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‘A sculpture that has never been seen before’: the Advanced Sculpture Course, group crit and Silâns magazine at St Martin’s College of Art1 “一个从未见过的雕塑”:圣马丁艺术学院的高级雕塑课程,团体批评和silnns杂志
IF 0.1 3区 艺术学 0 ART Pub Date : 2021-01-01 DOI: 10.3828/SJ.2021.30.1.5
L. Lee
Focusing on the magazine Silâns, produced by students and tutors Barry Flanagan, Rudy Leenders and Alistair Jackson on the Advanced Sculpture Course at St Martin’s College of Art between 1964 and 1965, this article explores the magazine as a collaborative space for students and tutors alike. Arguing that while the ‘group crit’ or discussion forum at St Martin’s offered students a verbal platform to describe, defend or critique their work (which increasingly relied on concepts and ideas over formal properties), it was the format of the art school magazine that offered a space for discourse and collaboration. By questioning the purpose of art and the role of the artist more generally, Silâns offered a site for critique of a rapidly changing art education system. In doing so, it prefigured later conceptual magazines that encompassed similar territory and preoccupations. I argue that although the content and form of Silâns are now identified in relation to concrete poetry, it is better situated in the context of early text-based conceptual art practice. The emphasis on the magazine as a means to disseminate concrete poetry tacitly avoids any of its political implications, in favour of its formal aspects. In concluding that the importance of Silâns, as an alternative platform for student collaboration and a precursor to later text-based conceptual art practice, has so far been overlooked and confined instead to a footnote in the sculptor Barry Flanagan’s biography, I argue that, more than group crit, this magazine is a manifestation of the verbal impulse in art colleges.
本文以1964年至1965年间由圣马丁艺术学院高级雕塑课程的学生和导师Barry Flanagan、Rudy Leenders和Alistair Jackson制作的《sil》杂志为重点,探讨了该杂志作为学生和导师的合作空间。他认为,虽然圣马丁学院的“小组评论”或讨论论坛为学生提供了一个口头平台来描述、捍卫或批评他们的作品(这些作品越来越依赖于概念和想法而不是形式属性),但艺术学院杂志的形式为讨论和合作提供了空间。通过更广泛地质疑艺术的目的和艺术家的角色,sil为快速变化的艺术教育体系提供了一个批判的场所。这样做,它预示了后来包含类似领域和关注点的概念性杂志。我认为,尽管silnns的内容和形式现在被确定为与具体诗歌有关,但它更适合处于早期基于文本的观念艺术实践的背景下。强调杂志是传播具体诗歌的一种手段,这种做法默认地避免了它的任何政治含义,而倾向于它的形式方面。作为学生合作的替代平台和后来基于文本的概念艺术实践的先驱,sil的重要性迄今为止一直被忽视,而被局限在雕塑家巴里·弗拉纳根(Barry Flanagan)传记的一个脚注中,我认为,这本杂志不仅仅是团体批评,而是艺术学院口头冲动的体现。
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引用次数: 0
Editorial 编辑
IF 0.1 3区 艺术学 0 ART Pub Date : 2021-01-01 DOI: 10.3828/sj.2021.30.1.1
E. Marchand
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引用次数: 0
Celebrating Alonso Berruguete: art history and Spanish identity before and after the Civil War 庆祝阿隆索·贝鲁格特:内战前后的艺术史和西班牙身份
IF 0.1 3区 艺术学 0 ART Pub Date : 2021-01-01 DOI: 10.3828/SJ.2021.30.1.4
Tommaso Mozzati
The article focuses on the national reception of the Spanish Renaissance sculptor and painter Alonso Berruguete over the twentieth century. It considers the artist’s critical fortunes, from the first monograph dedicated to Berruguete in 1917 to the erection of a monument in Palencia on the fourth centenary of his death in 1961. This article shows how Berruguete was used to consolidate a modern image of Spain and Spanishness, along with El Greco and others from the pantheon of Iberian art. This agenda, in which his works were interpreted in terms of spiritual realism and Catholic orthodoxy, was carried forward despite the dramatically changing ideological context before and after the Spanish Civil War. In this context, Berruguete was selected as a symbol of the true essence of the Spanish soul by critics such as Elías Tormo and Eugeni D’Ors. The framing of Berruguete in terms of this specific art historiography - to which this study devotes critical attention for the first time - can be considered one of the reasons for the modern interest in Berruguete and provides an important background for any study on the sculptor.
这篇文章的重点是在二十世纪西班牙文艺复兴时期雕塑家和画家阿隆索·贝鲁格特的国家接待。展览回顾了这位艺术家在评论界的命运,从1917年为贝鲁格特撰写的第一本专著,到1961年他逝世四百年之际在帕伦西亚建立的纪念碑。这篇文章展示了贝鲁格特是如何与埃尔·格列柯和其他来自伊比利亚艺术万神殿的人一起,被用来巩固西班牙和西班牙的现代形象的。尽管西班牙内战前后的意识形态环境发生了巨大变化,但他的作品在精神现实主义和天主教正统教义的基础上得到了延续。在这种背景下,Berruguete被Elías Tormo和Eugeni D’ors等评论家选为西班牙灵魂真正本质的象征。从这一特定的艺术史角度对贝鲁格特进行框架研究——本研究首次对其进行了批判性的关注——可以被认为是现代人对贝鲁格特感兴趣的原因之一,并为任何关于雕塑家的研究提供了重要的背景。
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引用次数: 0
Dame Ingrid Roscoe FSA 英格丽·罗斯科夫人
IF 0.1 3区 艺术学 0 ART Pub Date : 2021-01-01 DOI: 10.3828/SJ.2021.30.1.7
M. Baker
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引用次数: 0
Grinling Gibbons in context: the vitality of English seventeenth-century sculptural production 语境中的吉本斯:十七世纪英国雕塑作品的生命力
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.4
C. Davis
Since the beginning of the twentieth century there has been a small but significant number of studies dedicated to Grinling Gibbons. In the mid-century Gibbons’s establishment in the broader public consciousness can be traced in the emergence of children’s books and school plays that mythologized his life and career. Yet all publications, both scholarly and juvenile, are united in their presentation of Gibbons as the only sculptor of significance to have emerged in late seventeenth-century England. I argue that this is an inaccurate portrayal of the period, and one that was not shared by his contemporaries. By contextualizing Gibbons among his predecessors, collaborators and competitors, the specific nature of Gibbons’s sculptural contribution can be more accurately placed. Such an analysis further provides a perspective from which we can understand more fully the ways in which sculpture mattered to a seventeenth-century audience.
自二十世纪初以来,有少量但数量可观的研究致力于研磨长臂猿。世纪中期,吉本斯在更广泛的公众意识中的地位可以追溯到儿童书籍和学校戏剧的出现,这些书籍和戏剧将他的生活和职业神话化。然而,所有的出版物,无论是学术出版物还是青少年出版物,都将吉本斯描述为17世纪末英国出现的唯一一位重要雕塑家。我认为这是对那个时期的不准确描述,他的同时代人并不认同。通过将吉本斯与他的前任、合作者和竞争对手联系起来,可以更准确地定位吉本斯雕塑贡献的具体性质。这样的分析进一步提供了一个视角,从这个视角我们可以更全面地理解雕塑对17世纪观众的重要性。
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引用次数: 0
Memories of James David Draper, 1943-2019 詹姆斯·大卫·德雷珀的回忆,1943-2019
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.10
P. Motture
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引用次数: 0
Grinling Gibbons: a Dutch master in England 英国荷兰大师格林林·吉本斯
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.3
L. Cutler
Grinling Gibbons’s still-life sculpture emerged out of the artistic and proto-scientific culture of the seventeenth-century Netherlands and was understood in these intellectual terms by the sophisticated, courtly consumers of his work in Restoration England. Our fondness for a myth of Gibbons as a dazzlingly skilful but intellectually vapid artist should not blind us to the intellectual focus of his sculptures. The carved frame for Elias Ashmole’s portrait in the Ashmolean collection is a sophisticated engagement with European cultures of collecting. The Cosimo panel for Charles II engages with the witty and formidably advanced scientific discourses of the Caroline court, while the limewood reredos in St James’ church, Piccadilly reaches back to the devotional roots of floral still life, reinterpreting it in the context of English Protestantism.
格林林·吉本斯的静物雕塑源于17世纪荷兰的艺术和原始科学文化,在英国复辟时期,他作品的老练、高雅的消费者以这些知识术语来理解他。我们对吉本斯是一位技艺高超但智力迟钝的艺术家的神话的喜爱,不应该让我们忽视他雕塑的智力焦点。阿什莫林收藏的埃利亚斯·阿什莫尔肖像的雕刻框架是与欧洲收藏文化的复杂接触。查理二世的科西莫小组参与了卡罗琳宫廷诙谐而先进的科学论述,而皮卡迪利圣詹姆斯教堂的石灰木重读则追溯了花卉静物的虔诚根源,并在英国新教的背景下重新解释了它。
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引用次数: 0
Preface: Got wood? Queering Grinling Gibbons, at Fairfax House and beyond 前言:有木头吗?在费尔法克斯宅邸及其他地方,古怪的格林长臂猿
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.1
Jason Edwards
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引用次数: 0
Bringing it all back home? Gibbons, William Coombe Sanders and mid-Victorian marine biology 把这些都带回家?吉本斯、威廉·库姆-桑德斯与维多利亚中期海洋生物学
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.7
Jason Edwards
In this article, I examine in unprecedented detail little-known Victorian craftsman William Coombe Sanders’ remarkable sheepskin Frame Resembling Carved Wood with Lobster and Crab Motif, now at the V&A, but first exhibited at the International Exhibition in London in 1862. The article asks three questions: What might we learn, from Sanders’ craft, about the likely mid-Victorian reception of Gibbons’s closely related marine works? How might we better understand Sanders’ and Gibbons’s work in the context not just of Victorian craft and design, but natural history and early twenty-first-century critical animal studies and vegan theory? And what might Sanders’ Gibbons-like relief teach us about the status of animals and humans in the longer history of still life as a genre?
在这篇文章中,我以前所未有的细节研究了鲜为人知的维多利亚工匠威廉·库姆·桑德斯(William Coombe Sanders)的非凡羊皮框架,它类似于雕刻的木头,带有龙虾和螃蟹的图案,现在在V&A博物馆展出,但在1862年的伦敦国际展览会上首次展出。这篇文章提出了三个问题:我们可以从桑德斯的作品中学到什么,关于吉本斯密切相关的海洋作品在维多利亚时代中期可能受到的欢迎?我们如何才能更好地理解桑德斯和吉本斯的作品,而不仅仅是在维多利亚时代的工艺和设计的背景下,而是在自然历史和21世纪早期批判动物研究和纯素理论的背景下?桑德斯的长臂猿式的解脱可能会告诉我们,在静物画作为一种流派的更长的历史中,动物和人类的地位是什么?
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引用次数: 0
Introduction: This lime-tree bower my prison 这个椴树凉亭是我的监狱
IF 0.1 3区 艺术学 0 ART Pub Date : 2020-12-01 DOI: 10.3828/SJ.2020.29.3.2
M. Sullivan
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引用次数: 0
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Sculpture Journal
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