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i points beyond itself as it stylizes the ambiguity inherent in all things that are made: their capacity to include I and i exclude, protect I and i harm, create I and i destroy. Heaton's I Zen Men i are lumped together; in one we can just about make out a thinker's pose, while the other merely slouches. i (2007, see Figure 1) by Southport- and London-based sculptor and performance artist Tony Heaton, we first encounter an uninviting fortress made from the same stone as St Paul's Cathedral, Buckingham Palace, and the Bank of England. The original blue (which, Heaton notes, became derogatively known as spaz blue) turns into lamé, a shimmering fabric, which is a play on the word I lame i , indicating the fickle balance between ability and disability. [Extracted from the article]

In this paper, a new metaheuristic algorithm called Sculptor Optimization Algorithm (SOA) is introduced and designed, which imitates the sculpting process. The main idea in SOA design is derived from (i) making extensive changes to the sculpture material and (ii) making small and detailed changes to the sculpture. SOA theory is expressed and then mathematically modeled in two phases of exploration and exploitation. The performance of SOA in handling optimization applications has been evaluated to optimize the CEC 2017 test suite. The optimization results show that SOA, with its high power in managing exploration and exploitation during the search process, has been able to achieve suitable solutions for optimization problems. In addition, the quality of SOA results has been compared with the performance of twelve well-known metaheuristic algorithms. Analysis of the simulation results shows that SOA has provided superior performance compared to competing algorithms by achieving better results for most of the benchmark functions. Simulation findings show that compared to competing algorithms, SOA has been successful in handling 100% of unimodal functions, multimodal functions and hybrid functions, as well as 70% of composite functions. [ABSTRACT FROM AUTHOR]

As student, teacher, and principal of the Madras School of Art, and as mentor, colleague, editor, and painter, KCS Paniker (1911–77) lived within a network of relations that one might map, following Alex Seggerman's reading of Egyptian modernism, as a constellation. These figures include artists and critics in his immediate local network, students who helped build Cholamandal Artists' Village with him, and his legacy in the form of the following generations, including his son, the sculptor Nandagopal. He also corresponded with a range of collectors, critics, scholars, and artists around the world, during three trips abroad and in subsequent editorial efforts related to the journal Artrends. In past frameworks, we might think of these constellational relations as "influences" but this too unidirectionally defines them, and it causes us to privilege one end or the other of the interaction. My project here is to think broadly and critically about these relations, to acknowledge them as deeply important for our understanding of Paniker's work, but also to look for the dimmer stars – the fleeting comets that might be missed. How might attentiveness to Paniker's intellectual and artistic wanderings enable us to find toward a richer, pulsating and shining, picture of relation? [ABSTRACT FROM AUTHOR]

The article focuses on the bust of Antinous (1874) made by sculptor Augustus Saint-Gauden and can be seen in a salone of the Villa Papiano in Tuscany, Italy.

Despite the National Occupational Safety and Legislation Act 2020's implementation, reports of workplace accidents are rising in India. Various ear, nose, and throat conditions have been linked to a wide range of physico-chemical variables. Due to a lack of training, inadequate knowledge, a lack of awareness of occupational health and safety risks, or a lack of accessibility to or use of personal protective equipment (PPE), sculptors are frequently exposed to a variety of physical, compound and unplanned risks, chemical, and accidental hazards. The study aimed to assess the various ear, nose and throat manifestations like noise induced hearing loss, occupational rhinitis and non-infectious pharyngitis among the sculptors working in the southern part of Chennai. This observational study was performed in a total of 110 sculptors. Demographic data like age, education, duration of occupation, use of PPE like face mask, ear plug during work hours, whether sculpting is a family occupation or first generation sculptor. A detailed history and thorough ENT examination was performed with pure tone audiometry (PTA), diagnostic nasal endoscopy (DNE) and videolaryngoscopy (VLS). If any problem is detected they will be treated accordingly. Most of them (70%) were in the age group of 21–40 years but 71% of them are sculptors for more than 15 years which infers introduction to the occupation at an early age. The reason for this could be more than 80% of them possessed the heritage of sculpting as their family occupation. Duration of occupation was significantly associated with chronic rhinitis (P value was 0.002) and NIHL (P value was 0.002) whereas education and use of PPE like face mask or ear plugs were not associated with ENT manifestations. This study focuses on the sculptors' working habits, their ignorance of safety precautions, and an assessment of the numerous ENT ailments. These manifestations showed a strong correlation to exposure time. To prevent the issues from becoming more severe, regular medical monitoring is required for early detection and intervention. [ABSTRACT FROM AUTHOR]

The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová's work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová's paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová's Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová's depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse. [ABSTRACT FROM AUTHOR]

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

Recently, a few sculptural fragments with no provenance information were found in the warehouses of the Italian Archaeological Mission (MAI) at Saidu Sharif Mission House in Mingora. The fragments were found in a box of objects collected or excavated in the late 1950s or early 1960s. The 2005 earthquake caused the old wooden shelving in the storage rooms to collapse and the original basket with the provenance information fell, with hundreds of others. In the following years, all baskets were reconstructed with patient collection work, thanks to the fact that Mission had (and still has) the habit of inking each piece, whether it was a sculptural or pottery fragment. Very few pieces remained un-inked. Being part of this small group, some of these pieces lost their provenance information. Therefore, this note presents an attempt to reconstruct the provenance of these objects and discuss their iconography. In addition to these pieces, which have been inventoried as Varia New Series (VSN) and handed over to the Swat Museum, there is one from a stratigraphic context, from Barikot, already at the Museum, which has features that have suggested the hand of one of the sculptors of Butkara I or Saidu Sharif I. [ABSTRACT FROM AUTHOR]

The Turin art critic Enrico Thovez (1869-1925) and the sculptor from Casale Monferrato but Turinese by adoption Leonardo Bistolfi (1859-1933) regularly met during their lifetimes. The critic paid particular attention to Bistolfi’s creations over the years, however he never gave in to total admiration. Thovez and Bistolfi shared some deep cultural similarities, an inclination for the northern world and in particular for the Pre-Raphaelites, but also a certain serious approach to their existence. Thovez began his first critical reflections on Bistolfi’s works in 1898, on the occasion of the Turin National Exhibition, with a very accurate and penetrating portrait, which he substantially confirmed in the following years. His criticism was based on naturalistic and idealistic foundations. At the same time, other scholars, friends and art critics independently developed their own reflections on Bistolfi’s art adding new insights, such as the affinity with music which defined the sculptor’s complex personality in a new way. While Primo Levi, Giovanni Cena, Édouard Rod, Corrado Corradino and Ugo Ojetti, analysed Bistolfi’s work looking at its innovative nature – especially after the appearance of the Sphinx for the Pansa Tomb in 1890 and after his participation in the Venice Biennale in 1905 – Thovez stood his ground and acknowledged a change of direction only after the appearance of the Alpe in 1906, the monument for Giovanni Segantini, when he believed Bistolfi had reached maturity. For the Turin critic, the sculptor, philosopher and poet Bistolfi was getting closer to classical art, abandoning the excesses of his youth. New connections with Michelangelo and Rodin seemed to confirm this trend, which developed from the Croce for the Staglieno cemetery and then matured into new figures. Confirming his critical convictions, Thovez will see in the Sacrifice for the monument to Vittorio Emanuele II in Rome (1911) the fulfillment of Bistolfi’s path towards classicism. But Bistolfi himself was critical of a perspective that makes the art of the past current. The publication of a monographic volume on the artist in 1911 gave Thovez the opportunity to develop new reflections, consistent with his past views, but sensing a certain involution behind recent works. [ABSTRACT FROM AUTHOR]

Antoine Benoist's Cercle royal was an exhibition of life-size wax figures on display in Louis XIV's Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the Cercle royal's initial recognition, beginning in the 1660s, when the exhibition centred on French royalty's courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist's wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture's reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude. [ABSTRACT FROM AUTHOR]

In the nineteenth century, as European countries reacted to industrialization, art and burgeoning industries intertwined in a myriad of new ways. From this union, several major changes occurred in building construction, decorative arts and sculpture. The career and oeuvre of Jean-Baptiste Plantar, French ornamentalist and sculptor des Bâtiments du Roi, illustrate the new relationships forged between traditional architectural patterns and industrial artistic production. Despite holding a central role in their establishment, Plantar has been largely unheeded both by his contemporaries and later writers. This article reasserts Plantar's significance in the creation of a visual – essentially Parisian – landscape in the first half of the nineteenth century. [ABSTRACT FROM AUTHOR]

This article makes a structuralist cinematographic analysis of Aro Tolbukhin. In the murderer’s mind (Zimmermann, Racine & Villaronga, 2002). In the first place, we will locate and enumerate the topics that the work deals with (what it says). Secondly, the way in which said content is expressed at the enunciative-cinematic level (how he says it) will be explained: maternal love, its influence on the psyche and violence as a sculptor of childhood are some of the topics called for in the narration, which fit perfectly with the rest of Villaronga’s cinema. [ABSTRACT FROM AUTHOR]

Copyright of Art / Umění is the property of Institute of Art History of the Academy of Sciences of the Czech Republic 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.)

Imagine a sculptor who molds a lump of clay to create a statue. Hylomorphism claims that the statue and the lump of clay are two different colocated objects that have different forms, even though they share the same matter. Recently, there has been some discussion on the requirements of consistency for hylomorphist theories. In this paper, we focus on an argument presented by Maegan Fairchild, according to which a minimal version of hylomorphism is inconsistent. We argue that the argument is unsound or, at best, it just points to a well-known problem for hylmorphist theories. Additionally, we explore some general consequences of this fact. [ABSTRACT FROM AUTHOR]

Science and art are often disconnected but, if combined, can help stimulate learning and novelty and guide societal change. How then to bridge the divide between scientists and artists in a way that extends beyond superficial, short-term interactions? We describe an ongoing coproduction practice between a Swedish sustainability scientist and two Chilean artists--a sculptor and painter--striving to find ways to work together. Our transdisciplinary collaboration was initiated in 2013 and, although there has never been an agenda or goal for our interaction, there has been a mutual interest to investigate joint possibilities. Through a series of meetings, we tried but failed to accomplish anything for several years. By 2022, we finally created something tangible together, realizing it was not just material objects we were producing but also a meeting between worlds. We describe how this long-term partnership, driven by mutual respect and curiosity, created conditions for bridging across our respective knowledge and practices. By working, walking, and exploring together, we learned how to communicate, overcome challenges of different languages, and combine perspectives. We have recognized similarities in how we engage with material from the natural world and how we combine elements for novelty. Through our interactions, we have started to identify how coproduced science and art can stimulate a reconnection with the biosphere, thereby providing a foundation for transformative societal change. [ABSTRACT FROM AUTHOR]

Augusta Savage intended to build monuments. In the 1930s and early 1940s, the Harlem-based sculptor envisioned memorials to Jean Baptiste Point DuSable, the vaudeville star Florence Mills, the World War I service of the "Harlem Hellfighters," and the writer and civil rights leader James Weldon Johnson. None of these proposed works was erected, and they have not been included in scholarship examining Savage's work and career. This essay considers Savage's thwarted efforts as critical reminders that material absence does not connote a lack of vision, intention, or labor. I argue that Savage's unbuilt monuments reveal her ambition to intervene in the Whiteness and maleness of the American memorial landscape and claim monuments as sites where Black lives and concerns can be represented. Engaging critical approaches to archival absence and the power of monuments, I explore the space these unbuilt monuments would have taken up in the world. [ABSTRACT FROM AUTHOR]

Copyright of Ataturk Yolu Journal / Atatürk Yolu Dergisi is the property of Ataturk Yolu Journal / Ataturk Yolu Dergisi 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.)

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE 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 formation of 'stellar haloes' in dwarf galaxies have been discussed in terms of early mergers or Galactic tides, although fluctuations in the gravitational potential due to stellar feedback is also a possible candidate mechanism. A Bayesian algorithm is used to find new candidate members in the extreme outskirts of the Sculptor dwarf galaxy. Precise metallicities and radial velocities (RVs) for two distant stars are measured from their spectra taken with the Gemini South GMOS spectrograph. The radial velocity, proper motion, and metallicity of these targets are consistent with Sculptor membership. As a result, the known boundary of the Sculptor dwarf extends now out to an elliptical distance of ∼10 r h (half-light radii), which corresponds to a projected physical distance of ∼3 kpc. As reported in earlier work, the overall distribution of RVs and metallicities indicate the presence of a more spatially and kinematically dispersed metal-poor population that surrounds the more concentrated and colder metal-rich stars. Sculptor's density profile shows a 'kink' in its logarithmic slope at a projected distance of ∼25 arcmin (620 pc), which we interpret as evidence that Galactic tides have helped to populate the distant outskirts of the dwarf. We discuss further ways to test and validate this tidal interpretation for the origin of these distant stars. [ABSTRACT FROM AUTHOR]

The Friendship Route, is a group of sculptures built for the 1968 Olympic Games, which was intended, according to Mathias Goeritz -who conceived it-, to humanize Mexico City through art. In conjunction with three other guest sculptures, these were created by sculptors selected as far as possible based on inclusion criteria for the diversity of geographic origins, religious beliefs, races and ideologies, but also genders. Helen Escobedo and Ángela Gurria were the only two women out of a total of 22 sculptors, and they played a leading role in opening and closing this sculptural path, thus leaving a legacy in qualitative terms on the basis of these configuration guidelines regarding the importance of the women in the way of developing the country's capital city. Thus, this sculptural route, Olympic heritage of all Mexicans, has been established since those days and until today, in a paradigmatic legacy at international level, with respect to the way in which cities can be territorialized emotionally and with meaning from the sculpture. [ABSTRACT FROM AUTHOR]

Canadian sculptor Elizabeth Wyn Wood (1903–66), best known for her modernist landscape sculptures, has since the inception of her artistic career been compared, through analogy, with the Group of Seven (fl. 1920–33), Canada's enduringly famous and overtly nationalistic collective of modernist landscape painters. Critics claimed that Wood "achieved for sculpture what the Group of Seven achieved for painting" and, occasionally, invoked specific Group artists, dubbing Wood the "Lawren Harris of sculpture." Analogizing across disciplines, the Wood/Group likening appears to posit a formal comparison in gendered language: the Group's bold, decorative portrayals of the northern Ontario "wilderness" find clear visual comparands in Wood's abstracted compositions of the same region. In this article, however, I demonstrate that the apparently visual basis for the comparison is inextricable from the textual discourse fundamental to Canadian art in the early twentieth century and beyond; it is only through analyzing this discourse that an understanding of the Wood/Group analogy can be reached. The Group ostensibly pioneered the first genuine Canadian landscape aesthetic; through immersing himself in the land, the mythology went, the Canadian artist learned to paint Canada on its own terms. This landscape artist-as-woodsman myth was a form of settler indigenization by which Canada laid cultural claim to colonized land. Analogy frames Wood as not an epigone but an equal of the Group: in producing organically, anew, a genuine Canadian landscape aesthetic for sculpture, Wood "achieved for sculpture what the Group of Seven achieved for painting"—its deployment as a medium in the service of Canada's land claim. [ABSTRACT FROM AUTHOR]

This article is devoted to the importance of using historical architectural monuments - Karabakh monuments in the formation of patriotic education of young people. It is known to everyone that for nearly 30 years, 20% of the territory of Azerbaijan and its historical architectural monuments were occupied by Armenian usurpers. In order to teach the youth to love the motherland, we need to arm them with knowledge about our valuable resources there. At the same time, by studying the history of Karabakh monuments, we get to know the national culture of our ancestors. It should be noted that although most of the architectural pearls located in different regions of Azerbaijan have come down to our time, those related to Karabakh have been subjected to considerable destruction from time to time, especially in the last thirty years, as a result of Armenian aggression, and many of them have been appropriated by them. Among them, there are Christian-type religious architectural monuments from the period of ancient Caucasian Albania and the Early Middle Ages. In the middle Ages, numerous civil buildings were built in different corners of Karabakh along with mosques, tombs and castles. Among them, the buildings created by the architect Karbalayi Safikhan Karabakhi stand out. Of course, since these buildings with the Karabakh address are directly related to the local people living here due to their shape, masonry technology and aesthetic capacity, it is impossible to hide their real address - who owns them. On the other hand, the fact that the Armenians who erected a monument in Agara district in honor of the 150th anniversary of their resettlement from Iran to Karabakh in 1978 is only regrettable and laughable...Our purpose is to past this to young people. [ABSTRACT FROM AUTHOR]

Copyright of Revista Razón Crítica is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano 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 author shares his reflections on the recognition of Black artists in Great Britain. Topics discussed include the increase in the number of Black artists in the Royal Academy of Arts, reasons for the difficulty in challenging white supremacy in art, and art gallery Tate Britain's disregard of Jamaican-born sculptor Ronald Moody, with the artist's reputation restored by "Tate Magazine" in its 2003 feature describing him as one of the country's most remarkable Modernist sculptor.