Object-related activity revealed by functional magnetic resonance imaging in human occipital cortex.

The stages of integration leading from local feature analysis to object recognition were explored in human visual cortex by using the technique of functional magnetic resonance imaging. Here we report evidence for object-related activation. Such activation was located at the lateral-posterior aspect of the occipital lobe, just abutting the posterior aspect of the motion-sensitive area MT/V5, in a region termed the lateral occipital complex (LO). LO showed preferential activation to images of objects, compared to a wide range of texture patterns. This activation was not caused by a global difference in the Fourier spatial frequency content of objects versus texture images, since object images produced enhanced LO activation compared to textures matched in power spectra but randomized in phase. The preferential activation to objects also could not be explained by different patterns of eye movements: similar levels of activation were observed when subjects fixated on the objects and when they scanned the objects with their eyes. Additional manipulations such as spatial frequency filtering and a 4-fold change in visual size did not affect LO activation. These results suggest that the enhanced responses to objects were not a manifestation of low-level visual processing. A striking demonstration that activity in LO is uniquely correlated to object detectability was produced by the "Lincoln" illusion, in which blurring of objects digitized into large blocks paradoxically increases their recognizability. Such blurring led to significant enhancement of LO activation. Despite the preferential activation to objects, LO did not seem to be involved in the final, "semantic," stages of the recognition process. Thus, objects varying widely in their recognizability (e.g., famous faces, common objects, and unfamiliar three-dimensional abstract sculptures) activated it to a similar degree. These results are thus evidence for an intermediate link in the chain of processing stages leading to object recognition in human visual cortex.

Reinterpreting Coatlicue : the Sculptural Narrative of Defeat at the Shrine of Huitzilopochtli

"Images of the decapitated, dismembered female warrior Coyolxauhqui, a main character in the Mexica mythology of Huitzilopochtli, figured prominently in Imperial Mexica sculptural campaigns at the Templo Mayor. However, monoliths of a terrifying, dismembered female from the shrine have traditionally been identified as Huitzilopochtli’s nurturing mother Coatlicue, or permutations of goddesses. Such studies do not adequately address why these sculptures depict mutilated beings whose characteristics are antithetical to Coatlicue’s appropriate female behavior depicted in myths and images"

Lonnie Holley exploration and analysis of his artworks in two settings : the yard and the museum

The contemporary artist, Lonnie Holley, creates assemblage sculptures using found objects that he then places in his multi-layered yard art environment. With the rise in prestige of folk art, many art galleries and museums have displayed the works of Holley, removing them from the yard art environment and placing them in the gallery setting. This paper addresses how meaning changes when the context of Holley’s artworks changes.

Pollock is…Crouching in My Pants” : Claes Oldenburg’s Ray Gun as Feminist Critique of the Abstract Expressionist Ego

The “seminal” piece of Claes Oldenburg’s Ray Gun art is Empire (Papa) Ray Gun (1959), a paper maché sculpted gun resembling an erect phallus and swollen testicles. After Empire (Papa) Ray Gun, Oldenburg defined Ray Gun art as anything with a right angle—a form representing the angle at which a handgun’s barrel and handle meet and/or where the erect penis and hanging testicles meet. The forms and tenants of Ray Gun continued into Oldenburg’s later installations, performances, and soft and monumental sculptures.

RELIGIOUS SCULPTURE OF THE CHILOÉ ARCHIPELAGO, FROM THE 17TH TO THE 21ST CENTURY

Despite its central role in religious life of the region, the sculptural tradition of the Southern Chilean Chiloé Archipelago, ranging from the 17th century to the present day, has been vastly understudied. Isidoro Vázquez de Acuña’s 1994 volume Santeria de Chiloe: ensayo y catastro remains the only catalogue of Chilote sculpture. Though the author includes photographs of a vast array of works, he does not attempt to place the sculptures within a chronology, or consider their place within the greater Latin American context. My thesis will place this group of works within a chronological and geographical context that reaches from the 16th century to the present day, connected to the artistic traditions of regions as far afield as Paraguay and Lima. I will first consider the works brought to the Archipelago by religious orders – the Jesuits and Franciscans – as well as influences on artistic style and religious culture throughout the 17th, 18th and 19th centuries. I will focus in particular on three works generally considered to be from the 17th and 18th centuries – the Virgin of Loreto at Achao, the Saint Michael at Castro, and the Jesus Nazareno of Caguach – using visual analysis and sifting through generations of primary and secondary sources to determine from where and when these sculptures came. With this investigation as a foundation, I will consider how they inspired vernacular sculptural expression and trace ‘family trees’ of vernacular works based on these precedents. Vernacular artistic traditions are often viewed as derivative and lacking in skill, but Chilote sculptors in fact engaged with a variety of outside influences and experimented with different sculptural styles. I will conclude by considering which aspects of these styles Chilote artists chose to incorporate into their own work, alter or exclude, artistic decisions that shed light on the Archipelago’s religious and cultural fabric.

As dicotomias peso/leveza e forma/ideia na escultura : a desmaterialização progressiva do objecto artístico

The dichotomies Weight/Lightness and Form/Idea formed the theory and the practice of Art, existing a correspondence between them. The weight exists thanks to the existence of a form that is made of matter; in the other hand, the lightness comes from the idea that is always present when the creation exists. This dichotomies were always interconnected during the centuries, and there are variations in relevancy of form and/or idea. In sculpture´s tradition, the physical weight was a essential reality, and the idea of sculpture, without the immaterial side was underlined to the form. During the centuries, new artistic approaches were born and re-born focused on the frailty, lightness and idea of the artistic object, fact that came to cancel the classic notion of work of art. The concept of image became the focus of the esthetical experience of the subject, which alone, tended to substantiate the artistic object itself. In the same way that lightness, when taken to the extreme, and despite the tridimensionality materiality of the object, begun to relate the art with the own action of the body, the gesture of the artist, rising both to the status of art

Galeria de espelhos: figuras da representação em François Truffaut

Esta dissertação consiste numa análise de quatro filmes de François Truffaut, nomeadamente La mariée était en noir (1968), La sirène du Mississipi (1969), L’histoire d’Adèle H. (1975) e La chambre verte (1978). O meu estudo centra-se nalgumas figuras pertencentes a sistemas de representação, que ocupam posições de relevo nas narrativas e na imagética destes filmes. Assim, considero o tratamento dado a fotografias, pinturas, desenhos ou esculturas no quadro maior da imagem fílmica, e atento na caracterização de certas personagens enquanto, elas mesmas, propiciadoras de uma reflexão acerca da imagem. Finalmente, procuro repensar o modo como, associando esse trabalho sobre objectos representativos a um pensamento sobre a morte, Truffaut formula uma meditação sobre o cinema enquanto arte intimamente relacionada com a noção de fantasma.

Rackham Educational Memorial Building, Detroit, erected 1941

Harley & Ellington, architects. W.E. Wood Co., contractor. Built from July 1940 to January 1942. Built jointly for the Engineering Society of Detroit and the University as an Extension Service facility in Detroit. Funded by the Horace H. and Mary A. Rackham Fund. Sculptures on exterior by Marshall Fredericks.

Deux musées de sculpture franc̜aise à l'époque de la Révolution.

"Addenda et corrigenda" tipped in.

Greek, Roman and Egyptian antiquities ... /

"Pubic auction sale."

Grotte, labyrinthe, fontaines et bassins de Versailles.

This volume has been designated "sixième volume" in the Catalogue, for a collection known under the title of the repository, Cabinet du roi. The engravings were prepared between 1672 and 1689 by various engravers: Le Pautre, Le Clerc, Chauveau, Edelinck, Picart, Baudet, Silvestre, Simonneau and Chatillon. They were issued individually at the outset, collected, and in this instance issued in uniform format. The plates of the Labyrinthe, 15 x 8.5 cm., have been printed on 4 leaves of 9 and 1 leaf of 5.

La critique est aisée, mais l'art est difficile.

Half title and caption title.

The artist, the merchant, and the statesman, of the age of the Medici, and of our own times /

Goldsmiths'-Kress no. 34096.23.

The mastaba of Ptahhetep and Akhethetep at Saqqareh,

"Special publication of the Egypt exploration fund."

Paris Salon 1904 [i.e., dix-neuf cent quatre] /

"1re année"--Cover.