Sculpture Journal最新文献_第8页

Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57 Cunningham，Chantrey和Gibbons：关于国家和自然的带翼文字，约1829-57年

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.6

Jason Edwards, A. Harris, M. Sullivan

{"title":"Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57","authors":"Jason Edwards, A. Harris, M. Sullivan","doi":"10.3828/SJ.2020.29.3.6","DOIUrl":"https://doi.org/10.3828/SJ.2020.29.3.6","url":null,"abstract":"\u0000In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"337-360"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45916882","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}

引用次数: 0

Vegan attendance: reading Gibbons’s animals 素食者出席:阅读吉本斯的动物

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.8

E. Quinn

{"title":"Vegan attendance: reading Gibbons’s animals","authors":"E. Quinn","doi":"10.3828/SJ.2020.29.3.8","DOIUrl":"https://doi.org/10.3828/SJ.2020.29.3.8","url":null,"abstract":"\u0000When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"379-394"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46059170","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}

引用次数: 0

Sculpture Journal: Volume 29, Issue 3 雕塑杂志:第29卷，第3期

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-12-01 DOI: 10.3828/sj.2020.29.issue-3

引用次数: 0

W. H. Thornycroft’s statue of Oliver Cromwell and the bitter waters of Babylon W.H.Thornycroft的奥利弗·克伦威尔雕像与巴比伦的苦水

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.4

Philip Ward-Jackson

引用次数: 0

Inside sculptors’ studios in belle époque Brussels: an interior architectural view 贝尔·萨波克布鲁塞尔雕塑家工作室内部:室内建筑景观

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.5

Linda Van Santvoort, Marjan Sterckx

{"title":"Inside sculptors’ studios in belle époque Brussels: an interior architectural view","authors":"Linda Van Santvoort, Marjan Sterckx","doi":"10.3828/sj.2020.29.2.5","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.5","url":null,"abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle epoque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"193-215"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45276699","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}

引用次数: 0

The Hispanic Society’s Resurrection relief, a Valencian work from the turn of the sixteenth century 西班牙社会的复活浮雕，16世纪初的巴伦西亚作品

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.3

Mercedes Gómez-Ferrer

引用次数: 1

‘Not so much a line as a star’: Donald Judd in the Low Countries, 1965–71 “与其说是台词，不如说是明星”：唐纳德·贾德在《低地国家》，1965–71

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.6

W. Davidts

{"title":"‘Not so much a line as a star’: Donald Judd in the Low Countries, 1965–71","authors":"W. Davidts","doi":"10.3828/sj.2020.29.2.6","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.6","url":null,"abstract":"Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Judd’s rising reputation and fame in the United States in the second half of the 1960s, epitomized by the widely acclaimed solo shows at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in Pasadena California in 1971, have primarily shaped a picture of the artist’s early career as a predominantly American affair. \u0000In the light of the first US retrospective of Judd since his passing in 1994 at the Museum of Modern Art in New York, opening in March 2020, this essay aims to map the early exposure of Judd in Europe, and in the Netherlands in particular. Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low Countries.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"217-237"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982767","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}

引用次数: 0

Sculptor Q&A: Camille Yvert in conversation with Tanya Brittain 雕塑家问答:Camille Yvert与Tanya Brittain的对话

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.7

引用次数: 0

The politics of the gilded body in early Florentine statuary 早期佛罗伦萨雕像中镀金身体的政治

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.2

A. Wright

引用次数: 0

Editorial 编辑

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2020-07-01 DOI: 10.3828/sj.2020.29.2.1

Emma M. Payne, E. Foster, T. Kittler, E. Marchand

引用次数: 0