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[ES] La talla es uno de los procesos escultóricos más antiguos. Se trata de una técnica sustractiva en la cual, partiendo de una masa sólida, se da forma a la materia mediante el corte, cincelado o abrasión. Este medio, que se popularizó en el pasado y fue preferido por artistas como Fidias, Miguel Ángel, Brancusi o Barbara Hepworth, implica un proceso lento y laborioso, un desarrollo pausado. Es, en este sentido, un quehacer disonante en el contexto social actual, cuyo modo de vida, rápido y agitado, no lo asumiría con naturalidad en el sistema artístico. Y su uso, en el arte de hoy, ha decaído hasta condicionarlo con la expresión "estar pasado de moda". Esta investigación analiza, desde aproximaciones cuantitativas y cualitativas, lo que se configura como un corpus documental para presentar una guía de artistas contemporáneos, cuyas poéticas siguen mostrando el protagonismo de este tipo de procedimiento escultórico. De este modo, intentamos argumentar razonadamente que no solo resiste al paso del tiempo, sino que ha logrado adaptarse a nuestro contexto creativo actual., [CA] La talla és un dels processos escultòrics més antics. Es tracta d'una tècnica subtractiva en la qual, partint d'una massa sòlida, es forma la matèria mitjançant el tall, el cisellat o l'abrasió. Aquest mitjà, que es va popularitzar en el passat i que va ser el preferit d'artistes com Fídies, Miquel Àngel, Brancusi o Barbara Hepworth, implica un procés lent i laboriós, això és, un desenvolupament pausat. En aquest sentit, és una tasca dissonant en el context social actual, atés que, la manera de viure actual, ràpida i atrafegada, no ho assumiria amb naturalitat en el sistema artístic. A més, el seu ús, actualment, ha decaigut, fins al punt d'haver estat etiquetada com una tècnica "passada de moda". En aquesta investigació s'analitza, des d'aproximacions quantitatives i qualitatives, el que es configura com un corpus documental, per tal de presentar una guia d'artistes contemporanis, les poètiques dels quals segueixen mostrant el protagonisme d'aquest tipus de procediment escultòric. D'aquesta manera, intentem argumentar raonadament que aquesta tècnica no sols resisteix al pas del temps, sinó que ha aconseguit adaptar-se al context creatiu actual, [EN] Carving is one of the oldest sculptural processes. It is a subtractive technique through which starting from a solid mass the material is shaped by the cutting, the chiseling or the abrasion. This means, which became very popular in the past and which was preferred by artists such as Phidias, Michelangelo, Brancusi or Barbara Hepworth, involves both a slow and laborious process and also a measured development. According to this, it is a dissonant work in the contemporany social context, whose fast and hectic lifestyle would not assume it as a natural issue into the artistic system. Moreover, its use in today's art has declined such an extent that these days it is considered as"out of fashion". This research analyses what it is configurated as a documentary corpus from both qualitative and quantitative approaches, in order to introduce a guide of contemporary artists whose poetics go on showing the importance of this kind of sculpture technique. In this way, we are trying to argue thoughtfully that it has not only resisted the passage of time but it has also been able to adapt it to our current context.

En aquest article es descriu una acció educativa no formal −acompanyament cultural− amb la que es pretén contribuir a l’aproximació a la cultura visual de la infància i facilitar el sentiment de pertinença a llocs de difusió d’experiències artístiques de l’entorn pròxim, afavorint d’aquesta manera l’enriquiment personal de les famílies i la formació d’estudiants universitaris en el marc de l’aprenentatge-servei (ApS).El projecte es desenvolupa en galeries i centres d’art que no disposen de gabinet pedagògic, atenció específica, ni accions educatives per a nens, nenes i famílies en general. Es vincula a un projecte d’investigació-col·laboració dut a terme per professors universitaris en coordinació amb becaris-estudiants universitaris del centre Cardenal Spínola de la Fundació San Pablo Andalucía CEU dels Graus d’Educació Infantil i/o Primària.Des del punt de vista metodològic, en el projecte s’aborda una investigació tant qualitativa com quantitativa. En l’anàlisi de les dades aportades en cada trobada es contemplen aspectes com la resposta o afluència a la convocatòria, els mitjans per realitzar la crida, el grau de satisfacció per a cada grup de participants, etc. Les apreciacions qualitatives també revelaran dades sobre el grau d’acceptació del projecte per les famílies i galeries This article describes a non-formal educational action −cultural accompaniment− with which it is intended to contribute to the approach to visual culture in childhood, and to facilitate the feeling of belonging to places of dissemination of artistic experiences from one’s surroundings, thus favoring the personal enrichment of families and the training of university students in the framework of service-learning (SL).The project was developed in galleries and art centers that do not have a pedagogical office, specific attention, or educational actions for children and families in general. It is linked to a research-collaboration project carried out by university lecturers in coordination with scholarship-students from Cardenal Spínola de la Fundación San Pablo Andalucía CEU in the degrees in Early Years and/or Primary Education.From a methodological point of view, both qualitative and quantitative research is addressed in this project. In the analysis of the data provided in each meeting, aspects such as the response or attendance, the means to make the call, the degree of satisfaction of each group of participants, etc. are contemplated. The qualitative assessments also reveal data on the degree of acceptance of the project by families and galleries. En este artículo se describe una acción educativa no formal −acompañamiento cultural− con la que se pretende contribuir a la aproximación a la cultura visual de la infancia y facilitar el sentimiento de pertenencia a lugares de difusión de experiencias artísticas del entorno cercano, favoreciendo así el enriquecimiento personal de las familias y la formación de estudiantes universitarios en el marco del aprendizaje-servicio (ApS).El proyecto se desarrolla en galerías y centros de arte que no disponen de gabinete pedagógico, atención específica, ni acciones educativas para niños, niñas y familias en general. Se vincula a un proyecto de investigación-colaboración llevado a cabo por profesores universitarios en coordinación con becarios-estudiantes universitarios del centro Cardenal Spínola de la Fundación San Pablo Andalucía CEU de los Grados de Educación Infantil y/o Primaria.Desde el punto de vista metodológico, en el proyecto se aborda una investigación tanto cualitativa como cuantitativa. En el análisis de los datos aportados en cada encuentro, se contemplan aspectos como la respuesta o afluencia a la convocatoria, los medios para realizar la llamada, el grado de satisfacción para cada grupo de participantes, etc. Las apreciaciones cualitativas también revelarán datos sobre el grado de aceptación del proyecto por las familias y galerías.

Private art galleries, due to their often short-lived nature stemming from the uncertainties inherent in the art world, constitute a good indicator of changes taking place within the urban space. The spatial patterns of their locations are the outcome of an interplay between the spatial choices of individual entities that respond to opportunities and constraints in different parts of the city. Such spatial patterns also reflect artistic hierarchies and oppositions within the field of visual arts, where artist-oriented and market-oriented art galleries represent different artistic communities (local, non-local) and generations (younger and aspiring, older and recognized). As a result, distinct art gallery clusters (market-oriented and artist-oriented) emerge and shape into spatial structures, which might be conceptualised as the territorial field of art. This concept is used here in a broad survey of the art gallery landscape of Krakow, a large city in southern Poland. This offers a unique opportunity to follow the development of an art gallery scene in a city widely associated with art and from the very moment when, in 1989, the newly introduced political and economic freedoms replaced the strict control of the communist regime removing barriers preventing the operation of commercial galleries and non-profit art spaces. The study involved building of a detailed database that enabled tracing the spatial choices (locations and relocations) of art galleries as far back as in the 1980s and then from 1989 to 2019. Along the detailed data review a qualitative analysis of reports in the press and on the internet provided an insight into the spatial contexts and motivations behind spatial decisions during different time periods. Four primary art gallery clusters were identified and their phases of emergence, growth and decline observed over the three decades were found to have been mutually interconnected, as well as linked with the broader functional changes developing in different parts of the inner city and with distinct artistic and spatial preferences of the successive generations of young artists and gallery owners representing them.

Le présent article examine la participation des artistes asiatiques au système d’art mondial que dominaient naguère les créateurs et les producteurs européens afin de déterminer si l’hégémonie occidentale est en déclin. Parmi les 500 artistes contemporains avec les montants de ventes aux enchères les plus élevés, 49 % étaient d’origine asiatique en 2011-2012, comparativement à 8 % en 2005. La nationalité des membres des comités de sélection des artistes influe énormément sur la sélection des artistes pour les biennales et les foires artistiques. La nationalité des artistes dont les oeuvres sont exposées dans les biennales et vendues aux enchères et dans les galeries dans le cadre de foires artistiques montre qu’il existe une forte « préférence nationale » pour les oeuvres produites au pays ou dans la région. Ainsi, le marché de l’art mondial est segmenté en différentes régions, entre l’Orient et l’Occident, chacune avec ses propres artistes et centres d’art d’importance., This article examines participation of Asian artists in the global art system previously dominated by European and American creators and producers in order to assess whether the level of Western hegemony is declining. Among the 500 contemporary artists with the highest levels of auction sales, 49 % came from Asia in 2011-2012, compared to 8 % in 2005. A major factor in the selection of artists for biennials and art fairs is the nationality of members of the committees that select the artists. National affiliations of artists exhibiting at biennials and being sold at auctions and of galleries participating in art fairs reveal a considerable “home bias” : preference for artworks produced locally or regionally. As a result, the global art market is segmented into distinct regions, East and West, each with its major artists and major art centers., Este artículo analiza la participación de los artistas asiáticos en el sistema global de arte, dominado hasta ahora por creadores y productores europeos y estadounidenses, con el fin de evaluar si el nivel de hegemonía occidental se encuentra en declive. En el periodo 2011-2012, de 500 artistas contemporáneos con los más altos niveles de ventas en subastas, 49 % de ellos provenían de Asia, en comparación con el 8 % en 2005. Un factor importante en la selección de artistas para bienales y ferias de arte es la nacionalidad de los miembros de los comités que seleccionan a los artistas. Las afiliaciones nacionales de los artistas que exponen en las bienales y que venden en subastas y galerías que participan en ferias de arte, revela una considerable “polarización doméstica” : una preferencia por obras de arte producidas local y regionalmente. Como resultado, el mercado global de arte se encuentra segmentado en distintas regiones, Este y Oeste, cada una de ellas con sus más importantes artistas y principales centros de arte.

Las galerías de arte Biosca, Edurne y Mordó, son divulgadoras del arte contemporáneo en España. Con ellas se abrió un camino hacia el arte más actual, contribuyendo a un mayor conocimiento de pintores que en España no eran muy conocidos. Tuvieron una gran variedad expositiva, mezclando no solo obras de arte figurativo sino también de arte abstracto. De las tres, Biosca es la que tuvo una línea más conservadora, aunque se preocupó de dar a conocer pintores poco conocidos. Juana Mordó, apostó desde el principio por los artistas españoles contemporáneos y la galería Edurne, la más ecléctica, dando a conocer junto a obras de artistas consagrados, obras de pintores poco conocidos. Art galleries, Biosca, Edurne and Mordó are disseminators of the contemporary art in Spain. With them, a new way was opened towards the art current, because of that, they contribute a better painters knowledge, who in Spain were not known. They had a variety exhibitions, and involved figurative master pieces but also abstract art. They have exhibit paint of european artists and spanish abstracts artists. Of the three galleries, Biosca was the only one that was more conservative, although the gallerie was worried to published artists who was not known. Juana Mordó, exhibited the last artistic trends, and Edurne was the most eclectic, because they have exhibited acclaimed artists, with not very known artists.

This paper looks at the places of art and art galleries from a spatial point of view and in relation to contemporary urban dynamics. Presenting prospective reflections about the spatialities of places where transactions are financial and symbolic, as well as the data and methods used for empirical research, this paper introduces an ongoing project dealing with the Parisian gallery landscape since the contemporary art boom, in relation to the production of urban space. I argue that ‘visibility’ is a useful notion to interrogate the geography and dynamics associated with art galleries. It can either describe their presence and environment within the city and from the street, or the ‘visibilisation’ of portions of the city in relation to the dynamics of urban renewal. Based on quantitative and qualitative data, the project will offer insights into the causes and impacts of the spatial structuration of the Parisian art market on different scales. Therefore, the project enhances existing research concerning the influence of art-related activities upon the transformations of urban space, but also anchors the analysis of the geography of art galleries and its recent history in a wider socio-economical perspective.

In recent years, researchers have expressed renewed interest in the visual arts, which can be seen as one of the main providers of upper-class symbolic goods and status signals for cultural elites. India has not yet been included in that body of work. Although important insights do exist on India, a systematic empirical inquiry has yet to be made. The present article offers a step in that direction, through the statistical analysis of 101 Indian galleries and the 4,249 artists they present in their catalogs. Does the way galleries share artists reveal specific characteristics about the Indian art world? Is the usual opposition between “commercial” and “artistic” galleries relevant for contemporary India? What are the roles of auctions and international fairs? Do Indian galleries prefer representing artists, or storing and exhibiting their works? What insights do their strategies and hierarchies offer about the cultural standards of Indian elites? This article offers a typology of Indian art galleries based on a network analysis (blockmodeling). It reveals a hierarchized system, the weight of the auction market, and a strong economic and aesthetic boundary between international experimental art and national modern art.

Se presenta el proyecto teórico que recoge una acción educativa no formal que se llevará a cabo por primera vez en 2017-2018. Se desarrollará en galerías y centros de arte de Sevilla que no dispongan de gabinete pedagógico, atención, ni acciones educativas infantiles. El proyecto se vincula a una beca con alumnos de colaboración y alumnos internos que cursan 4º de los estudios de Grado de Educación Infantil y/o Primaria. Se trata de una actividad de acompañamiento, no intervención, entre los becarios/alumnos internos y los niños. Los sujetos activos son los alumnos colaboradores becarios y los receptores serán los niños asistentes a las exposiciones. - Se pretende crear nuevas líneas de acompañamiento y tender lazos entre la producción cultural contemporánea, la actividad expositiva y la acción social. - Promover en los niños el goce de la comprensión y significatividad del patrimonio contemporáneo, para contribuir a su enriquecimiento personal. - Responder a una necesidad de atención a la infancia. The theoretical project that includes a non-formal educational action that will be carried out for the first time in 2017-2018 is presented. It will be developed in galleries and art centers of Seville that do not have a pedagogical cabinet attention, or educational actions for children. The project is linked to a scholarship with students of collaboration and internal students who attend the 4th year of the Degree in Early Childhood and Primary Education. It is an accompaniment activity, not intervention, between the scholarship holder /interns and children. The active subjects are the collaborating student grantees and the recipients will be the children attending the exhibitions. - It is intended, to create new lines of accompaniment and to establish links between contemporary cultural production, exhibition activity and social action. - Promote in children the enjoyment of the understanding and significance of contemporary heritage, to contribute to their personal enrichment. - Respond to a need of child care.

The art market operates in a very different way from conventional economic markets, ranging from its behaviors of supply and demand, the trading of goods, and the economic agents intervening in it. In addition, it is a highly unregulated market, with very little standardized information in economic terms. This paper focuses on art galleries, which are the most influential intermediaries in the Spanish primary contemporary fine-art market and perform a role that goes beyond the mere distribution of works of art. This study develops and applies a prospective methodology based on the subjective information compiled by experts, known as the Delphi method, to identify and evaluate the factors that determine the current situation and future outlook for Spanish contemporary art galleries. The results show, on one hand, that the method employed constitutes a valid option to provide reliable information. In addition, they show that the survival of these organizations will depend on their ability to adapt to the changing conditions of the economic environment, reactivating and internationalizing demand, and redirecting their business model towards sustainable management by implementing appropriate business management models and techniques.

A labyrinth is set L of line segments in the plane (E2) such that the line segments have pairwise disjoint relative interiors and their complement E2\∪L is connected. This paper gives combinatorial bounds on four classical illumination problems for labyrinths. For comparison, we refer to bounds on the corresponding problems in the presence of disjoint opaque line segments.

The aim of this investigation is to develop a material and technique for detects the smallest traces of poison gases and for the instantaneous rate of atmospheric corrosion of archaeological materials indoor. This paper describes the development and use of a single walled carbon nanotubes with ZnO (SWCNT/ZnO) composites as a Networks to investigate it as resistive gas sensors for NO2 detection. Sensor film was coated on an sapphire substrate by spin coater. At room temperature, SWCNT/ZnO composites with equal weight ratio have shown quite high sensitivity to NO2 concentrations as low as 1 ppm, this gives the opportunity to us it as a sensor to control the environment of the places where the cultural heritage materials are found. All ZnO (SWCNT/ZnO) tested sensors exhibit high stability and relatively low response and recovery time. The highest response values of the composite were achieved at temperatures ranging between 100 and 300°C and gas concentrations higher that 50 ppm. For all gas concentrations, the SWCNT/ZnO sensor shows much impressive performance at temperatures higher than 100°C compared to pure SWCNT sensor. The results show that this type of material is surprising, revealed that the measured sensitivity upon exposure to NO2 strongly depends on the changing matrix of the microstructure and the preparation conditions of the composite material. The gas detection mechanisms as well as the optimal gas sensing parameters were discussed.

RESUMEN: Memoria de las prácticas realizadas en la galería de arte Juan Silió de Santander durante los meses de Mayo a Agosto de 2015. Realizo una descripción de las tareas realizadas y del funcionamiento cotidiano de una galería de arte, de la organización de la exposiciones y de las ferias de arte. ABSTRACT: Internship report at the art gallery Juan Silió of Santander during the months of May to August 2015. I make a description of the tasks and the daily running of an art gallery, organization of exhibitions and art fairs. Máster en Patrimonio Histórico y Territorial

In this paper we consider the problem of placing edge guards to supervise a rectilinear art gallery. We show that no gallery with n vertices requires more than ⌊ (3n + 4) 16 ⌋ guards. Since this number of edge guards is necessary for some galleries the bound is tight.

Máster en Patrimonio Histórico y Territorial

Media and academic attention to the art market has mostly focused on the high end, composed of famous auction houses and a few well-known international dealers. In this paper, we use a newly developed database to examine the industry structure and location patterns of the broader New York art market, which consists largely of small, independent and relatively unknown galleries. We find that Manhattan galleries are highly spatially concentrated, and that clustering reflects both agglomeration economies and preferences over location-specific amenities. As predicted by theories of agglomeration economies, new galleries are more likely to open in neighborhoods with existing gallery clusters, and proximity to other galleries increases firm and establishment lifespan. We also find evidence that new galleries locate in neighborhoods with high population density and more affluent households, consistent with location models of luxury retail. The results are not consistent with the hypothesis that galleries locate in cheap, "bohemian" neighborhoods, as proxied by several demographic and economic variables.

Art galleries serve several important functions within the art industry. Economically, galleries are loci of arts consumption, generally focusing on visual arts such as painting and sculpture. If artists visit galleries to learn about their peers’ work, galleries may also contribute to enhanced art production . Galleries are almost always for - profit entities; the main distinction between galleries and museums is that museums typically display original art but do not offer it for sale, while galleries display art for the purpose of selling it. Like m any forms of arts production discussed elsewhere in this volume by Kushner , and Markusen , the retail art market is diffuse and highly entrepreneurial: the industry is mostly made up of small , independently owned firms (single dealer s or small partnerships ) . Although art galleries are an essential component of the overall arts industry, as economic entities they are quite different from a symphony orchestra, publicly funded museum or an independent novelist or painter. In many respects, the upper echelon of art galleries is similar to the high - end retail market : the best - known galleries are businesses whose primary function is to s e ll expensive luxury goods. Outside of the top tier, galleries resemble small businesses in other retail segments: they operate in a highly competitive industry with low barriers to entry and experience relatively high turnover.

El documento presenta una cronología de las primeras galerías de arte en Colombia, haciendo un recuento desde el año 1948 hasta 1957. El autor realiza una contextualización del panorama del arte de la época, donde plasma la visión de los artistas y el apoyo que recibieron de las diversas galerías y centros de arte que fueron apareciendo poco a poco en esa época. Así mismo, se presenta cómo los cambios en la profesión del artista fueron modificadas, las necesidades y expectativas del público y sus maneras de consumir arte. This document presents a chronology of the first art galleries in Colombia, making an account of facts from the year 1948 to1957. The author makes a contextualization of the art scene in that time, and captures the vision of the artists and the support they received from the various galleries and art centers that gradually appeared at that time.

This article explores the contents of the correspondence between the critic and art historian Juan Antonio Gaya Nuño and the painter Manolo Millares in the context of the Spain of the first half of 1950s. Through this analysis fundamental aspects of the artistic thought of both are revealed, as well as their assessment of the artistic life of this period and the work they carried out as art book editors. These documents are likewise of great interest for learning about Millares’ efforts to promote avant-garde art in the Canaries and conversely, his difficulties in promoting his own painting beyond the islands. En este texto se estudian los contenidos de la correspondencia mantenida entre el crítico e historiador del arte Juan Antonio Gaya Nuño y el pintor Manolo Millares en el contexto español de la primera mitad de los cincuenta del siglo pasado. A través de este análisis se revelan aspectos fundamentales del pensamiento artístico de los autores de la correspondencia, así como también sus valoraciones del ambiente artístico de este periodo y la labor que ambos desempeñan como editores de libros de arte. Estos documentos son también de gran interés para conocer la actividad de Millares como impulsor del arte vanguardista en Canarias, y nos permiten reconocer las dificultades del artista para da a conocer su pintura más allá de las fronteras insulares.

While postmodernist claims for contemporary art~s pluralism, inclusive character and interpenetration with everyday cultures proliferate, little attention is paid to the actual practices, discourses and realities of the art world, its institutions and the interest groups that are involved. Based on findings of the author~s recent ethnographic research on a leading contemporary art gallery in Britain and through an analysis of art~s audiences as an insider construct, this article argues that a distinction exists between informed and uninformed audiences which is directly associated with two competing types of cultural recognition. These are specialist accreditation and public recognition; the domination of the former in their struggle is presented as decisive in art~s socio-cultural legitimization and as manifest in the content and limited range of the audience as an insider discourse.