used in 19th century decorative mosaics at the Temple of the Emerald Buddha

Abstract The Temple of the Emerald Buddha in Bangkok, Thailand is noted for its glass mosaic decorations on exterior walls and statuary. The original mosaic artwork dates to the early 19th century and is composed of variously-colored, mirrored glass pieces. In this work, we examine the chemical composition and optical properties of the red glass manufactured at that time. Through the use of X-ray and optical spectroscopies, we demonstrate evidence that the 19th century craftsmen produced “ruby-gold” glass, wherein the red coloration is caused by the dispersal of nanoscale metallic gold particles throughout the glass matrix.

Binding Architecture: Drawing in the Book

ABSTRACTArchitectural space is usually documented in the form of orthographic projections. These render space in a particular way and hence have limitations and specificity. The artist’s book - that is, a book made as an original work of art, with an artist or architect as author - offers a different mode of presenting documentation and reading representation. This essay explores the relationship between the paper, page and drawing - and the associated elements of a book’s sequence, structure and objecthood - to demonstrate the repercussions for architectural drawing. In doing so, it provides a material presence of architectural representation and offers the book as a site for documentating alternative operations of architecture. Through the writing of Marco Frascari, Catherine Ingraham and Stan Allen, and examples of work by Olafur Eliasson, Jonathan Safran Foer and others, the book is seen to be the site of architectural innovation, opening new territories for practice.

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Visual a/r/tography in art museums

Abstract This article describes an a/r/tographic project entitled Art for Learning Art wherein the audience was invited to respond visually to a museum exhibition-installation. The three main objectives were: first, to rethink current practices in museum education in an effort to reach a dialectical synthesis between art-making and educational activities; second, to further develop three key identities held within a/r/tography; and third, to develop visual research instruments in a/r/tographic final reports. An exhibition-installation was organized around seven engravings, two photographs and one sculpture including the artworks by L. Bourgeois, E. Chillida, E. Munch, P. Picasso, A. Tàpies, among others, in the Spanish Caja-Granada Memory of Andalusia Museum. The main educational goal was to engage visitors with learning to interact visually with original artwork before producing new images that would then immediately became part of the installation.