{"title":"Researching women in sculpture: a discussion event at the Henry Moore Institute, 4 May 2022","authors":"N. Rudd","doi":"10.3828/sj.2023.32.1.08","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.08","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45465901","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}
{"title":"Born on the bombsite: reconstruction and the maternal body in Beth Jukes’s The Cradle (1949)","authors":"Isabelle Jain","doi":"10.3828/sj.2023.32.1.05","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.05","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852756","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}
{"title":"Crossing borders: researching British women sculptors in Paris in the late nineteenth century","authors":"Eva Belgherbi","doi":"10.3828/sj.2023.32.1.04","DOIUrl":"https://doi.org/10.3828/sj.2023.32.1.04","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970026","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}
{"title":"Florence decked in rustic garb:\u0000 pietra serena\u0000 in sixteenth-century Tuscan sculpture and the Etruscan revival in the Medici garden of the Villa di Castello","authors":"Alessandra Giannotti","doi":"10.3828/sj.2022.31.4.02","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.02","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42884713","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}
{"title":"Lorenzo Bartolini’s British patrons and sitters: some new discoveries","authors":"David Wilson","doi":"10.3828/sj.2022.31.4.03","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.03","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873795","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}
{"title":"‘I know of but one art’: Alfred Stevens, the Michelangelesque and intermediality","authors":"Ciaran O’Neill","doi":"10.3828/sj.2022.31.4.04","DOIUrl":"https://doi.org/10.3828/sj.2022.31.4.04","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48544888","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}
A sculpture that is more than five metres high and constructed from laser-cut painted steel, Marco Cianfanelli’s Shadow Boxing (2013) refers to a photograph taken by Drum photographer Bob Gosani in 1957 that shows a young Nelson Mandela sparring with Jerry Moloi, a boxing champion. Placed outside the Magistrates’ Court in Johannesburg, where a young Mandela defended his clients, Shadow Boxing is also just opposite Chancellor House, where Mandela and fellow activist Oliver Tambo had their law offices between 1952 and 1960. Functioning together with the space, Shadow Boxing invokes a sense of Mandela’s experiences in the 1950s while simultaneously encouraging insights and reflections about the ways in which apartheid histories have had impact on the present. Inviting a metaphorical reading of Mandela’s engagement with the law by being placed outside the Magistrates’ Courts as well as his own law offices, Shadow Boxing, it is suggested, also encourages associative interpretations through its formal and material properties. It is argued that, while it depicts a well-known individual on a large scale, Shadow Boxing encourages a more participative and mnemonic engagement than is usual in public statuary.
Marco Cianfanelli的《影子拳击》(Shadow Boxing, 2013)由激光切割的彩绘钢材制成，雕塑高度超过5米，参考了鼓手摄影师Bob Gosani于1957年拍摄的一张照片，照片中年轻的纳尔逊·曼德拉正在与拳击冠军杰里·莫洛伊对打。“影子拳击”位于约翰内斯堡地方法院外，曼德拉年轻时曾在这里为他的客户辩护。“影子拳击”也就在总理官邸对面，曼德拉和他的活动家奥利弗·坦博在1952年至1960年间曾在这里开过律师事务所。“影子拳击”与空间一起发挥作用，唤起了曼德拉在20世纪50年代的经历，同时鼓励人们对种族隔离历史对当前影响的方式进行洞察和反思。通过将曼德拉置身于地方法院和他自己的律师事务所之外，以隐喻的方式解读他与法律的接触。有人建议，《影子拳击》也通过其形式和物质属性鼓励联想解释。有人认为，虽然它描绘了一个知名的个人在很大程度上，影子拳击鼓励更多的参与和记忆参与比通常的公共雕像。
{"title":"A bout with the law: Marco Cianfanelli’s representation of Nelson Mandela in Shadow Boxing","authors":"B. Schmahmann","doi":"10.3828/sj.2022.31.2.06","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.06","url":null,"abstract":"A sculpture that is more than five metres high and constructed from laser-cut painted steel, Marco Cianfanelli’s Shadow Boxing (2013) refers to a photograph taken by Drum photographer Bob Gosani in 1957 that shows a young Nelson Mandela sparring with Jerry Moloi, a boxing champion. Placed outside the Magistrates’ Court in Johannesburg, where a young Mandela defended his clients, Shadow Boxing is also just opposite Chancellor House, where Mandela and fellow activist Oliver Tambo had their law offices between 1952 and 1960. Functioning together with the space, Shadow Boxing invokes a sense of Mandela’s experiences in the 1950s while simultaneously encouraging insights and reflections about the ways in which apartheid histories have had impact on the present. Inviting a metaphorical reading of Mandela’s engagement with the law by being placed outside the Magistrates’ Courts as well as his own law offices, Shadow Boxing, it is suggested, also encourages associative interpretations through its formal and material properties. It is argued that, while it depicts a well-known individual on a large scale, Shadow Boxing encourages a more participative and mnemonic engagement than is usual in public statuary.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44062549","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}
This article studies a remarkable statue of Neptune atop the public fountain of the municipal palace of Senigallia, a fortified town that was once part of the ancient Duchy of Urbino, on Italy’s Adriatic coast. Despite its high quality and prominence, this sculpture in Istrian stone has not yet sparked the interest of art historians. Instead, it has been confined within the field of local studies that have misinterpreted it as a Roman antiquity repurposed on a seventeenth-century basin. Using both published and unpublished documents related to the patronage of fountains and aqueducts in the Marches at the end of the Della Rovere duchy, this article places the Neptune in context. Stylistic comparisons and study of the artistic exchange between Venice and the Marches in the late Renaissance suggest an attribution of the Neptune to Girolamo Campagna. This artist is known to have worked for the Della Rovere, and in 1604 he was called ‘the best [sculptor] in Venice, if not the best available at present in Italy’ by one of Duke Francesco Maria II’s correspondents.
{"title":"‘Quos ego’ in the Adriatic: a Neptune by Girolamo Campagna","authors":"Luca Siracusano","doi":"10.3828/sj.2022.31.2.02","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.02","url":null,"abstract":"\u0000This article studies a remarkable statue of Neptune atop the public fountain of the municipal palace of Senigallia, a fortified town that was once part of the ancient Duchy of Urbino, on Italy’s Adriatic coast. Despite its high quality and prominence, this sculpture in Istrian stone has not yet sparked the interest of art historians. Instead, it has been confined within the field of local studies that have misinterpreted it as a Roman antiquity repurposed on a seventeenth-century basin. Using both published and unpublished documents related to the patronage of fountains and aqueducts in the Marches at the end of the Della Rovere duchy, this article places the Neptune in context. Stylistic comparisons and study of the artistic exchange between Venice and the Marches in the late Renaissance suggest an attribution of the Neptune to Girolamo Campagna. This artist is known to have worked for the Della Rovere, and in 1604 he was called ‘the best [sculptor] in Venice, if not the best available at present in Italy’ by one of Duke Francesco Maria II’s correspondents.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48825240","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}
Alice Channer, Alisa Baremboym, Nicolas Deshayes, K. Mooney, Tania Pérez Córdova, A. Wilding
The machines didn’t stop – there was no bright red alarm button.1 In response, I’ve invited a group of five artists, Alisa Baremboym, Nicolas Deshayes, K. R. M. Mooney, Tania Pérez Córdova and Alison Wilding, whose work and relationship to sculpture I admire, to imagine, on their own terms, the theme of process. Last August we shot my first video, Birthing Pools. The camera-eyes were suspended over four hypnotic, bubbling tanks in a chroming factory near where I live in south-east London. I have taken metal things there to be expertly skinned and armoured in glamorous chrome for over a decade now; often forms cast from clothing, as well as plant and animal bodies. What pulls me back isn’t so much the ‘finished’ sculptures I’m ostensibly making, but rather the process itself, which is seductive and disturbing. Especially the electroplating tanks, their raging surfaces criss-crossed with metal bars from which jigs are hung, submerging parts beneath and within liquid surfaces for specific periods of time (fig. 1). During lockdown I often thought of the churning, primordial pools in the factory, and the bodies that move fluidly around them. I couldn’t imagine them stilled and my intuition was right – tanks and bodies never stopped simmering; production was continuous. We filmed the copper (blue), nickel (green), hexavalent chromium (black and orange) and rinse (clear) baths over several hours as they produced a pleated chrome skin on multiple, jigged, sand-cast and vapour-blasted aluminium parts for a sculpture, Seahorse. What can such artistic strategies achieve if the production line never stops? What does it mean to author sculpture on these compromised terms? What agency do we have as artists in relation to industrial production and the late-stage global capitalism that drives it relentlessly and lethally? I think we can be honest, making, on our own terms, these deliberately obscured processes visible in our work. This is what I mean by twenty-firstcentury process art; we can punch holes and make ruptures in smooth, hard, continent, complete and totalizing surfaces. This is what happens when, for example, naked spider and brown crab shells, their bodies ‘ill acknowledged by vertebrate production chains’,2 are loaded into a planetary system. A planetary system is a large, rotating, steel structure made to hold hundreds of identical plastic parts (for example, car headlamps) while they are being coated in a thin layer of aluminium in a vacuum metallizing chamber. Planetary System (Kolzer DGK63”) is also the title of a sculpture I made in 2019 (fig. 2). The multiple crustacean bodies infest a machine ostensibly used to Artist-edited feature
机器没有停止——没有亮红色的报警按钮作为回应，我邀请了五位艺术家，Alisa Baremboym, Nicolas Deshayes, K. R. M. Mooney, Tania psamez Córdova和Alison Wilding，他们的作品和与雕塑的关系我很欣赏，以他们自己的方式来想象过程的主题。去年八月，我们拍摄了我的第一个视频《分娩池》。在伦敦东南部我住的地方附近的一家铬化工厂里，摄像机的眼睛悬挂在四个催眠的、冒着泡泡的罐里。十多年来，我一直把金属物品带到那里，让它们熟练地剥皮，并穿上迷人的镀铬盔甲;通常由衣服、植物和动物的身体铸造而成。把我拉回来的并不是我表面上所做的“完成”的雕塑，而是过程本身，这是诱人的和令人不安的。尤其是电镀槽，它们狂暴的表面与悬挂着夹具的金属条纵横交错，在特定的时间内将零件淹没在液体表面下或液体表面内(图1)。在封锁期间，我经常想到工厂里翻腾的原始水池，以及在它们周围流动的身体。我无法想象他们会安静下来，我的直觉是对的——坦克和尸体从来没有停止过沸腾;生产是连续的。我们拍摄了铜(蓝色)，镍(绿色)，六价铬(黑色和橙色)和漂洗(透明)的几个小时，因为他们在多个，跳跳，砂铸和蒸汽喷砂的铝部件上制作了褶皱的铬皮肤雕塑，海马。如果生产线永远不停歇，这样的艺术策略能达到什么效果呢?在这些妥协的条件下创作雕塑意味着什么?作为艺术家，我们在工业生产和后期的全球资本主义中有什么代理机构，这些资本主义无情而致命地推动着它?我认为我们可以诚实地，用我们自己的方式，在我们的作品中，把这些刻意模糊的过程呈现出来。这就是我所说的21世纪工艺艺术;我们可以在光滑的、坚硬的、大陆的、完整的和整体的表面上打洞和破裂。例如，当裸蜘蛛和棕蟹壳被装载到一个行星系统中时，它们的身体“不被脊椎动物生产链认可”。行星系统是一个巨大的、旋转的钢结构，用来容纳数百个相同的塑料部件(例如，汽车前照灯)，同时它们在真空金属化室中被涂上一层薄铝。行星系统(Kolzer DGK63”)也是我在2019年创作的一件雕塑的标题(图2)。多个甲壳类动物的身体寄生在一台表面上用于艺术家编辑功能的机器上
{"title":"Sand in the Vaseline: on twenty-first-century process art","authors":"Alice Channer, Alisa Baremboym, Nicolas Deshayes, K. Mooney, Tania Pérez Córdova, A. Wilding","doi":"10.3828/sj.2022.31.2.07","DOIUrl":"https://doi.org/10.3828/sj.2022.31.2.07","url":null,"abstract":"The machines didn’t stop – there was no bright red alarm button.1 In response, I’ve invited a group of five artists, Alisa Baremboym, Nicolas Deshayes, K. R. M. Mooney, Tania Pérez Córdova and Alison Wilding, whose work and relationship to sculpture I admire, to imagine, on their own terms, the theme of process. Last August we shot my first video, Birthing Pools. The camera-eyes were suspended over four hypnotic, bubbling tanks in a chroming factory near where I live in south-east London. I have taken metal things there to be expertly skinned and armoured in glamorous chrome for over a decade now; often forms cast from clothing, as well as plant and animal bodies. What pulls me back isn’t so much the ‘finished’ sculptures I’m ostensibly making, but rather the process itself, which is seductive and disturbing. Especially the electroplating tanks, their raging surfaces criss-crossed with metal bars from which jigs are hung, submerging parts beneath and within liquid surfaces for specific periods of time (fig. 1). During lockdown I often thought of the churning, primordial pools in the factory, and the bodies that move fluidly around them. I couldn’t imagine them stilled and my intuition was right – tanks and bodies never stopped simmering; production was continuous. We filmed the copper (blue), nickel (green), hexavalent chromium (black and orange) and rinse (clear) baths over several hours as they produced a pleated chrome skin on multiple, jigged, sand-cast and vapour-blasted aluminium parts for a sculpture, Seahorse. What can such artistic strategies achieve if the production line never stops? What does it mean to author sculpture on these compromised terms? What agency do we have as artists in relation to industrial production and the late-stage global capitalism that drives it relentlessly and lethally? I think we can be honest, making, on our own terms, these deliberately obscured processes visible in our work. This is what I mean by twenty-firstcentury process art; we can punch holes and make ruptures in smooth, hard, continent, complete and totalizing surfaces. This is what happens when, for example, naked spider and brown crab shells, their bodies ‘ill acknowledged by vertebrate production chains’,2 are loaded into a planetary system. A planetary system is a large, rotating, steel structure made to hold hundreds of identical plastic parts (for example, car headlamps) while they are being coated in a thin layer of aluminium in a vacuum metallizing chamber. Planetary System (Kolzer DGK63”) is also the title of a sculpture I made in 2019 (fig. 2). The multiple crustacean bodies infest a machine ostensibly used to Artist-edited feature","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41834448","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}
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