Paper Example on Examining Sculpture Modeling & Material Performance: Literature Review

Objectives

To give an exhaustive review of sculpture modeling and material performance sources and characteristics as found in perspectives of art history;

Is your time best spent reading someone else’s essay? Get a 100% original essay FROM A CERTIFIED WRITER!

Save 25%

To develop a sculpture classification method for easier identification and analysis

To review current art practices and studies based on the aesthetics of sculpture modeling and material performance.

To outline a study for comprehensive sculpture modeling and material performance

Literature Review

A preliminary review of the literature shows that sculpture modeling and material performance have significant aesthetic values in different historical aesthetics. Ryan (2018), aesthetic theories has had a considerable impact on sculpture from different historical perspectives, where they triggered Avant-grade and countercultural movements as well as the symbolism, aestheticism, and decadence. However, the selected version remained problematic with significant revisions at certain levels. Gagliardi, for instance, overtly conferred with Davis's view while setting out a broader chronology in the evolution of art across different periods. Sculpture corresponds to emphatic and perplexed outlines associated with Hellenic humanism, which ranges from the intricacy and mystic depths to painting of the middle age (Gundlach, 2012). In De l'Estoile (2013), sculpture modeling had a chronological evolution, and arts reflected the growing revelations associated with the mind. Vangheluwe further confirms that material performance is precise arts because most sculptures appear to originate from modernity to become that attractive and offer what is needed for quality in modern artistic culture (Laude & Elliott, 2013). However, the opposite is that the spiritual qualities associated with sculptures, make them seen as vital and mobile while losing their material sight (Blake, 2012). The gradual historical grading of sculpture from polychromes to monochromes, while experiencing fading out and eventual disappearance of colors from the ancient status.

Hurd (2017) theorizes that sculptures as the purest forms of nineteenth-century art have a valuable outlook. Despres (2019), programmatic's sculpture modeling critique shows that although significant transformations have been evident in them in the recent past, material performance has tried to shape the recent ones adequately. Studies also reveal that the sculptural metaphors extend to literary composition acts, which Segy likewise understand in different and formal terms. Following Gagliardi and Petridi's attempt to relate various forms of art based on their styles, studies have revealed that their aesthetic values of sculpture modeling and material performance have changed in the recent past. While critics have been busy finding new ways of conceptualizing and understanding sculpture, Lissarrague (2014) provided a comprehensive study to distinguish each object from the other in a rational manner. The exhibited characteristics that were seen in the recent past have also availed exceptional rendition to show the changes that art has gone through since its inception.

Significance of the Study

This study explores the various perspective of art history to outline a remarkable association in the aesthetics of material performance and sculpture modeling. It also describes valuable concepts across different historical stages to exploit meaningful collaborations and variations. In terms of types, it explicitly describes various sculptures and their significance to artists across different periods.

Methodology

The primary method of research for the study is conceptual modeling and literature review. Aesthetics of structure modeling and material performance classification and identification through a structural approach is the immediate step towards ensuring qualitative research for the topic. The study will start by reviewing the various types of sculptures and their aesthetic values from different proponents and past studies. Based on the understanding, an evaluation will be developed to outline and categorize material performances to evaluate their historical perspectives. In the second stage of the study, historical frameworks of aesthetics of sculpture modeling and material will be evaluated and analyzed based on the review of the current academic researches and practices. Finally, once the aesthetics of sculpture modeling are identified based on the historical perspectives, an interview and comprehensive survey for the study will be outlined. The study is planned to take place for two years for adequate data collection and evaluation.

References

AIR, A. O. (2017). ALBESILA'S TRAVELS.

Blake, J. (2012). The Truth about the Colonies, 1931: Art indigene in Service of the Revolution. Oxford Art Journal, 25(1). https://doi.org/10.1093/oxartj/25.1.35

Davis, P. R. (2012). A social history of painting in Bamako, Mali, the 1930s-1980s. Indiana University. https://search.proquest.com/openview/0652bbaf557730fd361035ece3ea586c/1?pq-origsite=gscholar&cbl=18750&diss=yDe l'

Estoile, B. (2013). From the Colonial Exhibition to the Museum of Man. An alternative genealogy of French anthropology. Social Anthropology, 11(3), 341-361. DOI: https://doi.org/10.1017/S0964028203000247

Despres, A. (2019). The emergence of contemporary dance in Africa. A history of Danse l'Afrique danse! Biennale. Journal of African Cultural Studies, 31(3), 334-351. https://doi.org/10.1080/13696815.2016.1268951

Gagliardi, S. E. (2018). Art and the individual in African masquerades Introduction. Africa, 88(4), 702-717. https://doi.org/10.1017/S0001972018000438

Gagliardi, S. E., & Petridis, C. (2015). Senufo Unbound: dynamics of art and identity in West Africa. African arts, 48(1), 6-23. https://doi.org/10.1162/AFAR_a_00195

Gilvin, A. (2014). Teaching African Artisanry, Seeing African Labor: Persistent Pedagogies in Twentieth-Century Niger. Critical Interventions, 8(1), 74-95. https://doi.org/10.1080/19301944.2014.889951

Gundlach, C. K. (2012). The river and the shrine: Lobi art and sense of place in Southwest Burkina Faso. https://ir.uiowa.edu/cgi/viewcontent.cgi?article=3029&context=etd

Hurd, J. (2017). A Material World: Confluences in Urban," Contemporary" Dogon Art and Rural Dogon Creative Practices in Mali (Doctoral dissertation, Indiana University). https://search.proquest.com/openview/4ee7040dae0befb41b5b13f3dd8dbaa5/1?pq-origsite=gscholar&cbl=18750&diss=y

Laude, J., & Elliott, R. G. (2013). Introduction to French Painting and "Negro Art"(1905-1914). Art in Translation, 5(4), 439-485. https://doi.org/10.2752/175613113X13784777319843

Lissarrague, F. (2014). The aesthetics of the Greek banquet: images of wine and ritual. Princeton University Press.

Ryan, S. M. (2018). Institutions, Audience, and Classification as Art: Considerations of the Obscene in the 1980s. https://publications.lakeforest.edu/cgi/viewcontent.cgi?article=1145&context=seniortheses

Segy, L. (2018). African sculpture speaks. Pickle Partners Publishing.

Vangheluwe, S. (2014). The Artist Himself in African Art Studies: Jan Vandenhoute's Investigation of the Dan Sculptor in Cote D'Ivoire (Vol. 9). Academic Press.