198 resultados para Sculpture, Renaissance.
Resumo:
Photographic documentation of sculpture produces significant consequences for the way in which sculptural space is conceived. When viewed as discrete mediums the interaction of the photograph and its sculptural subject is always framed by notions of loss. However, when taken as a composite system, the sculpture-photograph proposes a new ontology of space. In place of the fixity of medium, we can observe a topology at play: a theory drawn from mathematics in which space is understood not as a static field but in terms of properties of connectedness, movement and differentiation. Refracted through the photographic medium, sculpture becomes not a field of fixed points in space, but rather as a fluid set of relations - a continuous sequence of multiple ‘surfaces’, a network of shifting views. This paper will develop a topological account of studio practice through an examination of the work of the contemporary Belgian sculptor Didier Vermeiren (b. 1951). Since the 1980s, Vermeiren has made extensive use of photography in his sculptural practice. By analysing a series of iterations of his work Cariatide à la Pierre (1997-1998), this paper proposes that Vermeiren’s use of photography reveals patterns of connection that expand and complicate the language of sculpture, while also emphasising the broader topology of the artist’s practice as a network of ‘backward glances’ to previous works from the artist’s oeuvre and the art-historical canon. In this context, photography is not simply a method of documentation, but rather a means of revealing the intrinsic condition of sculpture as medium shaped by dynamic patterns of connection and change. In Vermeiren’s work the sculpture-photograph, has a composite identity that exceeds straightforward categories of medium. In their place, we can observe a practice based upon the complex interactions of objects whose ontology is always underpinned by a certain contingency. It is in this fundamental mobility, that the topology of Vermeiren’s practice can be said to rest.
Resumo:
Conventions of the studio presuppose the artist as the active agent, imposing his/her will upon and through objects that remain essentially inert. However, this characterisation of practice overlooks the complex object dynamics that underpin the art-making process. Far from passive entities, objects are resistant, ‘speaking back’ to the artist, impressing their will upon their surroundings. Objects stick to one another, fall over, drip, spill, spatter and chip one another. Objects support, dismantle, cover and transform one another. Objects are both the apparatus of the studio and its products. It can be argued that the work of art is as much shaped by objects as it is by human impulse. Within this alternate ontology, the artist becomes but one element in a constellation of objects. Drawing upon Graham Harman’s Object-Oriented Ontology and a selection of photographs of my studio processes, this practice-led paper will explore the notion of agentive objects and the ways in which the contemporary art studio can be reconsidered as a primary site for the production of new object relationships.
Resumo:
This exhibition catalogue documents a collaborative art exhibition produced by QUT and Fordham University art students at the Ildiko Gallery in New York, December 6, 2014 to January 25, 2015. The exhibition theme related to the vagaries of communication over long distances, and the kind of creative works that could be generated via a range of media including email, Skype, message in a bottle, and Twitter.
Resumo:
Light-n:doubt is an exhibition exploring the changing landscape between light and sculpture at 65 Hindley Street, Adelaide in 2003. The exhibition references research through the notion of 'otherness'. This show of work foregrounds the play between the materiality and idea of the object and what it 'speaks', the symbolic resonance of the object within space, and the role of the viewer in constructing language through form. Light-n:doubt at 64 Hindley Street, Adelaide. 20th-28th November, 2003. 11am-7pm.
Resumo:
Hyperthermia, raised temperature, has been used as a means of treating cancer for centuries. Hippocrates (400 BC) and Galen (200 BC) used red-hot irons to treat small tumours. Much later, after the Renaissance, there are many reports of spontaneous tumour regression in patients with fevers produced by erysipelas, malaria, smallpox, tuberculosis and influenza. These illnesses produce fevers of about 40 °C which last for several days. Temperatures of at least 40 °C were found to be necessary for tumour regression. Towards the end of the nineteenth century pyrogenic bacteria were injected into patients with cancer. In 1896, Coly used a mixture of erysipelas and B. prodigeosus, with some success...
Resumo:
In the experience economy, the role of art museums has evolved so as to cater to global cultural tourists. These institutions were traditionally dedicated to didactic functions, and served cognoscenti with elite cultural tastes that were aligned with the avant-garde’s autonomous stance towards mass culture. In a post-avant-garde era however museums have focused on appealing to a broad clientele that often has little or no knowledge of historical or contemporary art. Many of these tourists want art to provide entertaining and novel experiences, rather than receiving pedagogical ‘training’. In response, art museums are turning into ‘experience venues’ and are being informed by ideas associated with new museology, as well as business approaches like Customer Experience Management. This has led to the provision of populist entertainment modes, such as blockbuster exhibitions, participatory art events, jazz nights, and wine tasting, and reveals that such museums recognize that today’s cultural tourist is part of an increasingly diverse and populous demographic, which shares many languages and value systems. As art museums have shifted attention to global tourists, they have come to play a greater role in gentrification projects and cultural precincts. The art museum now seems ideally suited to tourist-centric environments that offer a variety of immersive sensory experiences and combine museums (often designed by star-architects), international hotels, restaurants, high-end shopping zones, and other leisure forums. These include sites such as Port Maravilha urban waterfront development in Rio de Janiero, the Museum of Old and New Art in Hobart, and the Chateau La Coste winery and hotel complex in Provence. It can be argued that in a global experience economy, art museums have become experience centres in experience-scapes. This paper will examine the nature of the tourist experience in relation to the new art museum, and the latter’s increasingly important role in attracting tourists to urban and regional cultural precincts.
Resumo:
This paper investigates copyright law and public architecture in the context of cultural institutions of Australia. Part 1 examines the case of the Sydney Opera House to illustrate the past position of architects in respect of copyright law. It goes onto consider the framework laid down by the Copyright Amendment (Moral Rights) Act 2000 (Cth) to resolve copyright disputes over moral rights and architecture. Part 2 considers the argument over the proposed renovations to the National Gallery of Australia between Dr Brian Kennedy and the original architect Colin Madigan. Part 3 finally deals with the allegations that Ashton Raggatt McDougall, the architects of the National Museum of Australia, plagiarised the designs of Daniel Libeskind for the Jewish Berlin Museum.
Resumo:
This article considers the moral rights controversy over plans to redesign the landscape architecture of the National Museum of Australia. This dispute raises issues about the nature and scope of moral rights; the professional standing of landscape architects; and the culture wars taking place in Australia. Part 1 considers the introduction of the Copyright Amendment (Moral Rights) Act 2000 (Cth), with its special regime for architecture and public sculpture. It focuses upon a number of controversies which have arisen in respect of copyright law and architecture - involving the National Gallery of Australia, the National Museum of Australia, the Pig ’n Whistle pub, the South Bank redevelopment, and the new Parliament House. Part 2 examines the dispute over the Garden of Australian Dreams. The controversy is a striking one - as the Australian Government sought to subvert the spirit of its own legislation, the Copyright Amendment (Moral Rights) Act 2000 (Cth). Part 3 engages in a comparative study of how copyright law and architecture are dealt with in other jurisdictions. In particular, it considers the dual operation of the Architectural Works Copyright Act 1990 (US) and the Visual Artists Rights Act 1990 (US) and a number of controversies in the United States - over the Tilted Arc sculpture, a Los Angeles tower block that appeared in the film Batman Forever, a community garden mural, a sculpture park, and the Freedom Tower.
Resumo:
Meta-analyses estimate a statistical effect size for a test or an analysis by combining results from multiple studies without necessarily having access to each individual study's raw data. Multi-site meta-analysis is crucial for imaging genetics, as single sites rarely have a sample size large enough to pick up effects of single genetic variants associated with brain measures. However, if raw data can be shared, combining data in a "mega-analysis" is thought to improve power and precision in estimating global effects. As part of an ENIGMA-DTI investigation, we use fractional anisotropy (FA) maps from 5 studies (total N=2, 203 subjects, aged 9-85) to estimate heritability. We combine the studies through meta-and mega-analyses as well as a mixture of the two - combining some cohorts with mega-analysis and meta-analyzing the results with those of the remaining sites. A combination of mega-and meta-approaches may boost power compared to meta-analysis alone.
Resumo:
Humans and microbes have developed a symbiotic relationship over time, and alterations in this symbiotic relationship have been linked to several immune mediated diseases such as inflammatory bowel disease, type 1 diabetes and spondyloarthropathies. Improvements in sequencing technologies, coupled with a renaissance in 16S rRNA gene based community profiling, have enabled the characterization of microbiomes throughout the body including the gut. Improved characterization and understanding of the human gut microbiome means the gut flora is progressively being explored as a target for novel therapies including probiotics and faecal microbiota transplants. These innovative therapies are increasingly used for patients with debilitating conditions where conventional treatments have failed. This review discusses the current understanding of the interplay between host genetics and the gut microbiome in the pathogenesis of spondyloarthropathies, and how this may relate to potential therapies for these conditions.
Resumo:
Following decades of neglect and decline, many US cities have undergone a dramatic renaissance. From New York to Nashville and Pittsburgh to Portland governments have implemented innovative redevelopment strategies to adapt to a globally integrated, post-industrial economy and cope with declining industries, tax bases, and populations - but the urban comeback has been highly uneven. Urban Revitalization integrates academic and policy research with professional knowledge and techniques. Written in an accessible style and with a thoughtful structure, it will provide graduate and upper-level undergraduate students with a comprehensive resource while also serving as a reference for professionals.
Resumo:
Velum continues material experimentation with edible materials as explored within Formations: New Practices in Australian Architecture 2012. 1 The work employs the central theme of veiling as a ‘second skin’, an intermediary agent simultaneously engaging with Heideggerian themes of ‘nearness and revealing’ (1927, 1954). This second skin creates a liminality distorting everyday objects of popular culture and technological consumption. In doing so, the work puts forth multiple considerations, the figurative play upon consumption itself; the role of the strange and obscure to affect a deepening awareness of our accelerated consumption and experience; and more tangentially, questions surrounding imminent scenarios of hybridity between body and technology. Velum represents a recent focus of the authors’ creative practice, ‘Making Strange’ (Strange Making) published and presented elsewhere. Making Strange explores the sublime process, fundamental to both the final design outcome and the designing experience. The sublime process is seen as a leading, a physiological overpowering of self to a state of intense self-presence, often leading to self-transcendence or state of otherness. As such, the work engages with the body and materials, experimentally and in a trans-disciplinary manner to inform new material practice.
Resumo:
Closed Systems was an exhibition of sculptural works held at MetroArts, Brisbane in the group exhibition 'Platform 2012' curated by Jan Manton. My contribution to the group show was a series of 13 bronze sculptures, produced using a lost-wax casting process. Each form was derived from a sapling that had been manipulated so that branches and roots were interconnected. The resulting 'looped' forms evoked notions on narcissism, self-absorption and introversion. The works were subsequently exhibited at the National Arts School in Sydney as part of the Kodak Minolta Art Prize (2013).