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SCULPTURE
Municipal, county, and state arts councils and historic preservation commissions as well as nonprofit arts organizations may be able to suggest names. The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) operates a nationwide referral system through which you can obtain a free, computer-generated list of conservators grouped by location, specialization, and type of service. You can also consult FAIC or a regional conservation center for a list of regional and local conservators’ organizations....
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Sculpture New Titles and Key Backlist 2010/11
The agency or organization that administers the sculpture needing conservation usually has specific contracting procedures. In state, county, and municipal governments these procedures may pose particular challenges, especially if they require a sealed bid process in which cost is the only selection criterion. In some communities, the care of public sculpture and monuments may be assigned to agencies that maintain parks and recreational facilities, highways, or government office buildings. Officials of these agencies may be interested and well meaning, but they usually do not have specific, detailed knowledge of the needs and requirements of works of art....
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Shaping the past: sculpture and archaeology
As advocates for public sculpture, you can navigate through the complexities of contract- ing to assure that the person or firm selected is the best-qualified professional for the job. Contracting procedures should never stand in the way of good conservation. Your first task is to educate the appropriate people in the department responsible for contracting or procure- ment. The message is simple: Sculpture is not the same as a sidewalk, a flagpole, or a park bench. When it comes to conservation treatment and maintenance, sculpture requires the expertise of a trained, knowledgeable conservator who specializes in works of art. ...
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National Gallery of Art Sculpture Garden
The decision-making process outlined in this handbook assume that you will seek com- petitive bids or award a sole-source contract. These two methods are highly recommended for works of art because potential contractors will be judged on the quality of their work and appropriateness of their background. Soliciting competitive bids is preferable if you are just beginning to work with conserva- tors, if the project is large or long-term, or if you are required to solicit bids. When you take this approach, it is absolutely critical to invite proposals from conservators with similar qualifications and experience. The carefully written, detailed project specifications you provide the bidders will enable...
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Selecting and Contracting with a Conservator Informed decision making eases the process
A sole-source contract is appropriate if your project is very small, if you already have experience in finding and working with conservation professionals, or if the project is so complex that bid specifications could be inconclusive. Be aware, however, that this option may not automatically be available when working with a government agency’s contracting office; you may have to seek an exception. Always make the case against a sealed bid process, in which cost is the sole determining factor. Stress that the highly specialized nature of works of art requires equally specialized conservation services. Conservators are trained in chemistry, studio arts, and art history and have both theoretical...
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Tubular Sculptures
When you evaluate contractors on the basis of cost alone, you are unlikely to end up with the best-qualified firm, and you put the sculpture at great risk. If you are unable to obtain an exception to the sealed-bid method, be sure that the project specifications are clear and detailed and describe every aspect of the work involved. Require a list of all projects completed within the past several years. Ask each bidder to describe the qualifications of all personnel who will be involved in the project, not just the principals. Although these factors will not be evaluated in the sealed-bid process, it helps to remind bidders...
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Shape Grammars and the Generative Specification of Painting and Sculpture
Whether you are soliciting competitive bids or negotiating a sole-source contract, you should describe your project and your expectations in writing. Use a request for proposals (RFP) to review the overall purpose of the project, including which sculptures are involved. State who will supervise the project, what the expected timetable is, and what the proposal deadline is. Outline the type and extent of insurance the conservator will be expected to carry, and spell hout any special circumstances the bidders should know about. The clear objectives you established as you began your search will be helpful at this stage....
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Les techniques de la sculpture
If your project is large or if you have no experience in selecting conservators, consider contracting with a conservator to prepare the RFP and help evaluate the responses. The time and money you invest in developing complete, accurate specifications will pay off in the form of thorough proposals. Often, a government agency will permit a sole-source contract for this purpose. Remember that a conservator invests considerable time and resources in putting together an effective proposal. Some qualified professionals will not submit proposals without com- pensation. Budgeting for a flat fee to each bidder assures that your options are not limited....
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VIRTUALLY SCULPTURE
If you have obtained competitive bids, the proposals are the grounds for your decision and ultimately for the contract. In the case of a sole-source contract, the proposal is the basis for agreement between client and conservator on the scope of work, fee, schedule, and other conditions. To evaluate proposals in either case, form a small advisory committee of knowledgeable people who can assess the technical merits of each conservator’s experience, methods and materials, schedule, and fee. Interviews with the finalists are helpful for judging subjective qualities, but previous clients can also give you their candid assessments....
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Site Specific Installation Sculpture
When evaluating competitive bids, remember that cost should never be the sole determin- ing factor. Automatically contracting with the lowest bidder without considering other criteria is one of the most frequent mistakes organizations make when selecting conservators. Give the highest priority to subjective criteria such as experience, qualifications, and pro- posed treatment methods. If the conservation price tag is daunting, you may have to revise your expectations. Never compromise on the conservator’s qualifications, experience, or quality of work. Instead, plan the project in phases as your budget permits, treating the sculpture in greatest need first. Or begin with a small project and then move to more extensive ones...
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Evolution is it for everybody?
In his opening address to the conference, Jon wood, who coordinates the research programme at the Institute, traced the origins of the conference to a series of exploratory conversations on the relationship between archaeology and contemporary art with independent curator Katy rochester. From the outset, wood, rochester and their colleagues in leeds sought proposals from archaeologists who were interested in sculpture and in sharing new ideas with sculpture historians. They were especially keen on receiving papers that attempted to identify those historical moments when there seems to have been an intense crossover between sculpture and archaeological discovery, when the ways...
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OLD KINGDOM SCULPTURE WILLIAM STEVENSON SMITH
The contributors to the conference comprised a mixture of art historians, curators, museum studies lecturers, anthropologists, archaeologists and artists, and the conference timetable positioned established academics alongside scholars at an earlier stage in their research and writing careers. dana Arnold, Barbara Bender, Thomas dowson, Anna wagner and Jon wood chaired the various sessions, and the speakers included Jonathan Black, Fred Bohrer, Stephanie Brown, Simon Callery, Nicholas Cullinan, Mark dion, Thomas dowson, Eugene dwyer, Christopher Evans, Margaret Garlake, Talinn Grigor, Cornelius Holtorf, Andrew Jones, Sian Jones, Claudine Mitchell, Fred Orton, Sven Ouzman, will rea, Helen rees leahy, Fay Stevens,...
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SOFT SCULPTURE
In Janet Zweig’s Impersonator (2002), installed in the Instructional Technology Center of Santa Fe Community College, the author may not be dead, but she is unequivocally missing in action. Who is the impersonator, who is she dramatizing, and what is her relationship to an author? Where does the artist enter and exit in this discursive, possibly disturbing scenario? There is a phantom author of texts, potentially multiple, unidentified impersonators, and someone who may have defaulted on the commonly accepted role of the artist as creator and maker. As Hannah Arendt speculates about webs of relation- ships and enacted stories, “The manifestation of who the speaker and doer...
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Soyinka and Yoruba Sculpture: Masks of Deification and Symbolism
Among the art forms identified in the eighteenth century as central – painting, music, sculpture, architecture, literature -- sculpture has perhaps received the least focused attention from aestheticians as having its own standards of excellence, or as affording a distinctive kind of aesthetic experience. Unlike music or architecture, traditional sculpture does not pose obvious questions about common claims concerning the nature of art or of aesthetic experience (such as imitation or disinterestedness). It has often been treated, then and now, as one of the visual arts, together with painting, and thus implicitly as requiring no distinct treatment of...
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THE PARTICLE: Interactive kinetic sculpture Concept
Herder finds this definition rather abstract, however, insufficiently descriptive of actual aesthetic experience of beautiful objects, insufficiently articulated to describe concretely which objects of which kinds are connected to which feelings (of which kinds). To understand the meaning of “beauty” so defined, Herder claims, we must trace this definition back to the sense experience upon which it is grounded, and which it purports to describe. Like the classical empiricists, Herder believes that all concepts are both formed from sense experience and ultimately meaningful by reference to the concrete character of such sense experience; this reference to...
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Where is sculpture nowadays? Resume of the DLA thesis
As grounds for a systematic account of the arts, Herder’s approach seems problematic: as for Hegel, who later similarly attempts to use different means of sensible representation (or media) as a means systematically to differentiate the arts, both literature and architecture cause difficulties for Herder, as neither appears to be directed towards a single sense. (And this is only to mention two other very central, recognized arts in the (eighteenth century) “system of the arts.”) I shall not, however, be concerned with these overarching systematic concerns, however. Herder’s systematic approach does lead him to...
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The Eightfold Way: A Mathematical Sculpture by Helaman Ferguson
The selection of materials for outdoor sculpture commissioned today may range from traditional bronze, granite or copper to ephem- eral materials like plastics, plants and electronic equipment. Over time these materials interact with each other and their environment, leading to inevitable deterioration. Metals corrode, plastics discolor or become brittle, painted surfaces chip and fade. In addition, ele- ments in the environment—water, chemical pollutants, extreme temperatures and ultraviolet light—accelerate these processes of deterioration. Sculptures have been removed from view because of neglected maintenance....
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DESIGNING OUTDOOR SCULPTURE
Today’s public sculpture will become tomorrow’s historic monu- ments. Just as communities work now to preserve their existing sculp- ture and monuments, future generations will be preserving the art created today. The problems that have affected collections of older works will afflict new creations as well. Positive public support is crucial to the survival of outdoor sculpture and can be heightened through education and community participation.
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The large-scale sculpture Tiger and Turtle - Magic Mountain
“Designing Outdoor Sculpture Today for Tomorrow” was written for sculptors, owners, art managers, architects, landscape architects, engineers, fabricators, foundry personnel, conservators, community groups and others who care about outdoor sculpture. Allies in the broader field of public art will find this a useful tool too. This guide was written by their colleagues—Glenn Wharton, conservator, with assistance from Rita Roosevelt, public art specialist, and Mark Rabinowitz, sculptor and conservator. Art consultant Françoise Yohalem, conservator Janet Hughes, sos! project staff and sculptors were especially helpful in reviewing text and securing images....
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Tutorial: Sculpture of a Knight (in 35mm) by Gaël Goumon
A high degree of collaboration is often involved in creating public sculpture. Central collaborators are the sculptor and owner, typically a commissioning agency or developer. Architects and landscape architects can be artistic collaborators or part of the design team. Art object conservators, engineers and other consultants play a role in selecting materials and reviewing maintenance strategies or design aspects. Other advisory bodies and community groups may be part of the collaborative process. All parties are responsible for the work’s survival and should be discussing maintenance concerns at every step along the way....
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AVON RIVER METALWORKS CATALOGUE 2012-2013
Program Director Michele Cohen maintains “consulting a conservator in the process of designing a public sculpture is a precautionary measure which can only result in a more durable finished product. We can’t foresee all problems, but we can certainly minimize them by thoroughly investigating materials and fabrication methods.” Preserving the integrity of the artwork should be the highest priority during the design process. In the United States, federal and state laws address issues of preservation and artists’ and moral rights. Accessibility is mandated by the Americans with Disabilities Act....
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Herbert Learning What about sculpture?
Recognizing that financial resources for on-going maintenance may be limited, City and County of Denver recommends that artists consider highly durable, low- maintenance materials for public art projects. Semi-finalists in their competitions are encouraged to consult with conservators when developing proposals. The final design of each selected artist may be reviewed by the City’s Interagency Maintenance Task Force, which includes professional conservators, to ensure that maintenance requirements have been adequately addressed....
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The Market for Sculptures: an Adjacent Year Regression Index
Owners contract with sculptors who may then employ contractors and subcontractors. Contracts define terms, conditions and responsibilities of various parties. This phase gives both sides a chance to negotiate until a mutually agreeable contract is signed. An attorney can be helpful in this phase. Standard contract considerations between the artist and owner typically include scope of services, liability, insurance, indemnification, payment schedules and timeline. In addition, the owner-sculptor contract should itemize maintenance obligations of both parties. ...
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Herder’s Aesthetics of Sculpture Rachel Zuckert, Northwestern University April 2008
Long-term survival of outdoor sculpture will be affected by use of the site, adjacent buildings, trees, roads, playgrounds, ponds and similar features. Determine who—pedestrians and pets, cyclists, skateboarders—and how many will use the area and how they will use it. Susan Carr, director of public art, Arts Commission of Greater Toledo, has learned to include users in the mix of design considerations. “Our Major Ritual by Beverly Pepper suffered serious damage from skateboarders. It’s taken a lot of time, dollars and public relations to correct the damage. Even resited on grass with a wide stone border, the sloping sculpture sometimes proves too seductive for skateboarders, in-line skaters or bicyclists. Now the artists and...
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PLEASE GIVE NORBERT WEINER (AND OTHER CURIOUS DEVELOPMENTS IN THE WORK OF JANET ZWEIG)
I’ll wager that no one reading this essay knows (or perhaps wants to know) the author of the ridiculous sentence in its title. Since the publication of Roland Barthes’s “Death of the Author” 40 years ago, many readers have acquired a seasoned skepticism about the authority and dependability of the authorial voice.1 Although Barthes suggests that the emergence of the reader comes at the expense of the author, authors (and artists) did not die. Instead, the author exists, in culture and in the perspectives of diverse readers, as a negotiable and indeterminate figure rather than the sole agent of significance. It is generally accepted now that meaning...
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Ebook Picasso & Những cuộc tình hóa thân vào nghệ thuật - NXB Phụ nữ
Cuốn sách Picasso & Những cuộc tình hóa thân vào nghệ thuật được biên soạn nhằm tổng hợp các bài viết giới thiệu đời sống và hội họa Picasso của các ngòi bút uy tín chuyên về hội họa. Hy vọng cuốn sách có thể giúp ích cho bạn đọc phần nào để tiếp cận và thưởng ngoạn tranh Picasso.
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Review of essential medicine priorities in ear, nose and throat conditions in children
When a complication of acute rhinosinusitis or an alter- native diagnosis is suspected, imaging studies may be ob- tained. Complications of ABRS include orbital, intracranial, or soft tissue involvement. Alternative diagnoses include malignancy and other noninfectious causes of facial pain. Radiographic imaging may also be obtained when the pa- tient has modifying factors or comorbidities that predispose to complications, including diabetes, immune compromised state, or a past history of facial trauma or surgery. Sinus plain film radiography series consists of three views: a lateral, Caldwell or posterior-anterior view (central ray angled 15 degrees), and Waters or occipito-mental view (orbitomeatal line angled 37 degrees to plane). A single Waters view may be adequate in...
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Two-Page Summaries of Common Medical Conditions
Only about 0.5% to 2.0% of VRS episodes are complicated by bacterial infection. 48 Although ABRS is often considered a transition from a preceding viral URI, bacterial infection can develop at any time during the course of illness. The concept of a transition, however, is useful for management decisions, especially when considering the time course of VRS and which disease patterns are most likely to be associated with bacterial infection. In the first 3 to 4 days of illness VRS cannot be differ- entiated from an early-onset ABRS, and for that reason only patients with unusually severe presentations or extrasinus manifestations of infection are presumed to have a bacterial illness. Similarly, between 5 and 10...
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Infectious Diseases of the Head and Neck
The antecedent history of viral URI likely contributes to the specificity of these symptoms for ABRS, but the extent to which this is true has not been quantified. Similarly, although the differential diagnosis of isolated nasal obstruction or facial pain is broad (and beyond the scope of this guideline), the specificity for ABRS increases when coupled with concurrent purulent nasal discharge (Table 5). For example, migraine headaches, tension headaches, and dental abscess can mimic rhinosinusitis pain, but the absence of purulent nasal discharge excludes this diagnosis based on our definition. Additional signs and symptoms of ABRS include fe- ver, cough, fatigue (malaise), hyposomia, anosmia, max- illary dental pain, and ear fullness or...
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Canadian clinical practice guidelines for acute and chronic rhinosinusitis
The rationale for selecting three cardinal symptoms is based on their high sensitivity and their relatively high specificity for ABRS, especially when considering the time interval of persistence for 10 days or longer. 36-38 Purulent nasal drainage predicts presence of bacteria on antral aspi- ration when reported as purulent rhinorrhea by the patient, when manifest as postnasal drip or purulent discharge in the posterior pharynx, or when observed in the nasal cavity or near the sinus ostium. 39,40 Purulent rhinorrhea also predicts radiographic evidence of ABRS. 41,42 Facial or dental pain also predicts ABRS, 38,40 but the location correlates poorly with the specific sinuses involved. 43 Lastly, patient com- plaints of nasal obstruction correlate with objective mea- sures, such as rhinomanometry or nasal...
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