Use Of Sculpture Research Articles

Contemporary Art in Public Spaces: Forms of Expression, Social Significance, and Revitalization

Introduction: This study examines the significance of contemporary art in public spaces, with a specific emphasis on its various manifestations, societal functions, and capacity to revitalize urban environments. It emphasizes the ways in which art enhances aesthetic enjoyment, enhances the overall quality of life, and contributes to economic growth. Methodology: A qualitative study examines the use of sculptures, installations, murals, performances, and digital artworks in urban settings. Illustrative instances of effective art initiatives demonstrate the positive impact of these interventions on public spaces. When considering a project, we carefully evaluate factors such as accessibility, interactivity, the differentiation between temporary and permanent installations, and the influence on community relations. Results: The study finds that contemporary art in public spaces expands cultural access, strengthens social bonds, and raises societal awareness. Interactive and temporary artworks particularly influence the use and perception of these spaces, promoting community identification with the environment. Discussions: Art projects like New York City's High Line and Copenhagen's Superkilen show how aesthetic improvements and cultural activities attract residents and tourists, driving economic benefits. Temporary installations and pop-up art actions offer dynamic experiences that continually draw visitors, aiding economic revitalization. Conclusions: Integrating contemporary art into urban development improves public spaces by fostering cultural experiences and contributing to social and economic growth. Cities should actively support such projects to enhance community sense and urban quality of life.

“Awe, Masekinders!”: Kullid Identities from Eden Park, Johannesburg in the Work of Bougaard

ABSTRACT Bougaard, an emerging South African creative practitioner, examines games from her “Coloured” childhood community in Eden Park, Johannesburg, and how these games may offer a window into a reframed Kullid identity. She considers the rhymes used in these games and the role of language—specifically Afrikaaps—in identity formation, and explores through papermaking and art installations the social contexts and meanings embedded in these games. In this article, the authors analyse Bougaard’s use of sculpture, papermaking and printmaking techniques both to mediate and to subvert conventionalised tropes and stereotypes of “Coloured” communities as well as to empower a sense of her familial and community-based identity through an emergent Kullidness. The authors focus on selected paper works and on three mixed media installations (2021–2022). The authors complicate any reading of these works as uncritically affirmative of a declamatory and essentialist identity position by proposing Bougaard’s visual strategies as premised upon mediation, ambivalence, indexicality, and refuting iconicity. The authors identify Bougaard as deploying elements of strategic essentialism in her desire for community visibility and visual sovereignty, and the authors therefore critique the benefits and the limitations of this approach, concluding that Bougaard’s choice of mediating strategies avoids a simplistic narrative of community life.

Examination of the Use of Sculpture in the Open-Green Areas of Selçuk University Alaeddin Keykubat Campus

The sculpture, which is the expression of beliefs and fears in prehistoric times, has taken on different roles as an urban reinforcement element in all cultures with numerous themes. In the Middle Ages, it became an organic part of the architectural structure, teaching the truth about religious beliefs. With the Renaissance movement, it became independent by breaking away from the architectural structure and moved to the urban space. In the twenty-first century, its dimensions have grown to be equivalent to architecture, it has created its own space and established new aesthetic and functional relations with the audience. In this study, the relationship of some sculptures on the Alaeddin Keykubat campus of Selcuk University with the landscape elements was examined in terms of design elements and basic design principles. In the light of the data obtained, suggestions have been developed in order to increase the life and aesthetic quality of the campus.

A Brief Discussion on the Minimalist Power of Extreme Sculpture: A Case Study of Tony Smith's Sculpture

Minimalist art, also known as the simplest art, simple abstract, ABC art, etc., the ideology of extreme art is anti-trend, in the 1960 s was once eye-catching. Today, with the weakening of abstract expressionism and pop art, minimalism has also declined, but its existence still brings inspiration and encouragement to today's people. There are many works of minimalism presented in front of people. This article will talk about the background of the times minimalism and to Tony Smith ' s sculpture as a column, analysis of Smith ' s sculpture contains the power of simplicity, minimalism in the study of the use of sculpture, showing people to limit the simplicity of beauty.

Cart No.1, Monoecious Fruits, the Harvest of 1519

Abstract The following works are an exploration of the histories of colonization that the Mestizo experience in North America as well as how the settler colonial phenomenon continues to exist in the contemporary United States. The projects scrutinize the impact of racism, transphobia, classism, capitalism, and heteropatriarchy, as they affect the material realities of people whose lives are determined by their relationship to Western ideology and the gender construct. The use of sculpture, photography, and craft within the bodies of work help conceptualize the tension of Indigenous and Western narratives. Vick Quezada seeks to reconcile and intervene in Western “commonsense” notions by merging material culture by way of abstraction. Quezada is most compelled by the places where evidence of resistance and survival is made manifest. Through their work they desire to generate alternative empathies that open paths for a new consciousness.

MALANG CERAMIC CRAFT CENTER DENGAN PENDEKATAN ARSITEKTUR REGIONALISME DI KOTA MALANG

<p><em>Designing Malang Ceramic Craft Center in Malang City motivated by the potential of ceramics craft, which currently increasing, support the efforts of the Malang City government to raising tourism, as well as Malang as one of the producers of ceramics craft that do not have an adequate infrastructure of tourism education and marketing. The purpose of this architectural planning is to provide a place for tourist, so that they can fulfill the tourism needs and to give the information about ceramics craft, as well as to help raising the income of Malang City through the marketing of ceramics craft. The issue of the design are: how to build Malang Ceramic Craft Center with the application of Regionalism Architecture for the building planning. The approach used in determining the design is by using the concept of Regionalism Architecture which is applied in form and fasade building, the pattern of mass arrangement, as well as the material and structure building. The result obtained is the design of an education tourism facilities that is Malang Ceramic Craft Center with Regionalism Architecture approach, which can visible in the use of Javanese traditional rooftop, joglo, the use of building color as an adjustment with buildings around, the mass form in accordance with the mass form of Javanese building, the application of ceramics craft ornament on building, the use of sculpture in accordance with the material object symbol and the use of local material on building.</em></p><p><em> </em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: </em><em>Ceramic Craft, Fasade Building, Local Culture. Regionalism Architecture, Tourism Facility.</em></p>

The Use of Sculptures to Augment Naming of Buildings in Honor of Heroes and Heroines in Ho Polytechnic, Ho, Ghana

It is important to celebrate our heroes and heroines, who in diverse ways, bring development to nations, peoples and places. These important personalities should be identified and acknowledged by the beneficiaries of their labor, and be given the due recognition. It is in light of this that Ho Polytechnic, now Ho Technical University, decided to label the names of her heroes and heroines on the various structures in honor of their contributions towards the success of the Institution . The main aim of this study is to create the awareness that three dimensional or relief sculpture, could be the appropriate ways of keeping visual records of renowned personalities, or important historical figures of an Institution, instead of only graphical representations of their names on buildings. The main tools used in this research were interviews and the internet to identify and ascertain the facts about the Ho Polytechnic's heroes and heroines. The study stressed the use of busts and relief sculptures to portray images of the heroes and heroines of the Ho Polytechnic which is backed by their concise histories.

Socio-Psychological Impact of Outdoor Sculptures in Nigeria Urban Cities

One major element that finds expression at road intersections, parks, gardens, square and open spaces in the urban landscape are outdoor sculptures. Of great significance is the historical information they disseminate, the visual impressions they convey and the aesthetic value they add to the quality of the city. From 1960s and after the civil war, the uses of sculptures for embellishments in public places have increased tremendously in Nigeria. However, outdoor sculpture for the purpose of recreation and relaxation in our built environment has not been adequately addressed scholastically in Nigeria. This paper, therefore, focuses on the social values derivable from the use of sculpture in urban design and the losses that could accrue to the social system if not adequately managed. The values of these sculptures to the socio-psychological development of Nigerians and the beautification of the urban environment are equally emphasized. The study shows that incorporating sculptures into public places without doubt will heighten public appreciation and aesthetic perception and make Nigerian cities unique and vibrant. Keywords: Nigeria urban cities; socio-psychological impact; outdoor sculptures.

FROM CABINET TO COUCH: FREUD'S CLINICAL USE OF SCULPTURE

abstract This article aims to address and remedy the fact that Freud's clinical use of sculpture has received little sustained attention. After a brief review of the collection, Melanie Klein's clinical use of dolls is discussed as an initial basis for comparison. It then makes a detailed examination of primary evidence found in the published writings and private correspondence of the writer and analysand H.D. (Hilda Doolittle). H.D.'s analysis indicates that Freud used sculpture as an analogue for the ‘foreign body’ of psychical trauma, treating it as a representation of a representation, or Vorstellungrepräsentanz. The sculptures also served Freud's archaeological metaphor for the ‘otherness’ of the unconscious in ways that architectural fragments did not. The author then considers H.D.'s hallucination of Athena Nike and Freud's use of his own damaged sculpture of Athena to raise therapeutic questions about her phallic relation to the signifier in the treatment of her writer's block. This case study is further compared to Klein and to Jung in order to differentiate the use of objects in the clinical setting and to mark some of the limits Freud encountered in H.D.'s second analytic session. The author concludes that purely textual examinations of Freud may have greatly underestimated his clinical use of sculpture in recuperating lost memories as fundamental indices of desire.

Une sculpture paléolithique inédite : la silhouette féminine en bas-relief de Gouy (Seine-Maritime, France)

The subject of this note (a little depiction of a female body in left profile) belongs to the Palaeolithic cave of Gouy (Seine-Maritime). Executed in bas-relief (on limestone), it comprises pre-defined volumes comparable with the graphic conventions of figures of the Lalinde/Gönnersdorf type. Despite these convergences, the example from Gouy has no known equivalent at present, since this is the first time that the technique of bas-relief is encountered among these systematic silhouettes. The subject depicted is closely associated with a vertical cleft (that of a vulva), which forms the whole of its left edge. As analysis has progressed, various intentional traces have also been encountered and described, which are more or less comprehensible and slight; they only permit a few hypotheses. By revealing the presence of different vestiges (preserving shapes) that are truly carved in the cave's rock wall, the bas-relief highlights the use of sculpture in Gouy – this is a crucial fact – which only just escaped being totally unknown, because of the destruction of the front part of the cave. Together with the revelation of the variety of techniques used in Gouy, data have gradually been gathered together, which argue in favour of a frequentation of the cave over a long period. For the moment, there is no evidence enabling one to choose between the two probabilities of the bas-relief being either a ‘portable object’ or a ‘wall fragment’.

The new palaces of Medieval Venice

The palaces of Venice have long excited the wonder of visitors. These grand, ornate buildings seem to float on the water of the city's canals like the sea castles in a mariner's dream. But Juergen Schulz demonstrates that the origins of these residences lay on terra firma, in a widely disseminated building type that, during the twelfth and thirteenth centuries, was adapted to the special circumstances of an Adriatic lagoon and the needs of the merchants who were turning this environment into a center of trade. An internationally recognized expert on Venetian art, architecture, and cartography, Schulz examines the city's medieval palaces with scholarship of unprecedented breadth and insight. His book, based in both archival research and first-hand knowledge of Venice, reconstructs the original appearance of the city's oldest surviving residences, such as that of the Corner and Pesaro families, and traces the many later modifications made to these buildings. Further, Schulz's book breaks new ground by presenting a systematic discussion of the use of sculpture in Venice's early palaces, famed for their exhibitionistic ornament and scale. Illustrated with numerous photographs and pla

'Reading' Greek Death: To the End of the Classical Period (review)

Reviewed by: ‘Reading’ Greek Death: To the End of the Classical Period Joseph W. Day and Leslie Preston Day Christiane Sourvinou-Inwood. ‘Reading’ Greek Death: To the End of the Classical Period. Oxford: Clarendon Press, 1995. xiv + 489 pp. 11 pls. Cloth, $79. This important book contributes much to the growing, though divided, scholarship on Greek mortuary practice as a system of behavior that reflected and constructed eschatological, religious, and socio-political attitudes and ideologies. Distancing herself strongly from I. Morris’ historical analysis of mortuary data (Burial in Ancient Society [1987]; Death-Ritual and Social Structure in Classical Antiquity [1992]), with its rejection of what he sees as limiting text- and object-based approaches, S-I derives cultural attitudes from texts like Homer and artifacts like the archaic grave monument. Her approach to this conventional material is hardly conventional, however, nor are its results. Chapter 1, which most classicists could read with benefit, explains S-I’s reader-oriented method; but methodology is foregrounded throughout, especially the semiological principle that no element of a text or artifact, independent of its context, has a fixed meaning for readers. S-I recreates ancient readings of grave monuments, epitaphs, literary texts, and other artifacts accordingly, by reconstructing the cultural lenses through which contemporaries would have interpreted such an artifact (that is, their attitudes to death, expectations about relevant genres, and other aspects of their cultural repertoire). To alleviate the dangers of circularity inherent in such approaches, S-I constructs, and criticizes others for failing to construct, several independent arguments to support each point. Though “very idiosyncratic post-structuralist” (113), S-I’s method can be compared to recent semiological, cultural, and functional approaches to literary and artistic “texts” (e.g., C. Dougherty and L. Kurke, Cultural Poetics in Archaic Greece [1993]) and inscriptions (e.g., D. T. Steiner, The Tyrant’s Writ [1994]). Chapter 2 deals with views of the afterlife in the Homeric poems and with beliefs about the dead from the Late Bronze Age to the seventh century. For S-I, Homer represents the culture of eighth-century Ionia, and she uses the poems to show later eighth-century attitudes toward death. This is too facile a solution to complex Homeric problems, and while her analysis of the beliefs reflected in the poems is excellent, she does not apply archaeological evidence to demonstrate that this analysis is relevant to eighth-century Greece. She sees two attitudes in the poems: the predominant belief that “everyone must die,” a simple statement of the inevitability of death without any idea of reward and punishment, and the nascent idea that a few individuals can achieve happiness and even immortality after death. She debunks the theory that this latter concept of Elysion comes from Minoan Crete. What she does not do is use archaeological evidence to support her hypotheses. As she rightly points out, reconstructing “belief systems on the basis of archaeological data is a complex and problematic enterprise” (90); [End Page 645] but given the hundreds of burials excavated all over the Greek world from this period, it seems amazing that she refers to them so little. S-I is not unfamiliar with archaeological evidence and uses it to good account in discussing Minoan and Mycenaean burial practices, and she makes excellent use of sculpture and vase painting in chapters 3 and 5; but she chooses not to use actual burial data for Homeric beliefs, perhaps partly in response to Morris. Chapter 2 supplies a useful background for the study of archaic grave markers, but the unwary classicist should know that a methodologically rigorous archaeologist, in particular, will have trouble with it, as with Morris, although for different reasons. Morris and his methodology come under heavy attack in the lengthy Appendix. While some find Morris’ model-building methodology problematic, it is widely accepted by anthropologists looking for an objective method akin to scientific hypothesis testing. S-I opposes this methodology because of its a priori assumptions, yet no methodology is free of cultural bias. We need a variety of approaches, and archaeology must be allowed to give its evidence without either being forced into Morris’ a priori models or S-I’s (and the traditional...

German Sculpture of the Later Renaissance, c. 1520-1580: Art in an Age of Uncertainty by Jeffrey Chipps Smith

German Sculpture of the Later Renaissance, c. 1520-1580: Art In an Age of Uncertainty. By Jeffrey Chipps Smith. (Princeton: Princeton University Press. 1994. Pp. xxi, 524. $65.00.) This book offers the reader a vast amount of information concerning the production of sculpture in Germany during the sixteenth century. It may be regarded both as an introduction to the subject and as a reference work, one which can be consulted, say, to determine what sculptor was responsible for the execution of a particular monument, or to answer more complex questions as to the types of subject matter favored by a certain patron. There is an encyclopedic quality to the work, for the author has set himself the task of synthesizing what art historians have so far had to say about the material he treats. This is no mean achievement, since the literature to date is almost exclusively in German. The result is a useful compendium, a source book to which one can turn for succinct accounts of the sculpture produced in a large geographical area over a period of almost a century. It is perhaps because of the scope of this work, as well as Smith's talent for synthesis, that one does not find new and challenging interpretations either of individual sculptures or about the way in which this medium intersected with the cultural life of the period. Whatever gestures are made toward a broader understanding of the work, its significance for its social context, tend to take place in the opening chapters. The first chapter, for example, contains a very useful account of the devotional status and function of sculpture in the years leading up to the Reformation. Smith goes over the well-known theological arguments which were used either to support or criticize the religious use of images, as well as a history of iconoclasm. However, he also points to other forms of cultural signification affecting the production and use of sculpture. He provides a very useful and original account of the competition that took place between different cities when, in the closing years of the fifteenth century, they decided to outdo each other by building larger and more imposing monuments to their patron saints. In Chapter 3, he deploys the useful heuristic tool of contrasting the different fates of sculptors working in Catholic and Lutheran areas of Germany. Among the interesting conclusions is the fact that sculptors often worked for both sides of the dogmatic schism and even traveled to different parts of the country, working for Catholic and Lutheran patrons alike. In other words, the sculptors' own religious convictions, which are often documented, do not seem to have interfered with their professional careers. Smith's concern, however, lies principally in the task of recording what sculpture was made and who made it. This means that the text often reads as a list of facts in which one commission follows another. Such is the strain placed on the narrative structure that it often stumbles under the burden. …

Förlorad fasadutsmyckning på Ulriksdal och Venngarn

Summary The 17th century façade decorations on the palaces of Ulriksdal (Jakobsdal) and Venngarn, reproduced in Svecia Antiqua et Hodierna have mainly perished (figs. 1 & 2). The extensive use of sculptures, decoration in stone and wood, and painted façades gave both palaces a festive and vivacious appearance. The façade on the entrance side of the Jakobsdal palace was painted in sections with colossal Corinthian pilasters and window framework. On each wing sixty roundels with emblematic devices can be counted. Between the stairwell and wings at Venngarn there were arcades and wooden balustrades adorned with sculptures. The whitewashed façades had painted window framework and corner masonry in imitation stone. The façade painting of the 1660's had its roots in the painted architectural decoration of the Renaissance, which also included figurative imagery (fig. 3). Some engravings in Svecia Antiqua et Hodiema show large painted figures on the façades (figs. 4 & 5). The plans for the rebuilding by the Chancellor Gabriel De la Gardie of the palaces of Jakobsdal and Venngarn were drawn up, as Sten Karling has shown, by the architect Jean De la Vallée. The decoration of the façades shows, however, a freedom in its details which allows us to suspect influence from a different quarter. Yet another architect and masterbuilder was active at Jakobsdal at the same time—Matthias Holl from Augsburg. Holl is assumed to have been involved mainly with the fountains at Jakobsdal. The elaborate façade decoration of the main building of the palace and the wings on the entrance side, hardly characteristic of De la Vallée, suggest that Holl also influenced the decoration of the building. Comparison with the external decoration of Venngarn supports the assumption that there too Holl played an active role. At the same time the elaborate façade decorations at Jakobsdal and Venngarn recall De la Gardie's own bent for decorative detail which was picturesque and vivacious. In De la Gardie's buildings the new Classicist style incorporate earlier references to the rich stock of Renaissance forms.

The Sculpture and Myths of Eshu-Elegba, the Yoruba Trickster: Definition and Interpretation in Yoruba Iconography

Opening ParagraphDuring my field study of Yoruba art (1955–7) little of the symbolic meaning of the forms and component elements of the ritual sculpture was revealed to me through straightforward answers to straightforward questions. Indeed, it soon became evident that if meaning with any degree of resonance was to be arrived at, such a technique had to be abandoned in favour of an interpretative analysis in relation to myths and praise songs on the one hand, and the observation of the use of sculpture in ritual on the other.