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Although the origins of lost wax casting extend back into the 5th millennium BCE, it was not until the development of hollow core casting that life-sized metal sculptures could be produced. Based on existing evidence, the earliest adoption of this technique, which involves the inclusion of a clay core within a wax model, occurred in Iraq (Mesopotamia) during the Early Dynastic III period (ca. 2600–2350 BCE). To date, only one hollow core casting from the succeeding Akkadian period (ca. 2350–2150 BCE)—the Sargon Head in the collection of the Iraq Museum—has been studied from a technical point of view. The recent attribution of The Metropolitan Museum of Art's Head of a ruler to this formative period of hollow core lost wax casting provided the impetus for its examination by high-energy X-ray computed tomography—the most practical technique for an object that is continuously on display that could image in 3D the interior morphology of this sculpture given the considerable thickness of its metal walls. This scan revealed a markedly different style of production than the Sargon Head. Although further research on early castings is required to determine the chronological implications of the differences observed and to elucidate more generally the early development of hollow casting technology, the scan of the Head of a ruler provides evidence of some of the challenges encountered and problem-solving strategies used in the casting process. [ABSTRACT FROM AUTHOR]

Melvin Edwards made his first abstract sculptures at the beginning of the contemporary period in the early 1960s, but the ways he held on formally to a modern notion of "interiority" in his Lynch Fragments series provide us with an underexamined aesthetic position in contemporary art. Edwards offered nuanced relationships between interior and exterior at a moment when concepts of "interiority" and "self" were under the most strain in contemporary art practice. If we consider this turn away from interiority—and toward surface, emptiness, system, and dematerialization—to be, in part, a symptom of the pressure exerted by the commodity form on art viewers' sensibilities after 1955, then the stakes of Edwards' choice not only to use found metal objects, but to compose them around an active rather than empty center, feel higher. By comparing the sculpture Mojo for 1404 (1964) with the Bichos (1960–1965) of Lygia Clark, the distinctiveness of Edwards' project emerges even more strongly. Clark responded to the crisis of interiority with shiny metal sculptures whose interiors were constantly being flipped inside-out. By contrast, Edwards' art was motivated by the struggle for racial justice, and it persistently spoke its desire for grounded, scarred personhood in an aesthetic language that required viewers to recall their own interiority. [ABSTRACT FROM AUTHOR]

This review essay focuses on recent developments and trends in the study of ancient Greek art. The publications covered date primarily to the period beginning in 2017–2018, though selected earlier works have been included where considered to be of particular merit or importance. Examples have been chosen to span and represent the long Archaic to Hellenistic phases (eighth–first century BC), and a full range of artistic categories and media have been featured in the discussions. In order to structure the large quantity of bibliography available, the presentation is divided into several broad categories according to themes (e.g. sites, reports, guides; exhibitions, conferences, Festschriften) or materials (e.g. sculpture and terracottas; metals, coins, gems, and jewellery). Where possible, digital resources applicable to the discipline have also been mentioned and cited. By way of conclusion, some general observations are made about the subjects of Greek art that seem not only to be the most prevalent in recent scholarship, but also transcend artistic medium, style, and scale – among them the body and adornment, senses and emotion, aesthetics and beauty, religion and performance, and archaeological contexts and intercultural connections. [ABSTRACT FROM AUTHOR]

This article analyses and theorises work by the celebrated Mozambican artist Gonçalo Mabunda, who is famed for his redeployment of scrap metal into striking sculptures. He is known for using various weapons components in his assemblages, as well as – more recently – industrial scrap items. This article considers the arrival of used, leftover and discarded items used in the Internal Residual Spray (IRS) campaign deployed by the NGO Tchau Tchau Malaria (Goodbye Malaria) into his works. The article first explores the role of waste from guns (what I term "war scrap") and industrial steel ("modernity trash"), then turns to the significance of sculptures created with malaria-eradication infrastructure (what I term "malarial detritus"). The agents of malaria, usually invisible to the human eye, are combatted through IRS campaigns. Art can make this life-saving scientific intervention visible, and communicable, in innovative ways and can play a key role in communicating the science of malaria eradication. [ABSTRACT FROM AUTHOR]

The exhibition's curator, Francesco Caglioti, whose scholarship and ideas shaped at every turn the attributions and arguments of this beautiful show and its catalogue, writes in the latter's preface of the Donatello "earthquake [ I terremoto i ]", an event so "violent [ I violento i ]" that it caused "continual tremors [ I ripetute scosse i ]". This exhibition amply and vividly demonstrated how Donatello's followers and artistic descendants, especially in the geographic regions where he was most active, engaged with stylistic elements of his sculptures (expressions, bodies, poses, drapery, compositions, and spatial settings), the types he renewed (e.g., the I spiritello i , the freestanding nude), the carving techniques he devised, and his focus on emotion. Before 2022, comprehensive museum exhibitions featured Donatello's art twice: in 1887, on the fifth centenary of his birth, and in 1985-6, when an exhibition staged in three cities marked the sixth centenary. The exhibition expanded, potentially, even beyond these sites, as signage encouraged visitors to explore other cultural institutions in Florence and outside the city in Tuscany where additional examples of Donatello's art can be found - or where sculptures included in the exhibition usually reside. [Extracted from the article]

In this informative and beautifully illustrated book, archeologist Christopher Donnan gives the Moche their long-overdue recognition by showcasing discoveries made at a recently excavated ancient tomb called La Mina. However, the tomb-raider's cooperation ultimately led Donnan to better contextualize the enigmatic and relatively isolated La Mina tomb. La Mina: A Royal Moche Tomb: By Christopher B. Donnan. [Extracted from the article]

Sculptors and Modelers - The Artists Each generation of artists portrays its "slice of history" via the sculptures they model. As reviewer Malcolm Southwood wrote (pers. comm., 2022) after viewing the photo of I The Doll i (fig. 19), "The artist has somehow captured that sense of love of a father for his daughter and also, I think, a sense of relief that he'd survived another shift in a dangerous job!" PHOTO (COLOR): Figure 19A. The Doll: Utah artist Frank Gary Prazen created a mining-community scene in 1984 that depicts a miner's daughter (with doll under her arm) greeting her father as he returns from another day in the mine. For some mineral collectors, mining statues have it all. [Extracted from the article]

Part of enterprises that were active during the time of Polish People's Republic was fulfilling the role of an industrial art patrons, sponsoring and organising different types of artistic projects. The factories were however first and foremost obliged to fulfil the national industrial plans and their production norms, both of which could be impeded by their cultural and artistic activities. In this article the author poses a following question: why was it that the enterprises were sponsoring artistic events and how were they benefitting from it? To provide an answer, the author focused on three events under the industrial patronage -- Biennale of Spatial Forms in Elbląg, 1st Symposium of Fine Artists and Scientists in Puławy as well as 1st Biennale of Metal Sculptures in Warsaw -- and conducted an analysis of scientific and specialist literature on their topic. On this basis, the author drew the conclusion that the advantages related to the patronage had mostly a social character and resulted from building positive relations with the authorities, local communities and employees. [ABSTRACT FROM AUTHOR]

Controlling the shape and orientation of metal nanoparticles constitutes fundamental strategies employed to tune their distinctive properties. However, singular high-energy surfaces are notably missing from nanoparticles fabricated using existing synthesis techniques. In this work, we fabricated supported (111)-oriented Pt nanoparticles that expose low-energy surfaces and subsequently reshaped them using a metal forming technique. We found that the orientations of deformed particles span a continuum encompassing (111), (110) and (112) and observed a linear dependence of this re-orientation on the plastic strain. We proposed a model describing particle rotation during deformation in terms of synergistic interplay between slip and diffusion. [Display omitted] [ABSTRACT FROM AUTHOR]

The present study aims to optimize friction stir welding (FSW) using statistical tools, thereby improving the mechanical properties of butt welds and achieving the desired butt welds for practical applications, such as arts of traditional handicraft and metal sculpture products. The influence of friction stir welding parameters on butt welds was determined by the orthogonal array test and variance analysis. The pin length, dwell time, tool rotational speed, and traverse speed were found to be highly significant factors of the butt welds. In addition, the response surface method (RSM) was used to construct the model from the data of the orthogonal array experiment run using the significant factor application via Taguchi's design. The experimental results showed that the mechanical properties of butt welds were enhanced by FSW, and the strength of butt welds reached 91%. Furthermore, the fractured properties showed a fine recrystallized grain with fewer defects or imperfections, thereby improving the workability. This was of great significance to the structural safety of large-scale metal sculptures and the pursuit of precision of handicraft products. Based on the tensile strength regression models of friction welding, the linear, interactive, and quadratic models were established, and the quadratic model with 3D contours of the tensile behavior was further developed. The results showed that the predicted values of RSM for butt weld tensile properties were very close to the experimental data, which proved the advisability and availability of RSM based on Taguchi's design in improving the mechanical properties of friction stir welds. [ABSTRACT FROM AUTHOR]

Copyright of Athar alrafedain is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the discussion on episode of Apollonius among the Indian ascetics described by Philostratus testifying to a good knowledge of Buddhist beliefs and custom interpreting as a Buddhist philanthropic hero in the cultural milieu of the Indo-Greeks.

In 1965 Gerard Kwiatkowski and Marian Bogusz organized the fi rst of the Spatial Forms Biennales in Elbląg – a city based in the so-called “Recovered Territories”. Selected artists, supported by ZAMECH mechanical plant and with the permission of the communist authorities, created several dozen huge metal sculptures known as “Spatial Forms”. This was the biggest experiment combining art and industry in Poland or even in Europe. The aim of the article is to juxtapose the role of this phenomenon, namely how the creators of the Biennales found a balance between artistic freedom and political limitations, these limitations were forced upon the artists in a way that might prompt one to recall, Foucault’s manner of “discipline” (Foucault, 1973). The author of the article also touches upon the question of the contemporary view of the Elbląg Biennale from the perspective of the avant-garde myth of social and collective participation in artistic creation.

Dan Hicks Authors Cite as Dan Hicks, "", British Art Studies, Issue 19, https://dx.doi.org/10.17658/issn.2058-5462/issue-19/ conversation Introduction by Dan Hicks, Curator and Professor of Contemporary Archaeology, Pitt Rivers Museum, Oxford University When it comes to the study of artworks as material culture, there are few more familiar idioms than that of the "life-history" of the object. I mean that one emerging consequence of the failure of the world culture museum is a conceptual recalibration: with the decomposition of the idea of object life-histories comes the sudden emergence of its counterpoint (which was surely always there) into plain sight. But can we imagine anthropological museums fit fo r the twenty-first century - museums where nothing is stolen?. [Extracted from the article]

Copyright of Técnica Industrial: Revista Cuatrimestral de Ingeniería, Industria e Innovación is the property of Fundacion Tecnica Industrial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through the analysis of some literary sources of the fourth century and, especially of the so-called libellus, or that discussed archival document containing the building and furnishing initiatives of churches taken by Constantine and his sons, then merged into the life of Pope Sylvester of the Liber Pontificalis, but also through some texts of the production of Eusebius of Caesarea and other authors, the contribution attempts to examine the lost early Christian sculpture in precious metals, also investigating the many related themes. [ABSTRACT FROM AUTHOR]

Copyright of Revista CPC is the property of Revista CPC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)