Sculptural Works Research Articles

To Touch Time: U.S. Black Feminist Modernist Sculpture in the 1970s and 1980s

Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism’s obfuscation of the past. The analysis focuses on Buchanan’s defiance of memorial erasures, Nengudi’s reenactment of labor, including in its historical forms, and Saar’s adaptation of generational memory-making processes. Ultimately, these artists’ rejection of a “timeless” modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences.

Fragile Ties: Spanish Themes in Soviet Porcelain

This article is devoted to the study of the so-called “Spanish theme” in Soviet porcelain. The author analyses the reflection of the stereotypical perception of Spain in small porcelain sculptures of the Soviet period produced by a variety of manufactures. Among the components of the Spanish theme, the author highlights the images of flamenco (Spanish dance), bullfighting, the most recognizable heroes of Cervantes (Don Quixote and Sancho Panza), and the fiery Carmen who was created by Prosper Mérimée and has become the stereotypical image of a nineteenth- century Spanish woman in the popular imagination thanks to the musical and dance pieces of the same name. These traditional components of the perception of Spain in the twentieth century were supplemented by the interpretation of a turning point in Spanish history – the Civil War of 1936–1939 – in propaganda porcelain. This article proposes another perspective on the Spanish theme in Soviet porcelain and considers the formation of the images of Spaniards, men and women. Such images are reflected in all the plots presented in this paper. Most of the sculptural works by different generations of Soviet porcelain masters are devoted to dance. The author concludes that dance scenes, including the ones that refer to Carmen, are fundamental for the Spanish theme in Soviet porcelain.

Investigation of meaning and centrality relationship in the statues used in Çankırı urban landscape

Statue is the three-dimensional concrete form created by the designer with materials that he determines depending on his purpose. Statues in urban landscapes are elements of artistic, aesthetic and cultural importance in the life of societies. In this study, answers to the following two questions are sought: (1) Does the meaning of statues in urban landscapes reach the urbanite? (2) Are the location and characteristics of the placement sites of the statues a factor in this semantic awareness? In this context, first of all, general design principles within the scope of urban landscape design were discussed in this study. Then, 8 statues selected from Çankırı city center were photographed and classified according to their types of use (cultural, historical, traditional, aesthetic, and industrial). Then, the physical components of statues in their relations with urban landscapes, such as volume, form, material and placement, and the factors affecting the perception of societies of statues were examined within the scope of Gestalt theory perception theory and design principles. Finally, the relationships of the statues with the urban landscape were evaluated in terms of their centrality relations using the Graph Common software. As a result of the research, it was observed that the statues in Çankırı were generally not complicated, had symbolic qualities and appropriate preferences were made in the selection of statues. In addition, the statues reflect the historical and cultural structure of the city, but there is a need for sculptural works that will further support the city's identity. Although there are some errors in the location and size of the Ox cart Statue, Embrace Stone and Yaren statues, there are no major problems that cannot be corrected. As a result of the study, recommendations were put forward in the light of all these findings.

When wasn't modernism? Reflections on the stone age

ABSTRACT In The Politics of Modernism, Raymond Williams pointed out that as a category for understanding the new, modernism was thoroughly ideological. This article addresses the problem of modernism's exclusivity and the ways in which it associates the new, and by extension the present, with certain qualities and privileges as well as with coloniality in general. Building on recent expansions of modernism by Susan Stanford Friedman and David Damrosch as well as on a general turn against historicism in the literary humanities, it suggests the value to reading modernism in relation to prehistory. Thinking in terms of the memory of things, the persistence of landscapes and materials, offers a way in which we can arrive at an untimely conception of modernism: a conception that is meaningful and useful beyond the limited scope of conventional constructions of the field. In illustrating this argument, the essay discusses the Maryhill Monument as well as the sculptural work of Barbara Hepworth, Henry Moore, Kurt Schwitters, Carl Andre, and Thomas Hirschhorn. The essay concludes with a consideration of Williams's awareness of the revisionary potentials of prehistory in relation to modernism in his last, unfinished, novel, People of the Black Mountains.

Interactive experience of sculpture design based on virtual reality technology

Abstract The application of computer technology provides new ideas for the design of sculpture works. In this paper, with the support of virtual reality technology, the pixel set of each color block is extracted from the actual image to determine the location of the center point of the color block. Based on the extracted information, a visual color marking method is used to realize the 3D registration of the sculpture scene. In the virtual scene, through the virtual modeling of the sculpture work, a spline surface model was generated by applying sparse image sequences and optimally adjusted to transform the surface piece control point problem into a quadratic function of the network vertices. The mathematical logic properties of the virtual reality sculpture work wind direction improved by 22.5 points, the mathematical logic properties of the light design improved by 25.8 points, and the mathematical logic properties of the shadow design improved by 23.1 points. The virtual reality technology provides an interactive experience for the design of sculpture works.

SAYAP SEBAGAI REPRESENTASI PATUNG KINETIK

One type of artwork that is three-dimensional is sculpture. The forms to be developed in this creation are various forms of sculptures that represent animal wings using industrial materials, namely car and motorcycle engines. The choice of wing shape is based on the author’s interest in the movement of animal wings that have rhythm and beauty of motion. Wings become an important part of winged animals such as birds and insects. It is these wings that carry them foraging, breeding and living. Through the qualitative approach method with the Research (DBR) method, the author tries to realize aesthetically pleasing three-dimensional artworks with industrial materials. Industrial materials in the form of car engines are assembled into kinetic sculptures that represent the shapes of animal wings. This study aims to conduct experiments combining waste motorcycles and used cars, screws and household tools into sculpture works using welding raft and screw techniques. In addition, this research is also to realize aesthetic ideas and ideas according to empirical abilities and experiences expressed in the form of three-dimensional works.

From the family of Italian masters

The article is devoted to the creative activity of Khabarovsk architect of the middle of the 20th century, V. M. Campioni, great-grandson of the famous architect and sculptor Angelo Campioni, who worked in Moscow and created a lot of architectural and sculptural works. The article traces the family network of the architect, his creative relationships with other architects of the Far East, who studied with him at the Odessa Civil Engineering Institute in the 1930s. His work as the main architect of the city and his buildings in Khabarovsk are analyzed in the article.

Fashion Aesthetics in Contemporary Arab Sculpture

The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values ​​achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.

The aesthetics of sculptural and functional creativity in the art of carving Sumerian cylinder seals

The current research dealt with (the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals) through the study of the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals and the Sumerian era, so the researcher sought in the first chapter to clarify the research problem, its importance and the need for it, as well as the goal of the research, which It is represented by the following: defines "the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals." Then the researcher concluded the aforementioned chapter by defining the terms that are directly related to the title and objectives of the research. As for the second chapter, it included a presentation of the theoretical framework and previous studies. It consisted of two chapters. In the first chapter, it was established that the emergence and development of cylindrical seals in Sumerian society. As for the second topic, it dealt with the Sumerian sculptural creativity of the seals aesthetically and functionally. The third chapter specialized in monitoring the research community and the tool that included collecting information, so samples were adopted from it in an intentional manner, and it amounted to (3) sculptural works that covered the limits of the research by adopting the descriptive analytical approach for the purpose of analyzing it according to the indicators of the theoretical framework of the research that the researcher relied on.

Plasticity and the Poetics of Inside-Out Inversion in Emmett Williams and Roman Stańczak

Informed by the current call for a reassessment of the concepts of radicalism and extremity in the fields of literature and visual arts, my study aims to investigate the radicalities entailed by the tactics of turning inside out the materialities of poems and artworks as exemplified, respectively, by Emmett Williams’s concrete poetry and Roman Stańczak’s sculptural works conceptualized as inverted everyday objects. Taking a cue chiefly from Catherine Malabou’s explorations of plasticity, I propose to argue that by destabilizing the interior/exterior dichotomy of the forms belonging to their respective fields, both Williams and Stańczak challenge the commonplaceness, transparency and rigidity of text, sign, and the quotidian object, thus, on the one hand, gesturing towards what the philosopher terms as “the twilight of writing” and, on the other, articulating a need for a more processual and contingent, or plastic as Malabou would have it, way of thinking about literature, art, and life. As I hope to demonstrate, by employing certain strategies to exteriorize the “insides” of the poem (the syntax, the page grid, spacing, or the shape of the grapheme), Williams foregrounds the discursive interplay of the graphic and the plastic, whereas Stańczak’s altered objects foray into inquiries on (the lack of) transcendence. The final part of my analysis seeks to envision political dimensions of both concrete poetry and Stańczak’s visual works as filtered through the lens of plasticity. The implications brought about by plastic reading, as I claim, link with new models of meaning-making and forms of resistance to ideologies of power.

The Empreinte in Sculpture and Printmaking


 My personal experiences of living and working in Australia as an artist and immigrant from South Africa have made me aware of the importance of memories. The methodologies I apply in my art practice support the idea of lost or faded memories. Some memories are glimpses, faded and fractured, while others stretch out and become thin and complex like silkworm threads. 
 
 
 Georges Didi-Huberman's empreinte almost acts like a trace or imprint. It is omnipresent, leaving dents and marks on surfaces and objects from the beginning of time. The empreinte finds its origins through contact and movement, impacting the natural transference of shape or form from one plain or surface to the next as an operational chain that forms part of our visual experience. In relation to the empreinte, I will argue that there are parallels between my sculptural work Selfportret ||Self-portrait (Suspense) and that of printmaking. 
 
 
 The mould and the press function as storage for memories; it reflects the artist’s past actions, feelings, and thoughts from the negative shape into a positive empreinte. Forms and surface textures exist as empreintes on the surface of the mould or substrate. The empreinte always requires contact. 
 
 
 I utilise the empreinte throughout my sculptural practice as a tool to signify the fading of memory. The notion of vague memories and the empreinte supports my practice-based methodology of exploring form and visual imagery through various mediums. When I place a medium into a mould, I need to visualise how the positive cast will appear once de-moulded. This inverted or upside-down thinking is akin to that used for printmaking. This paper will investigate the close interrelationship between my sculptural practice and printmaking. 

Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries

The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.

«LEDA AND THE SWAN» BY S.D. ERZIA (1922, 1929) IN THE CONTEXT OF ARTISTIC TRADITION

The purpose of this study is to identify the peculiarities of the interpretation of the ancient myth of Leda and the Swan in the work of sculptor Stepan Dmitrievich Erzia (1876–1959), twice addressing this topic – in 1922 in the Caucasus (Caucasian walnut wood) and in 1929 in Argentina (quebracho). To achieve this goal, the methodology of culturology and art history was used: comparative historical method; iconographic method, as well as formal-stylistic analysis of works of sculpture, including their interpretation (symbols and meaning) and stylistic definition. The sources of the research are the original works on this topic created by the sculptor and now located in the Mordovia Republican Fine Arts Museum named after S.D. Erzia; materials from the Russian and foreign press of the 1920s, containing reviews of the sculptor’s works. It is shown that, being in the field of attraction of the Art Nouveau style and symbolism, which had a special attraction to the theme of “Leda and the Swan”, in its interpretation the artist gravitated towards individual solutions and iconographic non-standardism.

THE UNDERWATER MUSEUM BY JASON DECAIRES TAYLOR. FROM ENVIRONMENTAL ISSUES TO DIALOGUES ABOUT ART

The article highlights topical issues in the development of new museums on the example of the work of Jason deCaires Taylor — the creator of a variety of underwater expositions: Museo Atlántico — a sculpture museum at the bottom of the ocean off the coast of Lanzarote, which is part of the Canary Islands; the MUSA Underwater Museum in Cancun off the coast of Mexico; a museum off the coast of Cannes on the French Riviera, and others. New underwater park-museums immediately attract a lot of attention from specialists and the general public around the world; however, the largest number of comments are related to the topic of ecology, issues of harmless technologies. Commenting on his sculptural works, it is this that Taylor emphasises, prioritising this aspect. The artistic image of the works remains outside the discussion. Perhaps this is due to the fact that the basis of Taylor’s creative method is not the creation of an original plastic form but a banal copying by making plaster moulds of living people, frozen at the artist’s request in one position or another. However, further, the artist combines copies into complex multi-figure compositions, and here, they acquire artistic meaning and emotional intensity. The article draws much attention to the inclusion of contemporary art in the general historical context of the cultural space. Dialogues in art is a broad topic that received a special meaning in the work of artists of the 20th 21st centuries. It presupposes the presence of an extraordinary situation, implying not only formal similarities between works. No less important is the underlined new context through which the ideas and images, meanings and differences of the works are interpreted. The author of the article highlights these issues on the examples of Taylor’s creative dialogues with T. Géricault and G. Vigeland.

Mythical Mushrooms: Hybrid Perspectives on Transcendental Matters

Abstract This paper focuses on the authors artistic practice. She has cultivated a series of evocative sculptural works out of lingzhi fungus by designing a controlled, human environment that, over time, gives way to an organic process. This hybrid bio-art experiment relies as much on science as it does on fate. Lingzhi holds cultural significance in Chinese culture and is called “the mushroom of immortality.” Yan’s works juxtapose Chinese mythology with contemporary culture to highlight environmental and social issues; her investigations with lingzhi mushrooms delve into the meaning of spirituality and metamorphosis and explore questions about being and becoming, art and nature, art and science, nature and existence.

The Evolution, Characteristics, and Aesthetic Expression of Han Dynasty Sculptures: Exploring the Artistic Achievements of Ancient China

This study explores the development, traits, methods, and philosophies of Han sculptural works throughout Chinese history. Han dynasty sculptures are exceptional works of art due to their unusual ceramic figurines, stone creature sculptures, and pictorial stone designs. The article explores the evolution of art across time, centering on the Han dynasty and its emphasis on functional sculptures. Cultural influences such as the mixing of Chu and Western Region art via the Silk Road are discussed how they influenced Han Dynasty sculptures. The study also explores the stories told via the sculptures of the Han era, focusing on themes of life, myth, and masculinity. With an emphasis on stone carving and a wide range of expressive methods, this article examines the creative expressions and aesthetic principles at work in sculptures from the Han Dynasty. The relevance of sculptures from the Han Dynasty to the evolution of ancient Chinese art is discussed, with examples highlighting the sculptures' dynamic life and creative quality.

Archaic Sculpture and Archaisms of Gender: Rethinking the “Brother and Sister Stele”

The study of Archaic Greek sculpture has long been shaped by an axiomatic yet rarely articulated belief: that differences between figures carved in stone reflect biological differences between male and female bodies. I confront and contest this framework by reevaluating the “Brother and Sister Stele,” one of the most important surviving works of Archaic sculpture. Exposing previous misreadings of the monument’s imagery, I use it to model an alternative history of early Greek art, one that understands depicted bodies not as records of gender difference, but as precisely the kinds of cultural objects through which gender difference was imagined.

KOMUNIKASI RITUAL PAWAI OGOH-OGOH SEBAGAI IMPLEMENTASI DALAM TRI HITA KARANA

The Ogoh-ogoh parade is one of a series of Nyepi activities. In the implementation of the ogoh-ogoh parade which was held in the city of Mataram, it did not only involve Hindus, but also Muslims, Buddhists, and Christians. Ogoh-Ogoh is one of the works of sculpture that depicts the embodiment of Bhuta kala, Bhuta kala in Hinduism is described as the embodiment of a giant whose figure is known for its large and frightening size.
 The purpose of this study is to describe and analyze the implementation and values ​​contained in the teachings of tri hitakarana in the tradition of the ogoh-ogoh parade in Mataram City. This study used qualitative research methods.
 The results of this study are as follows: Ritual Communication of the Ogoh-Ogoh Parade as Implementation in Tri Hitakarana, including, 1) The Parhyangan conception is implemented before carrying out the ogoh-ogoh parade, where before the event begins the community performs a melaspas ceremony. 2) Conception Pawongan is the concept of harmonization between fellow humans, the implementation of which in the parade is not only the Hindu community who are involved as paratroopers or gamelan musicians, but there are also non-Hindu relatives that we meet bringing kecimol, gendang beleq and even barong sai to participate in the celebration and celebration. the success of the ogoh-ogoh parade. 3) The concept of Palemahan is implemented when after carrying out the ogoh-ogoh parade, the community then performs a mass mecaru ceremony or at their respective homes. The values ​​contained in the Ritual Communication of the Ogoh-Ogoh Parade as Implementation in the Tri Hitakarana are, 1) Religious or Spiritual Values, believing in the existence of God which is believed by Hindus or the people of Mataram City. 2) Social Values ​​and Religious Tolerance, mutual respect among Hindus or among each other despite different religions and beliefs, without anyone looking at social status, whether position, caste or wealth in order to achieve common goals, all work hand in hand enthusiastically, sincerely, sincerely and concern for others. 3) Art value, contained in the manufacturing process, where in making ogoh-ogoh techniques are needed in making and have a high artistic spirit by having an artistic soul so that person can pour ideas according to the desired imagination, not only looks good to the eye but also able to give an impression and meaning to everyone who observes the work of art.

Do Sleeping Shepherds Dream of 3D-Printed Sheep: John Gibson, Oliver Laric, and Digital Neoclassicism

This article considers the relationship between John Gibson’s neoclassical sculpture The Sleeping Shepherd Boy and Oliver Laric’s installations for the 2016 Liverpool Biennial using 3D models and prints of the Shepherd. These bodies of work allow us to think about their similarities in attitude towards imitation, the significance of the “neoclassical” across different historic moments, and the cultures of copying or reproduction. It looks at the reproductive technologies of 3D scanning, printing, CNC milling, and digital remixing alongside historical reproductions such as casts and copies. These offer new potentially disruptive—but not destructive—opportunities within the legacy of neoclassical practices. The intellectual and artistic inheritance of neoclassical sculpture as an imitative practice after Greek and Roman antiquity informs Laric’s sculptural work. I draw on Alexander Nagel and Christopher Wood’s Anachronic Renaissance (2010) and George Kubler’s The Shape of Time (1968) to discuss Laric’s modular, large-scale 3D prints, which point towards issues of replacement, imitation, and wholeness. The open-source 3D models he produces as part of his practice are then used by other artists, including Zachary Eastwood-Bloom in his Divine Principles series, and the author, for making research objects.

Особливості формування художньо-образного мислення здобувачів освіти засобами скульптури як виду образотворчого мистецтва

Based on the analysis of scientific literary sources and based on the author's own experience, the author in the article pays attention to the development of sculpture in the modernity, its features, differences from other types of fine art forms. The relevance of the topic is due to the need to train of highly qualified art teachers who have effective teaching methods. One of the stages of such training is the development of spatial thinking among students of pedagogical universities in sculpture classes. This kind of art allows students to go beyond the plane of the page into three-dimensional space. Sculpture classes allow you to see the relationship of different objects with the landscape, air, and each other. The main types of sculpture are characterized, the historical path is described, the essence and specific means inherent in the art of sculpture are revealed and characterized inherent in the art of sculpture. The role of sculpture in the formation of the aesthetics of the environment. The ways of solving creative tasks by means of sculpture, the importance of sculpture in the educational process is highlighted, because students should be guided by the works of high art of both old classical masters and contemporary artists. Familiarization with the world's best works of painting and sculpture contributes to development of artistic and imaginative thinking, formation of students ‘sense of beauty, the ability to understand the beauty of not only art, but also the surrounding world and the surrounding world, the formation of imaginative and spatial thinking. The art of sculpture is characterized as an artistic and figurative reflection of life. It is substantiated how important this important branch of art is in the formation of creatively thinking specialists - artists, future teachers, and teachers of fine arts. It is also shown how sculpture is connected with other art forms, that are important for students who acquire knowledge in the field of fine arts, art, as well as with such disciplines as descriptive geometry drawing, and plastanatomy. It is highlighted how artworks, while decorating our lives, also contribute to the preservation of historical memory contribute to the preservation of the historical memory of peoples, being a kind of a constant in the time line. The work is addressed to scholars, employees of the system of higher artistic and pedagogical education, students.