Exhibition Of Sculpture Research Articles

Introduction: Displaying Victorian Sculpture

Photographed in his studio in 1883, William Calder Marshall, one of the most successful sculptors in Victorian Britain, sits among many of his works. These include a commemorative monument, the seated figure of Samuel Crompton (1862), dominating the scene; historical genre pieces, such as The Venerable Bede Translating the Gospel of St John (1869) on the trestle to Crompton's right; ideal works, like the two nudes of The Tali Players (1873) in the left foreground; and more besides. Together, these works exemplify the florescence of sculpture in nineteenth-century Britain: the increasing opportunities for sculptors afforded by national, civic and private patronage, and by a maturing market, which generated a proliferation of kinds of sculptural object.The growth of patrons, markets and audiences also required and created new forms of display, both in public and private. Calder Marshall's most famous work, Sabrina, an ideal nude representing the water nymph from Milton's Comus, was, conventionally enough, first exhibited in plaster at the Royal Academy in 1847. In a range of sizes and materials, Sabrina then found her way into many new display forums, including a sequence of major exhibitions, from the Great Exhibition of 1851, through the Dublin International Exhibition and New York Crystal Palace, both in 1853, and the Manchester Art Treasures Exhibition of 1857, to the London International Exhibition in 1862; as part of the survey of sculptural history presented at the Sydenham Crystal Palace from 1854; as one of the most popular Parian ware statuettes, distributed by the Art Union and sold by Copeland in its showrooms; in educational entertainments in London, including the Regent's Park Colosseum and the Royal Panopticon in Leicester Square; and at a conversazione, or cultural salon, held at St Bartholomew's Hospital in June 1858. Sabrina also benefited from the increase in international markets, with zinc copies made by several manufacturers in the USA and a bronze version commissioned for Amherst College in Massachusetts (now on Roosevelt Island).What is striking here is not simply that the statue was seen by more people in more places, but that it was encountered in new ways: as part of the Panopticon's didactic spectacle, combining wonder, science and the aesthetic; alongside scholarly demonstrations of microscopy and telegraphy at the conversazione; on a mantelpiece in the parlour of a suburban villa. As the photograph of Calder Marshall reminds us, more and more images of sculpture circulated, as photographs, stereographs, postcards, prints and illustrations in the periodical press. These too constitute a particularly modern form of display.It is surprising that, in light of this extraordinary florescence, Victorian sculpture has been more often discussed in terms of decline. Twentiethcentury taste has tended to trump nineteenth-century history. Even in the field of Victorian studies, which has provided such a rich exploration of the British nineteenth-century world in recent decades, sculpture has been largely overlooked, as if it were a marginal cultural form. Happily, more and more research is being undertaken by scholars in the academy, museums and research centres; research which reveals the ubiquity of sculpture and its importance in nineteenth-century Britain and its empire. As part of this collective bid to return sculpture to centre stage in discussion of Victorian Britain, we led Displaying Victorian Sculpture, a project that ran from autumn 2010 to autumn 2013 at the universities of Warwick and York. Funded by the Arts and Humanities Research Council (AHRC), and in partnership with the Yale Center for British Art, the project explored the diverse ways in which sculpture was shown and encountered in nineteenth-century Britain. Displaying Victorian Sculpture ran alongside our research for Sculpture Victorious: Art in an Age of Invention, 1837-1901, the first synoptic exhibition of Victorian sculpture ever mounted. …

Activating Sculpture: The Curatorial Program of Sculture nella città

Abstract This article examines the curatorial program of Sculture nella città, an outdoor sculpture exhibition in Spoleto, Italy during the summer of 1962. Aided by the patronage of the national steel conglomerate Italsider, the curator of the exhibition, Giovanni Carandente, made explicit connections between emergent postwar industry and the new materials, growing scale, and unconventional display embraced by contemporary sculptors. Crucial to achieving this goal was a calculated public relations campaign, bolstered by thousands of photographs by Ugo Mulas that substantiated Carandente’s curatorial decisions. The photographs show how Sculture nella città institutionalized sculpture as something activated, not completed, through its installation.

“Polemics, jokes, compliments and insults”: The Reception of Futurism in the Spanish Press (1909–1918)

This essay examines the influence of Futurism in the Spanish cultural sphere before the First World War. It is generally assumed that, until 1918, Futurism did not have a significant impact on the writers and artists of the country, with the exception of Ramon Gomez de la Serna. However, discussions on Futurism can be found in the Spanish press more or less right from the publication of the Foundation and Manifesto of Futurism in Le Figaro in February 1909. In the early 1910s, Spanish journals and newspapers carried plenty of notices on the outpouring of manifestos and public actions of the Italian Futurists and informed the public of the controversies they unleashed and the impulses they gave to different artistic disciplines. Based on extensive archival research, this essay reviews the corpus of responses to Futurism in the Spanish press until 1918, with particular emphasis on its major phases and highpoints: the impact of the Foundationand Manifesto of Futurism (1909), the publication of the Futurist Proclamation tothe Spaniards (1910), and the commentaries on the first exhibitions of Futurist painting and sculpture (1912). The essay analyses the full range of reactions from enthusiasm to ridicule and assesses how the Spanish public opinion, mostly conservative, assimilated progressively the innovations and the challenges posed by Futurism.

‘At the Exhibition’: the 1948 open-air sculpture exhibition, Battersea Park, in British fashion magazines

This article considers the relationship between sculpture and its representation within the fashion magazines Vogue and Harper's Bazaar, published in post-war Britain. Featured within newspaper articles, radio broadcasts and television reports, sculpture and its public display, was further disseminated to a wider mass audience. This type of display is another form of public exhibition, one that sets the featured sculpture in particular systems of representation, value and meaning. Focusing upon fashion stories that feature the first London County Council Sculpture Exhibition held in Battersea Park in 1948, how this new, and socially constructed way of seeing ‘public’ art was promoted is analysed. How was this exhibition made fashionable in the pages of these magazines? This article examines the ways in which cultural identities and contexts are created and can be understood through modes of fashion and a wider visual culture.

The Leicester Galleries and the promotion of modernist sculpture in London, 1902-1975

This paper surveys and analyses the role of Ernest Brown & Phillips Ltd. (The Leicester Galleries), in the exhibition and promotion of British and European modernist sculpture 1902-75. The gallery exhibited over 3,000 sculptures and held 80 exhibitions dedicated entirely or primarily to sculpture as well as many mixed and group shows in which sculpture figured. From their role in marketing bronze statuettes during the pre-1914 period to their lasting involvement with Jacob Epstein, Henri Gaudier-Brzeska, Henry Moore, Dora Gordine, Eric Kennington, Leon Underwood and others in the inter-war period, the gallery was acknowledged as one of a handful of pioneer London galleries in marketing modernism. Its leading role was eroded post-war as it was financially outpaced and its exhibition model became outmoded in the post 1945 expansion of the modern art market.

Man Ray, African Art, and the Modernist Lens

Wendy Grossman and Letty Bonnell The exhibition “Man Ray, African Art, and the Modernist Lens” explores a little-examined facet in the development of Modernist artistic practice; namely, the instrumental role photographs played in the process by which African objects— formerly considered ethnographic curiosities—came to be perceived as the stuff of Modern art in the first decades of the twentieth century. At the center of this project are both well-known and recently discovered photographs by the American artist Man Ray (1890–1976), whose body of images translating the vogue for African art into a Modernist photographic aesthetic made a significant impact on shaping perceptions of such objects at a critical moment in their reception. Man Ray was first introduced to the art of Africa in a seminal exhibition of African sculpture at Alfred Stieglitz’s 291 Gallery in 1914. While his 1926 photograph Noire et blanche (Fig. 1) would later become an icon of Modernist photography, a large body of his lesser-known work provides new insight into how his photographs both captured and promoted the spirit of his age. From that initial discovery of the African aesthetic in New York to the innovative photographs he later made in Paris in the 1920s and ‘30s, Man Ray’s images illustrate the way that African art acquired new meanings in conjunction with photography becoming legitimized as a Modernist art form. As arguably the period’s most prolific producer of photographs inspired by non-European objects, Man Ray provides a rich body of work that raises critical issues about the role of African art in twentieth-century Modernism and offers new perspectives on that dynamic. For example, his work points to the crucial function photographs served in the collection and reception of African art, while at the same time demonstrating the symbiotic relationship forged between African objects and photographic images within the frame of Modernism. Examining Man Ray’s photographs of African art alongside an array of related photobased work by his American and European contemporaries— including luminaries such as Alfred Stieglitz, Andre Kertesz, and Joseph Sudek, as well as lesser-known practitioners like James Latimer Allen and Clara Sipprell—the exhibition places these images within larger transatlantic dialogues concerning colonialism, race, representation, gender, and modernity. While the concerns of Modernist photographic representation of African art define the terms of this investigation, the display— Man Ray, afRican aRt, and the ModeRnist Lens

Faces Demanding Attention

The exhibition of medieval sculpture held at the Metropolitan Museum of Art, New York, in 2006 consisted of heads, once forcibly detached from their original contexts, and busts, representing sacred and secular beings. Apart from its substantial contribution to the broader study of medieval art in the West, the conception of this exhibition displayed two distinct but complementary principles of organization: a Post-modern interest in and preference for the decontextualized fragment, which was given new meaning as an object presented to the contemporary viewer; and the exploitation of the unconscious neuronal response to the human face, which stimulates an immediate sense of connection with the represented other, transcending the temporal and cultural gap between the viewer and that other. Although most, if not all, objects in museums have been removed from their original sites and hence from the historical circumstances establishing the significance of those sites, a collection devoted to the display of r...

Virtual sculpture project

A very special artistic event can be held with the “virtual” sculpture exhibition. Cellular phones can be used in this project to show the public square as if a non-existing sculpture has been located on it. However, the idea of amplifying the environment with virtual objects is not a new concept, the limited performance of the used visualizing devices requires developing faster and more effective algorithms for this purpose. This paper discusses the arising problems during the development of this algorithm and gives proposals for solving them.

Outdoor Sculpture Exhibition as Public Sculpture Installation Program

Outdoor Sculpture Exhibition as Public Sculpture Installation Program

On curating Earthworks/Claybodies: an exhibition of ceramic sculpture

"On curating Earthworks/Claybodies: an exhibition of ceramic sculpture." de arte, 38(68), pp. 57–58

Babies for Suffrage: "The Exhibition of Painting and Sculpture by Women Artists for the Benefit of the Woman Suffrage Campaign"

Babies for Suffrage: "The Exhibition of Painting and Sculpture by Women Artists for the Benefit of the Woman Suffrage Campaign"

Academic Outsider at the Paris Salons of the Revolution: The Case of Drawings a la maniere noire

3. Isabey exhibited drawings described as being dans la maniere anglaise at the Exposition de la Jeunesse organized by the painter and dealer J.B. P. Lebrun in the summer of 1791 (no. 101), where they were reported to have attracted the attention of the public (Exposition des tableaux faite par mm. les artistes libres, Collection Deloynes (Cabinet des Estampes, Bibliotheque Nationale, Paris), vol. 17, no. 428, p. 8) and again at the Salon of the same year, although they were not listed in the livret (La Bequille de Voltaire au Salon, seconde et derniere promenade, Coll. Deloynes, vol. 17, no. 439, p. 319). This paper describes one way in which French artists from outside the Academie royale de peinture et sculpture took advantage of developments during the Revolution to invade the Paris Salon. Their works were enthusiastically received, but other artists, former academicians and their pupils, mounted a press campaign against the newcomers. It was not public debate which finally produced a return to more traditional values, but the changing cultural requirements of the ruling elite. The issues raised in the debate, however, helped to redefine the status and qualifications of the professional artist in a post-academic society.' In 1791, the Academie lost its control of the Salon, the biennial exhibition of paintings and sculpture held at the Louvre. The source of its sinecures and status disappeared in 1792, when France ceased to be a monarchy, and the Academie itself was abolished in the following year. Academicians and their pupils were thus deprived of privileges which had included the exclusive right to exhibition in the capital and a monopoly of official commissions. At the same time, economic upheavals and the emigration of wealthy royalists led to a creaming-off of the top end of the market for contemporary art. Academicians complained that their livelihood was threatened by these developments, but it would be a mistake to interpret them as an unmitigated disaster for artists in general. The commissioning of portraits, in particular, was so bound up with social practices, such as courtship and marriage, as to survive all but the worst economic catastrophes. It was, moreover, the humbler sort of portrait specialist who stood to gain most from the demise of the Academie, since such artists were at last free to display their products to potential clients at the Salon. Among those who took advantage of this opportunity were several miniaturists, some of whom modified the appearance of their works in ways evidently designed to enhance their impact at the Salon. Jean-Baptiste Augustin, for example, an artist from Lorraine who had settled in Paris during the previous decade, attracted attention at the Salon of 1796 with a selfportrait en grande miniature (Fig. 1). Over nine inches high, this was a painting large enough to compete with many of the smaller oils on show and much too big to be incorporated into a piece of jewellery, the traditional destination of portrait miniatures.2 Its uselessness for all practical purposes confirmed its status as a work of art.

Land of the Fragile Giants: Landscapes, Environments, and Peoples of the Loess Hills

Not since the early nineteenth century, when George Catlin and Karl Bodmer thoroughly sketched the area, have the rough-textured Loess Hills of western Iowa been artistically interpreted with any intensity. Now, inspired by this rugged landscape of steep-sided ridges and bluffs, Land of the Fragile Giants offers a collaboration of contemporary artists, scientists, and humanists all creating their interpretations of today's Hills. Looking at the natural and the human features of the renowned Hills, personal essays blend with works of art to create a verbal and visual panorama of the Loess Hills and a multidimensional view of a region that makes a deep impression on each visitor.Working closely with Iowa State University's Brunnier Art Museum, twenty-seven professional artists from Iowa and the Midwest visited the Loess Hills at various times throughout 1993 to gather insight for their projects. The result: a dramatic exhibition of paintings, sculpture, prints, and photographs that beautifully complement this volume's literary works. The twelve essayists also have strong ties to the Loess Hills. Each author has spent a significant portion of her or his life in the Hills. The scientists reinterpret their research within the framework of their experience; the humanists provide background and context for the scientists; the artists illuminate the whole.The art and essays in Land of Fragile Giants bring a meeting of broadly diverse minds and talents to an appreciation of the multitude beauties of Iowa's premier natural area. This striking and colorful volume will appeal to all those captivated by the Loess Hills and all general readers with interdisciplinary interests.

Camac Sculpture Exhibition, Carbury Water Gardens, Dublin, July - October 1995

Camac Sculpture Exhibition, Carbury Water Gardens, Dublin, July - October 1995

Temple for Tomorrow

On a visit to New York City in 1976, I went to see the Whitney Museum of American Art. As I walked toward the elevator, something flashing on my left caught my attention. For me, this was what Robert Farris Thompson calls the flash of the spirit. I turned and, beyond the entrance, saw a room filled with light-glimmering, shimmering light reflecting off gold and silver forms. The room beckoned me. As I entered the room, I felt a rush from sensory overload. My heartbeat increased, and I felt light-headed and giddy. My eyes couldn't focus. They darted around the room at the many unusual shapes-tables, chairs, and pedestals transformed into dazzling altars of gold and silver. I had happened upon James Hampton's Throne of the Third Heaven of the Nations Millennium Assembly, then part of the Whitney's bicentennial sculpture exhibition and now permanently ensconced in the National Museum of American Art. Every once in a while, art affects me physically. Visionary art, in particular, can James Hampton, The Throne of the Third Heaven of the Nations Millennium General Assembly, ca. 1950-64. Gold and silver tinfoil, Kraft paper, and plastic over wood furniture, paperboard, and glass, 180 pieces in overall configuration: 3.2 x 8.2 x 4.4 m (10 1/2 x 27 x 14 V2 ft.). National Museum of American Art, Smithsonian Institution, Gift of anonymous donors

Conservations vs display: Two exhibitions of sculpture

Conservations vs display: Two exhibitions of sculpture

Exhibition Review

As an institution devoted to portraiture, the National Portrait Gallery deserves to be commended for its persistent campaign to keep portraiture in the public eye. Recently it mounted an exhibition of Marisol's portrait sculpture, from 1961 to 1989, organized by Naney Grove (who also organized an exhibition of portrait sculpture by Isamu Noguchi for the National Portrait Gallery in 1989). I came away from the show feeling not only that portraiture was alive and well, but that Marisol was one of its more innovative practitioners.

Touch and See - Two Exhibitions of Sculpture and Painting By Visually Impaired Artists in Thessaloniki, Greece, May 1991

Touch and See - Two Exhibitions of Sculpture and Painting By Visually Impaired Artists in Thessaloniki, Greece, May 1991

"The Civilization of Llhuros": The First Multimedia Exhibition in the Genre of Archaeological Fiction

The Civilization of Llhuros is a work of fiction presented as a ‘real’ ancient culture for archaeological, anthropological and aesthetic study with an invitation to the viewer to share with the artist common appraisals of some human experiences. The work goes beyond the boundaries of a conventional exhibition of painting and sculpture in various ways. The artist parodies the analytical methods of anthropologists, sociologists, psychologists and art historians. He presents work patinated to suggest antiquity and emphasizes deception, obscurities and satire, strategies aimed at stimulating audience involvement. In contrast to the convention of exhibiting painting and sculpture in passive environments, contrived to eliminate interferences and to foster atmospheres of contemplative acquiescence, the exhibition environment described here was designed to heighten ambiguity and dubiety by alternately strengthening and weakening the credibility of the invented civilization. The disruptive effect of planned interference is mollified by the cohesive use of sound and music, compiled and composed to function as an element unifying the whole experience.

Gegevens over enkele epitafen uit het Sint Jansklooster te Haarlem

Gegevens over enkele epitafen uit het Sint Jansklooster te Haarlem