Sculpture Journal最新文献

{"title":"Researching women in sculpture: a discussion event at the Henry Moore Institute, 4 May 2022","authors":"N. Rudd","doi":"10.3828/sj.2023.32.1.08","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.08","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45465901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Born on the bombsite: reconstruction and the maternal body in Beth Jukes’s The Cradle (1949)","authors":"Isabelle Jain","doi":"10.3828/sj.2023.32.1.05","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.05","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crossing borders: researching British women sculptors in Paris in the late nineteenth century","authors":"Eva Belgherbi","doi":"10.3828/sj.2023.32.1.04","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.04","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Florence decked in rustic garb:\u0000 pietra serena\u0000 in sixteenth-century Tuscan sculpture and the Etruscan revival in the Medici garden of the Villa di Castello","authors":"Alessandra Giannotti","doi":"10.3828/sj.2022.31.4.02","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.02","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42884713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Augustus Saint-Gaudens, Donatello and America’s self-image","authors":"M. Dunkelman","doi":"10.3828/sj.2022.31.4.05","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.05","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47546636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lorenzo Bartolini’s British patrons and sitters: some new discoveries","authors":"David Wilson","doi":"10.3828/sj.2022.31.4.03","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.03","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘I know of but one art’: Alfred Stevens, the Michelangelesque and intermediality","authors":"Ciaran O’Neill","doi":"10.3828/sj.2022.31.4.04","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.04","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48544888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A bout with the law: Marco Cianfanelli’s representation of Nelson Mandela in Shadow Boxing","authors":"B. Schmahmann","doi":"10.3828/sj.2022.31.2.06","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.06","url":null,"abstract":"A sculpture that is more than five metres high and constructed from laser-cut painted steel, Marco Cianfanelli’s Shadow Boxing (2013) refers to a photograph taken by Drum photographer Bob Gosani in 1957 that shows a young Nelson Mandela sparring with Jerry Moloi, a boxing champion. Placed outside the Magistrates’ Court in Johannesburg, where a young Mandela defended his clients, Shadow Boxing is also just opposite Chancellor House, where Mandela and fellow activist Oliver Tambo had their law offices between 1952 and 1960. Functioning together with the space, Shadow Boxing invokes a sense of Mandela’s experiences in the 1950s while simultaneously encouraging insights and reflections about the ways in which apartheid histories have had impact on the present. Inviting a metaphorical reading of Mandela’s engagement with the law by being placed outside the Magistrates’ Courts as well as his own law offices, Shadow Boxing, it is suggested, also encourages associative interpretations through its formal and material properties. It is argued that, while it depicts a well-known individual on a large scale, Shadow Boxing encourages a more participative and mnemonic engagement than is usual in public statuary.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44062549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Quos ego’ in the Adriatic: a Neptune by Girolamo Campagna","authors":"Luca Siracusano","doi":"10.3828/sj.2022.31.2.02","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.02","url":null,"abstract":"\u0000This article studies a remarkable statue of Neptune atop the public fountain of the municipal palace of Senigallia, a fortified town that was once part of the ancient Duchy of Urbino, on Italy’s Adriatic coast. Despite its high quality and prominence, this sculpture in Istrian stone has not yet sparked the interest of art historians. Instead, it has been confined within the field of local studies that have misinterpreted it as a Roman antiquity repurposed on a seventeenth-century basin. Using both published and unpublished documents related to the patronage of fountains and aqueducts in the Marches at the end of the Della Rovere duchy, this article places the Neptune in context. Stylistic comparisons and study of the artistic exchange between Venice and the Marches in the late Renaissance suggest an attribution of the Neptune to Girolamo Campagna. This artist is known to have worked for the Della Rovere, and in 1604 he was called ‘the best [sculptor] in Venice, if not the best available at present in Italy’ by one of Duke Francesco Maria II’s correspondents.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48825240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sand in the Vaseline: on twenty-first-century process art","authors":"Alice Channer, Alisa Baremboym, Nicolas Deshayes, K. Mooney, Tania Pérez Córdova, A. Wilding","doi":"10.3828/sj.2022.31.2.07","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.07","url":null,"abstract":"The machines didn’t stop – there was no bright red alarm button.1 In response, I’ve invited a group of five artists, Alisa Baremboym, Nicolas Deshayes, K. R. M. Mooney, Tania Pérez Córdova and Alison Wilding, whose work and relationship to sculpture I admire, to imagine, on their own terms, the theme of process. Last August we shot my first video, Birthing Pools. The camera-eyes were suspended over four hypnotic, bubbling tanks in a chroming factory near where I live in south-east London. I have taken metal things there to be expertly skinned and armoured in glamorous chrome for over a decade now; often forms cast from clothing, as well as plant and animal bodies. What pulls me back isn’t so much the ‘finished’ sculptures I’m ostensibly making, but rather the process itself, which is seductive and disturbing. Especially the electroplating tanks, their raging surfaces criss-crossed with metal bars from which jigs are hung, submerging parts beneath and within liquid surfaces for specific periods of time (fig. 1). During lockdown I often thought of the churning, primordial pools in the factory, and the bodies that move fluidly around them. I couldn’t imagine them stilled and my intuition was right – tanks and bodies never stopped simmering; production was continuous. We filmed the copper (blue), nickel (green), hexavalent chromium (black and orange) and rinse (clear) baths over several hours as they produced a pleated chrome skin on multiple, jigged, sand-cast and vapour-blasted aluminium parts for a sculpture, Seahorse. What can such artistic strategies achieve if the production line never stops? What does it mean to author sculpture on these compromised terms? What agency do we have as artists in relation to industrial production and the late-stage global capitalism that drives it relentlessly and lethally? I think we can be honest, making, on our own terms, these deliberately obscured processes visible in our work. This is what I mean by twenty-firstcentury process art; we can punch holes and make ruptures in smooth, hard, continent, complete and totalizing surfaces. This is what happens when, for example, naked spider and brown crab shells, their bodies ‘ill acknowledged by vertebrate production chains’,2 are loaded into a planetary system. A planetary system is a large, rotating, steel structure made to hold hundreds of identical plastic parts (for example, car headlamps) while they are being coated in a thin layer of aluminium in a vacuum metallizing chamber. Planetary System (Kolzer DGK63”) is also the title of a sculpture I made in 2019 (fig. 2). The multiple crustacean bodies infest a machine ostensibly used to Artist-edited feature","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41834448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}