301 research outputs found
States of transience in drawing practices and the conservation of muserum artworks
No full textThis practice-led study poses the question ‘What can a close analysis of conservation methods, treatments and theories with its temporal implications contribute to drawing practices that primarily employ the use of pre-existing artwork?’ Through the lens and action of art practice this study challenges certain understandings of both drawing and conservation as temporally possessing linear chronological properties.
Employing an emergent, qualitative practice-led methodology each chapter charts a discrete terrain that identifies and discusses key comparative issues and problems that affect both drawing and conservation. These include: the difficulties of definitions and terminology in both contingent fields and the space this opens for interpretative responses, a critique of positivistic claims made by scientific conservation in identifying artist’s intention using an anachronic analysis of the detail. The fluctuating values of the authorial and substitutional presence of the indexical mark and trace in restoration and representational drawing is examined, and an evaluation of formats and strategies in drawing that position themselves relevant to a depiction and representation of anachronic states of transience is investigated. To focus the range of discourses within conservation this work concentrates on the paintings of Johannes Vermeer. Specifically, on the conservation activities and diagnostic imagery that have informed treatments to these works. This study is further supported by documented conversations with key restorers of Vermeer’s work, and artists who also employ representational drawing strategies in response to pre-existing works.
This research concludes its findings by arguing for the conditions and ontologies of drawing and conservation to be understood temporally as anachronic activities. Whereby, as each can respond to pre-existing works, their relationship to time is non-chronological, durational and plural. This work is intended to contribute to the fields of drawing practice and research, anachronic art historical studies, contemporary conservation theory, and to practice-led epistemologies
The Bust of Ottavio Farnese at the J. Paul Getty Museum: An Addition to the Corpus of Giovanni Battista della Porta
No full textThe various sculpted busts of Ottavio Farnese (1524–86), duke of Parma and Piacenza, are still at the center of debates of attribution. Focusing on the bust in Carrara marble in the collection of the J. Paul Getty Museum in Los Angeles, the author proposes a new attribution to Lombard-born sculptor Giovanni Battista della Porta (1542–97), one of the protagonists of the Roman artistic scene in the second half of the sixteenth century. While archival sources attest to Della Porta’s ambition to work in the service of the duke and to Farnese’s awareness of the sculptor’s artistic achievements, the attribution is largely based on comparisons with Della Porta’s works. Finally, the author discusses hypotheses related to the dating of the bust, the occasion of its creation, its original location in Parma, and the bust’s movements prior to its entry into the Getty collection
Brian Jones : The Sun Shines in All Yards
No full text"'The Sun Shines in All Yards' documents the celebrated career of Canadian artist Brian Jones, representing his meticulous technique and inventive imagery through selected drawings, paintings, and prints. Jones' practice encompassed early figurative works and landscapes inspired by the look of family photographs ; investigations of dramatic light and shape; and a long-running, lyrical ode to suburban North America family life." -- p. 5
Restoration and re/creation of lacunae : the attitudes and principles of Gabriël Fagan Architects as expressed in the restoration of the Castle of Good Hoop [i.e. Hope]
No full textIncludes bibliographical references (leaves 103-113).A lacuna is a disruption in a figurative image and impedes comprehension of the unity of the whole. It is something missing, a void, in material form and, in some cases memory. The urge to eradicate or minimize a disruption to an aesthetic whole has long been a dilemma in conservation, particularly in painting and sculpture, but also in the repair of historical buildings. Any solution must address the issue of authenticity, as repair will be an insertion into an ancient, perhaps layered artefact. The solution requires a theoretically based methodology if the aim of the conservation intervention is to conserve the value and meaning of the building or artefact. The repair of lacunae at the Castle of Good Hope in Cape Town has had a distinct aesthetic impact on the complex and has changed the perception of the complex. The extensive three-decade-long intervention undertaken by Gabriël Fagan Architects is a re-establishment of the Castle complex as a VOC/Dutch fortified citadel as envisioned by the Architects and reveals the issues that must be confronted in order to conserve authenticity
(Re-)creating the past: national identity and authenticity in Julian Barnes' England, England and Brian Moore's The Great Victorian Collection
No full textDie vorliegende Arbeit diskutiert Auffassungen über Authentizität und Nationale Identität in Julian Barnes’ England, England und Brian Moore’s The Great Victorian Collection. Julian Barnes und Brian Moore bearbeiten postmoderne Themen in ihrer Auseinandersetzung mit Realität und Authentizität. Brian Moore diskutiert die Möglichkeit der Ununterscheidbarkeit zwischen Original und Replika, Julian Barnes verdeutlicht die Konsequenzen eines Nationalgefühls, das sich auf die Vorstellung einer verklärten Vergangenheit stützt anstatt sich den Problemen der Gegenwart zu stellen.
Die postmoderne Diskussion hinterfragt Theorien der Moderne. In der Moderne entwickelten sich Nationalstaaten zur grundlegenden politischen Struktur, die eine für den aufkommenden Kapitalismus unabdingbare Einheit und Gleichheit ermöglichte. Die postmoderne Kritik unterstreicht, dass diese Ordnung nicht natürlich ist, sondern auf ein tatsächliches Chaos von Fragmenten aufgezwungen wurde. Theorien der Postmoderne betonen die Uneinigkeit und Künstlichkeit von Nationalstaaten. Es wird aufgezeigt, dass ein Nationalstaat aus vielen verschiedenen und sogar untereinander gegensätzlichen Gruppierungen besteht. Die einheitliche Identifikation der Bürger mit einem Nationalstaat basiert auf der Vorstellung einer andauernden, geteilten Geschichte, und einer Betonung von Gemeinsamkeiten und vermeintlichen Unterschieden gegenüber Anderen. Diese Vorstellung von Einigkeit und Gemeinsamkeit wird in der Postmoderne als Konstrukt enthüllt.
In ähnlicher Weise betonen postmoderne Theorien die Konstruiertheit der Vorstellung eines einheitlichen, wahren Selbst. Das Selbst wird empfunden als eine Ansammlung von zahlreichen, untereinander teilweise widerstreitenden, Teilen.
Die Entwicklung der Industrialisierung im Kapitalismus der Moderne führte zur Auflösung bestehender lokaler Strukturen, und somit zu einer Entwurzelung der Individuen. Am Ende des zwanzigsten Jahrhunderts verlangt der Konsumkapitalismus von den Menschen Mobilität und Wandelbarkeit. In dieser Phase der Globalisierung verlieren Nationalstaaten an Bedeutung. Persönliche Qualitäten wie Charakterstärke und Authentizität geraten in den Hintergrund, während die Fähigkeit zur Verstellung und ein hohes Maß an Flexibilität geachtet werden und Erfolg versprechen.
Diese Entwicklung bringt ein Gefühl des Verlustes mit sich, ein Gefühl von Heimatlosigkeit, Wurzellosigkeit, und Uneinigkeit mit sich selbst.
Die postmoderne nostalgische Sehnsucht nach einer idealisierten Vergangenheit basiert auf diesem Gefühl des Verlustes einer ehemaligen Einigkeit.
Die Besucher von Themenparks und heritage sites sehnen sich nach dem Erlebnis einer glorifizierten Vergangenheit, wobei die Authentizität der dargestellten Geschichte zweitrangig ist.
Julian Barnes und Brian Moore beschreiben die Errichtung und den Erfolg von Themenparks. Ungeachtet der Künstlichkeit der dargebotenen Shows und so mancher Ausstellungsstücke genießen postmoderne Besucher von Themenparks deren Hyperrealität, die ein Gefühl von Ganzheit und Einheit vermittelt.
Das erste Kapitel der Arbeit stellt zunächst die Gedankenwelt der Postmoderne dar. Die postmoderne Welt am Ende des zwanzigsten Jahrhunderts verlangt Mobilität, Anpassung, und Verstellung. Hierin gründet das Gefühl der Nostalgie nach Ganzheit und Zugehörigkeit, welches im zweiten Kapitel untersucht wird. Das dritte Kapitel ist der Struktur des Nationalstaates gewidmet, die in einem komplexen Zusammenspiel von Politik, Geschichte, und den Bedürfnissen der Gegenwart eine Möglichkeit der Identifikation darstellt, welche Ganzheit und Zugehörigkeit verspricht. Das vierte Kapitel zeigt, dass die Identifikation mit einem Nationalstaat auf der Vorstellung einer gemeinsamen Geschichte basiert, wie sie in Museen und heritage sites bewahrt und bestimmt wird, und wie sie durch die Ausübung – oder Einführung – von Traditionen gelebt wird.
Das fünfte Kapitel diskutiert den Zusammenhang zwischen Authentizität und Erschaffung, und zeigt, dass die Grenzen fließend sind, da seit jeher Traditionen und Gepflogenheiten zugunsten der Bedürfnisse der Gegenwart abgewandelt wurden. Julian Barnes und Brian Moore demonstrieren, dass in der Tourismusindustrie Authentizität an Wert verloren hat, da postmoderne Reisende, die an Simulationen gewöhnt sind, sich mit leichter erreichbaren Nachbildungen begnügen. Abschließend lässt sich feststellen, dass die Vorstellung einer ehemaligen Vollkommenheit und Heimat in der Vergangenheit der Auseinandersetzung mit den Bedürfnissen der Gegenwart im Wege steht. Dies äußert sich letztlich politisch, wie das gegenwärtig vorherrschende Misstrauen gegenüber supranationalen Strukturen wie der Europäischen Union zeigt
The J. Paul Getty graduate internship program (exhibitions and public programs) 2007-2008
No full textThis document provides an account of my work and event planning experiences as a graduate intern in the Department of Public Programs at the J. Paul Getty Museum in Los Angeles from September 2007 through August 2008.
This document provides a summary of the history of the J. Paul Getty Museum, its Public Programs, and my background. The Department of Public Programs, also known as the Performing Arts Programs, offers an array of events, including music, dance, films, theatre, and family festivals (arts and craft workshops). This document discusses the procedures and challenges of presenting these various types of performing arts events in a visual art museum setting, particularly at the Getty Center. It also details my duties during the event planning process in general and in a specific project for which I was responsible at the Getty.
More significantly, this document analyzes the first large scale audience survey of the Public Programs since the Getty Center opened in 1997. The survey results show the Public Programs has been successful in strengthening the connections between the exhibitions and performances and in building a core constituency; several discoveries reinforce some of the current trends in the field of arts administration. Furthermore, the audience’s written comments provide useful reflections for future performing arts programming.
The insights in this document, including my observations and reflections on personal, departmental, institutional, and arts management levels, will be relevant for students in similar internship situations, especially in a large organization like the Getty. Moreover, the survey statistics and audience comments will provide valuable data to arts programmers, who must regularly re-evaluate the programming and respond to the needs and suggestions of their patrons
From Wunderkammern to Kinect: The Creation of 'Shadow Worlds'
No full textThis paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers' Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms
A new book on stalinism by J. Arch Getty = Новая монография Дж. А. Гетти о сталинизме
No full textThe author reviews the latest monograph by J. Arch Getty, Professor of History at the University of California at Los Angeles, which offers a new installment in his long running inquiry into the practices of repression and power under Josef Stali
A new book on stalinism by J. Arch Getty = Новая монография Дж. А. Гетти о сталинизме
No full textThe author reviews the latest monograph by J. Arch Getty, Professor of History at the University of California at Los Angeles, which offers a new installment in his long running inquiry into the practices of repression and power under Josef Stali
$13M allocated to raise lake near Getty home
No full textThe Edmonton J o u r n a l , Saturday, July 6,1991 A5
13 million to
raise the lake beside Premier Don
Getty's country home.
Construction and engineering
work on the controversial Buffalo
Lake project will begin sometime
this year, Environment Minister
Ralph Klein announced Friday.
The cabinet agreed with the recent
report of a public review panel
which suggested that the scheme
was environmentally safe and
should go ahead, Klein said in a
prepared statement.
Klein was attending the Calgary
Stampede on Friday and was unavailable
for further comment.
But opposition politicians said
the decision smacks of pork- barrel
politicking. Getty's Stettler- area
home is located on the southern
shore within view of the lake.
" I think it's a phenomenal abuse
of the premier's power," said New
Democrat environment critic John
Mclnnis.
The on- again, off- again project
was killed several times since it
was first proposed 22 years ago.
Mclnnis noted that the project was
revived just weeks after Getty returned
to the legislature in a 1989
byelection in the riding.
Appointing a panel to look into
the project was simply a way of jus-
John Mclnnis
tifying a foregone conclusion, he
said.
" The provincial government was
poised and ready. It was just a matter
of putting it through a veneer of
a process," Mclnnis said. He also
criticized the government for
releasing the report on a Friday in
an effort to minimize negative
media coverage.
The panel was told to review the
idea early this spring after an economic
assessment found that raising
the lake would benefit area cottage
owners and few others.
But the panel decided that the
project would also aid local agriculture
as well as the many
bathers, boaters and others who
visit the area.
Chairman Don Thorne acknowledged
that Getty will benefit from
raising the lake.
" Certainly he will benefit, but I
don't see how he will benefit any
more than other people in the
area," said Thorne.
Thorne said Buffalo Lake is one
of the few bodies of water in the
area which can be used for recreational
purposes.
But Liberal environment critic
Grant Mitchell said he is not" convinced
that the project won't kill
fish in the lake.
The plan was originally killed
because of fears that pumping Red
Deer River water to raise the lake
would create unacceptable
amounts of algae, which would rob
fish of oxygen.
He called the decision base politics.
" Premier Don Getty is using
taxpayers' money as if it were his
own," he said. " He's out of control.
This guy has got to be stopped." ,
Mclnnis said he is still hopeful
the federal government will do an
environmental impact assessment
on the proposal.
The department of fisheries and
oceans is reviewing the panel's report
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