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The English imperial adventurer, writer and late new sculptor Herbert Ward (1863-1919) was an important international artist and turn-of-the-century society figure. Depicting Congolese tribespeople in nineteen bronze sculptures and two popular books inspired by his five-year exploration of the then-Belgian-controlled Congo Free State during 1884-9, Ward won two Salon gold medals for his monumental bronzes. Ward's sculptures and extensive collection of Congolese artefacts were subsequently bought and exhibited both privately and publicly across the circum-Atlantic world, where they were employed in a range of often contradictory ways ranging from formal art exhibitions at the Paris Salon through imperial apologetics in Brussels to didactic ethnographic displays at the Smithsonian Institution in Washington DC. And yet, Ward's sculptures hardly appear in the extant scholarship on nineteenth- and early twentieth-century sculptural history, while previous museological writings on Ward's exhibitions have focused on the utilization of the sculptor's Congolese collection, rather than on the exhibition of Ward's sculptural oeuvre. In this article, I address these issues and omissions by exploring the differing sculptural encounters that were provided through Ward's statues as they were exhibited across Europe and America. Comparing the domestic display of Ward's newly created sculptures at his Parisian home from 1910 onwards, with both the Brussels exhibition of his works in the palace of King Leopold II and the public, didactic exhibition at the Smithsonian Institution's National Museum of Natural History from 1921, I examine how the visual relationships between the Congolese objects and Ward's bronzes generated very different sculptural and ideological effects, with far-reaching consequences for the history of Ward's sculptures, collection and reputation. [ABSTRACT FROM AUTHOR]

This essay examines the art works of Colombian sculptor Doris Salcedo. It states that she used altered domestic objects in her art that trigger processes of memory and mourning. It adds that her sculptures are politically informed and reflect the loss of human life and violence in Colombia. It describes Salcedo's works like the "Atrabiliarios" and "Orphan's Tunic."

An essay is presented on the art work of British sculptor Marilène Oliver. It mentions the artist's use of magnetic resonance imaging (MRI), computed tomography (CT) and positron emission tomography (PET) scanning technologies in her sculptures. Oliver reveals that her use of technologies helps in promoting the decentralisation of the self. It presents a description of Oliver's sculpture entitled "I Know You Inside Out," a digitized casting of convicted murderer Joseph Paul Jernigan.

This essay discusses the author's creation of "Unwearable" textile sculptures as her effort to recover her father's lost body. Her sculptures, based on the clothing that her father wore in pictures, were seen as a creation of mourning for her father and reclamation. It offers a description of a photograph of her father as a baby and a young man. The author states that her artwork is her way of touching the dead.

An essay is presented on Canadian artist Blair Brennan. It notes that the artist collects objects such as old knives, used toothbrushes and scraps of papers. It states that when he combines all the objects into an art work, relationships develop among the objects that may tell a story that the artist want to tell. It adds that the process of collecting is an important factor of art-making. It mentions German composition artist Joseph Beuys as a major influence in Brennan's art work.

This essay examines the art work of English sculptor Antony Gormley. It states that Gormley works with the inanimate and inert substance and his sculptures do not show humans in different positions and gestures but explore the inner spaces of their bodies. It offers a description on how he made a sculpture carved from his own form where discovered the inner space of his body as well as its zone of energies and tensions.

The article discusses the history of food art in the U.S. and its implications for contemporary sculpture. It describes sculptures and monuments made from butter, sugar, and corn at state or industrial fairs, the social and symbolic significance of food art as a sing pointing to the ideas of harvest and abundance, and the relationship between food art and popular culture. Other subjects under discussion include a bas-relief sculpture made from butter at the Women's Building of the Philadelphia Centennial Exposition in 1876, a government building made from local agricultural crops by Kansas artist Henry Worrall, and the Atchison Corn Carnival in 1902.

The article focuses on Julio González, a pioneer among sculptors. It says that because of his training as a metalworker, González developed a unique style of sculpture using welded iron, which he named "drawing in space." His new style of sculpting has influenced many sculptors later in the twentieth century, including the American artist, David Smith. However, at the end of González's short artistic career, many of his sculptures have ended up cast in posthumous bronze casting. It also discusses posthumous bronze casting and the three principal types of sculpture: carving, modeling, and constructing. It also advocates the adoption of some minimum standards of artwork labeling across institutions to alleviate some of the concerns of unethical posthumous casting.

Sculptor Marilène Oliver and cardiothoracic surgeon Francis Wells collaborated to deconstruct Leonardo da Vinci's drawing The Great Lady in order to reconstruct it as a three-dimensional sculpture. Employing lessons learned from contemporary radiology, they simulated cross sections of The Great Lady that were drawn in pen and ink onto a stack of acrylic sheets. Here Oliver and Wells give independent accounts of the project, not only sharing how their relationship with Leonardo's drawing evolved over the course of the project but also exposing the differences in approach by the scientist and the artist to a science-art project. [ABSTRACT FROM AUTHOR]

The article focuses on the artist Robert Smithson and his landscape sculpture "Spiral Jetty." It discusses the various media in which the work exists, including a film produced by Smithson and a series of photographs by the photographer Gianfranco Gorgoni. The sculpture, located near the Great Salt Lake in Utah, is described and its influence on art and earthworks is explored. The fact that Smithson used the work to inspire other drawings is noted and information about the process of constructing the sculpture is also included.

Today's modern Armed Forces have various information systems developed independently with different software arthitectures for different purposes. Due to Network Centric Warfare (NCW), training, mission rehearsal and planning analysis requirements, interoperability of these information systems gets more important in peace, exercise, crisis and battle environments. However, because of paying insufficient attention to data models and data exchange standards compatibility in these systems, interoperability remains as a crucial and critical problem. Thus, Battle Management Language (BML) is a universal standard that is being developed as a solution to this problem. BML is the unambiguous language used to command and control forces and equipment conducting military operations and to provide for situational awareness and a shared, common operational picture. In other words, BML can be defined as a standart representation of commander's orders, intents and reports to be understood by both live forces and automated systems, for simulated and real- world operations. In addition to this, BML provide development of Command, Control, Communication, Computer and Intelligence (C4I), Modeling Simulation (M&S) and robotic systems through a common data model. In this way, BML yields the achievement of interoperability capability in the system design phase. In this study, after introducing interoperability of information systems briefly, BML approach and its literature review is presented. Furthermore, important points are highlighted following the examination of the requirements of Armed Forces and the actions to meet these requirements are emphasized. [ABSTRACT FROM AUTHOR]

Abstract: We employ a discrete-element technique to investigate the influence of mechanical stratigraphy on the transition from trishear to kink-band fault-propagation fold forms above a blind basement thrust fault. We find that a ‘classic’ trishear fold, consisting of a broad, upwards-widening monocline with limb dips increasing towards the fault tip, occurs where the cover stratigraphy is weak and has no strong mechanical layering. In contrast, we find that marked, bedding-parallel mechanical layering in the cover promotes much narrower, kink-like fold geometries with more constant limb widths and dips. We discuss the modelling results in terms of their implications for structural interpretation and the application of kinematic models of fault-related folding in contractional settings. [Copyright &y& Elsevier]

The article discusses the use of Weaire-Phelan structure to build a bubble sculpture at the Trinity College in Dublin, Ireland. The Weaire-Phelan structure has posed an abstruse scientific problem for mathematicians and physicists. However, the unique mechanical properties and the artistic appeal of the structure have inspired many building designs. The campus was adorned with the sculpture to recognize the achievements of mathematicians Dennis Weaire and Robert Phelan.

The article examines the design of Paul Manship and Daniel Chester French's sculpture titled "John Pierpoint Morgan Memorial" for the Great Hall of Metropolitan Museum of Art in New York City. The panel at the center of the memorial is inscribed with a commemoration of Morgan's service to the Museum as a benefactor and to New York as a leading citizen and financier. Manship's designs for the memorial reflects his broad artistic inspirations and catholic tastes. Critics who praised Manship in the 1910s were interested in his attention to fine craftmanship and synthetic style.

The article examines Bertel Thorvaldsen's relief titled "Nessus Abducting Deianira." Acquired by the Metropolitan Museum of Art in New York City, the relief is considered one of Thorvaldsen's most dramatic and erotically charged works. Thorvaldsen's skill in relief carving is noticeable in the suggested plasticity of the bodies and the clarity of their silhouttes. Common to his working approaches, he initially fashioned his composition for the sculpture in clay and preserved it in plaster. The Thorvaldsen Museum represents the sculptor's final thoughts on the relief.

This article considers David Smith's presentation of himself as both artist and worker. It does so in the context of his political beliefs and his participation in New York's modernist circles, especially in the 1930s and 19%. As an artist and committed leftist, Smith aligned himself with workers through affiliations with like-minded colleagues in the 1930s — via personal associations, group membership, and dated activities. But Smith's periods of employment as a metal worker in heavy industry, in the 1920s and again in the 1940s, legitimized his status as a worker. Documents from various stages of his career indicate that he saw his relationship with assistants as an extension of these experiences, even when the product was art. He also suggested further continuities between his life as a labourer and as an artist through the similar materials and techniques he employed in each of these roles. While acknowledging the gap between artist and worker, he regularly negotiated these boundaries to the extent that was possible, seeking an accommodation comment with his political views. [ABSTRACT FROM AUTHOR]

John DeAndrea is known for producing life sculptures with a startling degree of realism. His choice of materials evolved from wax, to fiberglass, to the use of polyvinyl which makes up the major body of his work, and finally to bronze. DeAndrea's innovative use of plastics increased his success in capturing the illusion of life, and allowed him to refine his techniques. After realizing that plastics deteriorated severely on aging, he chose to reconsider his techniques and materials to gain more structural stability. DeAndrea now works almost exclusively in bronze. This paper traces the evolution of the techniques, materials and stability of John DeAndrea's sculptures. The artist's vision for the care and conservation of his work will be presented, using the Denver Art Museum's Clothed Artist and Model as a case study. [ABSTRACT FROM AUTHOR]

We consider a model introduced recently [Nature 424(2003)900], for describing competition between two languages, which in typical situations predicts the extinction of one of them. We generalize it by introducing a spatial dependence in terms of a reaction–diffusion equation. We show that in this generalized model both languages can survive, each mostly concentrated in a different geographical area. [Copyright &y& Elsevier]

Investment casting research is being carried out by the University of Birmingham, sponsored by EPSRC and a consortium of industrial companies. The programme is aimed at developing a fundamental understanding of the process, with a view to routinely producing sound, net shape castings. A key stage within the investment process is that involving the removal of wax from the unfired ceramic shell. This important process is carried out within the confines of a sealed pressure vessel, more commonly referred to as a Boilerclave*, with external pressure gauges as the only indication of what is actually happening inside the cavity. To metaphorically 'see' inside the vessel would allow the factors controlling de-wax to be characterised and controlled. This paper contains results obtained at The University of Birmingham using a specially instrumented steam autoclave that allows visual data capture, thermal and steam pressure profiles within the chamber, and thermal instrumentation of waxes and shells to be obtained. Results of thermal and pressure profiles inside the vessel body are presented and implications of these results upon the mechanism of wax removal and the effect upon ceramic shells are discussed. [ABSTRACT FROM AUTHOR]

The article discusses the issues of iconography, provenance and style. The article also examines the carving techniques used in the wooden polychrome sculpture of Saint Roch. Saint Roch is the patron saint of the plague-stricken. The vestments of the saitn are of a style that was worn north of the Alps at the beginning of the 16th century. The sculpture portrays the culminating moment in Saint Roch's life and reflects the culture during which it was made. The wooden sculpture was purchased by J. Pierpont Morgan in 1906 as part of the Georges Hoentschel Collection.

Known today only by the name of the region where he lived, Mestre Piranga, an eighteenth-century santeiro (saint-maker), is considered a great artist by afficionados of Brazilian sacred art. Part of the present work consisted in a survey and cataloguing of the surviving religious imagery in the region of the Piranga river valley. A considerable number of these images could be attributed to the master. Three sculptures were analyzed with regard to form, style, iconography and technique of execution (support and polychromy), using scientific methods. Their state of preservation was investigated and a proposal for conservation was drawn up. [ABSTRACT FROM AUTHOR]

The sculpture of St Gines de la Jara in the collection of the J. Paul Getty Museum, dated 1692, is an outstanding example ofthe estofado technique of imitating brocade in gold leaf and paint. The life-size figure retains most of its original polychromy. In previous restoration treatments, there had been an unsuccessful attempt to simulate the estofado. The present treatment included a comprehensive technical examination, using X-radiography to identify construction techniques and cross-sectional analysis for the layer structure and materials. The decoration of the sculpture was carefully studied with the goal of understanding more clearly the technique of the estofador. A cleaning strategy was then devised. Where there were losses in the estofado, it was decided to aim for a chromatic compensation using watercolours, rather than attempting to duplicate the original process. [ABSTRACT FROM AUTHOR]

Bibliographical research and scientific analysis of samples obtained from five polychrome wooden sculptures of the colonial tradition in Guatemala were used to study the techniques and the materials used. The methodology involved qualitative analysis of the samples and microscopic examination of cross-sections. Scanning electron microscopy (SEM) was used to identify pigments and to ascertain the composition of the gilding. It was hypothesized that the deterioration of the sculptures, particularly the separation of the ground layers from the wooden support, was due to the action of secondary products of Cedrela odorata L. The loss of adhesion of the animal glue used in the preparation may be partly related to the precipitation of the protein of the gelatin due to the action of the tannins present in the wood. [ABSTRACT FROM AUTHOR]

The absence of any systematic investigation of the materials and artistic techniques of Quito School sculpture, the mechanisms of deterioration and the treatment options were the main motives for the development of the Ecuador-Belgium project, an interdisciplinary effort with the collaboration of other institutions. This is a summary of the preliminary results of work on the collection of the Fray Pedro Bedón Museum in Quito, concentrating on sculptures of the seventeenth and eighteenth centuries. [ABSTRACT FROM AUTHOR]

Antonio Francisco Lisboa, known as Aleijadinho, was one of the most famous native artists of colonial Brazil. Two sculptures known to be by Aleijadinho were studied. The materials and techniques used in these sculptures were examined by several methods in an attempt to characterize the work of this artist. [ABSTRACT FROM AUTHOR]

The article focuses on the life and works of Frederick MacMonnies, an American Sculptor. He was a native of Brooklyn and a son of a Scottish immigrant father and a mother of Scottish ancestry. He studied in the studio of Augustus Saint-Gaudens, where he was exposed to French techniques of modeling in clay for casting in bronze. Some of his masterpieces include "Pan of Rohallion," "Young Faun with Heron," and "Nathan Hale." Presented are the details of his works and travels.

Interactional sculpting based on the concept of congruence is an innovative technique combining individual work with family sculpting. The individual work comprises techniques developed in order to improve the congruence and precision of the sculpt. This paper describes examples of interactional sculpting taken from a training group. Issues relevant to the practice and theory of interactional sculpting are discussed. [ABSTRACT FROM AUTHOR]

The article discusses the discovery of the fragments during the excavations on the North Slope of the Akropolis conducted by Oscar Broneer and on the American School of Classical Studies from 1931 to 1939 in Athens, Greece. Results of the excavations revealed that the fragments were pieces of broken sculpture which wer attributed to the Erechtheion frieze based on the technique, material, style, and scale. The fragments include ten pieces of draped figures, a female head, two human feet, a figure in a chariot, and a horse's leg that were published by Patricia Boulter in 1970.

The article examines the defective figures and detached arms of a private collection of bronze statuettes. According to the author, the deformities are attributed to the process of assembling complicated sculptural creations, casting and joining the figure and limb by soldering or brazing. The process resulted to baseless and armless statuette, however, they do not bear the place of manufacturing. Furthermore, the author emphasized that the loss of the arm was accidental due to improper soldering.

The article discusses the discovery of four small fragments of terracota sculptures during archaeological excavations in 1981 in Corinth, Greece. It is expressed that the sculptures were produced during the Hellenistic period which are molded with fine gray inclusions and coarse red. Three of them were found at the backfill trench of dismantled wall, while the last item was recovered from a debris of a 6th century object. Furthermore, it is believed that the fragments belong to a part of the body which is not frequently handled in clay modeling.

For the past decade James Malenda has explored the visual and physical aspects of weight and balance in three-dimensional and multiposition forms. His materials have included nonferrous metals, vitreous enamels and laminated wood. His current work explores the dynamics of three-dimensional negative space as defined by the contrast of surface, color and contour in fabricated aluminum and enameled forms. In tracing the development of these concepts, he addresses his method of working and its effect on the materials and takes into account the aesthetic sculptural considerations. [ABSTRACT FROM AUTHOR]

Focuses on the invention of the new art form called photosculpture by sculptor Francois Willè me. Envision of Willème to eliminate the costly and time-consuming sittings for sculptor and patron and would allow the sculptor to increase his output; Suggestion that photosculpture process would not only lighten manual labor but would mechanize the creative process; Information on the process of photosculpture.

The article discusses the significance of the Temple of Quetzalcoat and the attributes surrounding the Teotihuacan cult of war in Mexico. The author stated that the temple, which is famed for its remarkable sculptured facade of projecting serpent heads and bas-relief sculpture is one of the largest pyramidal structures at Teotihuacan. He added that the iconographic program of the Old Temple appears in two distinct zones corresponding to the sloping tulad and the vertical tablero. Moreover, the Teotihuacan war iconography found among the Classic Zapotec and Maya does not derive from a naive use of alien and poorly understood elements, but reveals an extensive understanding of the concepts underlying the iconographic conventions.

The article describes Eva Hesse's sculptural series, titled "Accession II," included in the collection of the Detroit Institute of Arts in Michigan. Her sculptural work responds to the rigidity of Minimalism, but in a positive way that enabled her to explore absurdities of self, obsession, and fetishism and that asserted a dynamic female presence. Furthermore, this series reveals her exposure to textile manufacture and her interest in domestic spaces. It features a five-sided, industrially fabricated exterior made of galvanized steel screens through which Hesse used 30,670 short pieces of silver-colored rubber tubing.

The article describes the salient characteristics and stylistic development of the works of Italian sculptor Andrea Pisano and his son Nino Pisano in an effort to clarify the attribution of the sculpture "Madonna and Child." The author notes that the sculpture is difficult to relate to the style and chronology of Andrea, but fits the artistic evolution and concerns of Nino. An examination of the careers of Andrea and Nino in the field of art is presented, along with a description of their sculpture techniques. The style used in creating "Madonna and Child" is also described.

The article describes three plaster sculptures created by Jean Arp, which represent the link between art and nature. Such sculptures, which include "Pistil," "Entre Lys et Défense" and "Demeter," were donated to the Detroit Institute of Arts by Jean's widow, Marguerite Hagenbach-Arp. According to the author, the materials, subjects and forms of the plaster sculptures depict the characteristics of Jean's style in freestanding sculpture. The sculptures are described as having biomorphic forms, fluctuating with pulsating rhythm and a vibrant equilibrium.