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"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, "Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space", on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of "Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA.

Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth
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The article is devoted to the study of the concept of the mammoth in regulatory documents and cultural practices. The analysis of both Russian and international experience allowed to generalise the existing legal provisions regarding the regulation of mammoths, as well as to determine the role of mammoths in the world and Russian culture, including the culture of the indigenous peoples of the North, Siberia and the Far East. The methodological basis of the study is represented by the comparative analysis of sources and materials, historical-comparative and chronological methods, the historiographic method, as well as methods of philosophical and art history analysis. The study revealed the fact that in the field of legislation and legal regulation of extraction and sale of mammoth ivory in the world, the issue of the status of mammoths is raised only in connection with a discussion of the survival of rare species of elephants. Measures to prevent extermination of elephant population, encompassing a ban on trade, including trade of mammoth ivory, cause heated discussions and are controversial for craftsmen, antique dealers and art collectors. The issue of legal regulation in this area is particularly acute for the Russian Federation, due to the lack of a finalised legal and regulatory framework, both at the federal, regional and municipal levels. The image of the mammoth in the world and Russian culture is embodied in a number of visual practices. These are heraldry, animation, book graphics, sculpture and fine art. Sign and symbolic forms of the mammoth embody religious and mythological characteristics of the animal, demonstrating its significance in people's worldview, as well as indicating of the "living" memory of it in the modern world

On October 26, 2017, protestors calling themselves the Monument Removal Brigade ("MRB") splashed red paint on the base of a statue of Theodore Roosevelt outside the American Museum of Natural History ("AMNH," "Museum," or "Natural History Museum") in New York City as a form of public protest art. This 1939 sculpture by American artist James Earle Fraser (the "Equestrian Statue of Theodore Roosevelt" or "Equestrian Statue") portrays the twenty-sixth president of the United States sitting upon a horse, flanked on either side by a standing African man and Native American man intended to represent their respective continents. On its anonymous blog, MRB called for the statue's removal and claimed, "[t]he true damage lies with patriarchy, white supremacy, and settler-colonialism embodied by the statue." The Mayoral Advisory Commission on City Art, Monuments, and Markers (the "Commission") conducted a study of controversial monuments on public land in New York City and was unable to agree on an appropriate fate for the AMNH statue; for this reason, it has remained in place for the time being. In July of 2019, the AMNH opened a special exhibition entitled Addressing the Statue. This AMNH protest occurred within a larger national conversation about the place of public monuments, especially those commemorating leaders of the Confederacy. But the current debate often lacks scholarly rigor, with little consideration of the history, intention, or artistic merit of the monuments in question, or the federal, state, local, and administrative laws governing their removal or modification. This Article draws upon the disciplines of art history, museum studies, and the law to contextualize the AMNH Equestrian Statue and expand upon the Commission's and AMNH's analyses to develop a suggested framework for considering controversial monuments in the future.

In this thesis I consider the political and economic interactions of a representative sample of seventh and sixth century B.C. state-level societies from the Aegean basin. This thesis is structured around three material based case studies, all of which use computational network-analytical techniques, and all of which consider closely issues of representativeness and uncertainty surrounding the target datasets. First, I analyse how the distribution of coinage and of ceramic types might be used together to shed light on the nature of the ancient economy, and I also consider the extent to which coins might indicate that some economic and political networks overlapped. Second, I analyse the lettersets used on inscriptions from various parts of the Aegean, and I argue that scribes chose to associate themselves with or distance themselves from certain identities and networks of political affiliation by choosing to write in various ways. Third, I investigate what the remains of freestanding marble sculpture might tell us about the scale at which some aspects of the ancient economy operated, and about shipping routes in archaic Greece. I conclude that, contrary to the long-held belief by scholars, political activity did not determine other forms of networking between city-states, nor are political interactions readily visible in the archaeological record. Furthermore, I suggest that there was a greater degree of planning and targeting of markets in the formation of the economy of archaic Greece than has been generally understood. The contributions of this thesis, therefore, are both historical, in suggesting these alternative narratives, but also methodological, in providing ways to creatively engage with the critical mass of material data that exists from archaic Greece. ; Arts and Humanities Research Council (AHRC) and Pembroke College, award number AH/L503897/1

In this paper I discuss the strategies of social reproduction set in motion for the maintenance of domestic autonomy for almost a millennium in the Tafí Valley (NW Argentina). I present explanatory arguments about the motives, factors and relationships that led a population to perpetuate non-hierarchical political relations based on small-scale groups amalgamated by kinship ties. To support this statement, I study the role that played in the reproduction of autonomy with an emphasis on the types of social interaction that the material expressions of the ancestors enabled, organized, promoted, reinforced and fostered. Then, two scenarios with revered ancestors are described: the case of the mounds and the case of residential areas with a special attention placed on the courtyards and the presence of stone sculptures as well as of sepulchers or cists. ; El presente artículo se centra en discutir las estrategias de reproducción social puestas en acción para el mantenimiento de la autonomía doméstica durante casi un milenio en el valle de Tafí. El énfasis está puesto en expandir los argumentos explicativos acerca de los motivos, los factores y las relaciones que llevaron a que una población perpetuara relaciones políticas no jerárquicas, basadas en colectivos de pequeña escala amalgamados por vínculos de parentesco. Para fundamentar esta propuesta el eje se basa en el estudio del rol que jugaron los ancestros en la reproducción de la autonomía, enfatizando los tipos de interacción social que las expresiones materiales de los ancestros habilitaron, organizaron, promovieron, reforzaron y fomentaron. Luego se describen dos escenarios con ancestros venerados: los montículos y las áreas residenciales, poniendo especial atención en los patios y en la presencia de esculturas de piedra, como en los sepulcros o cistas.

Exemplifying with two Taiwanese national museums built in the 1950s and 1960s, this paper demonstrates how nationalism played a central role in shaping the development of Modern architecture in post-war Taiwan. After WWII, the Nationalist Party (KMT) retroceded Taiwan from Japan but simultaneously retreat there. This led to their strong attempt to reconstruct a cultural, historical, and ethnic relationships between Taiwan and China. The KMT strived to erase any traces of Japanese colonial constructions and to redirect the island's social identity toward the Chinese Nationalist's traditions. Such rise of Chinese nationalism stimulated several architects to search for a national style. They traced the root of the style from the past and connected it to their modern designs with an attempt to create a sense of community and national identity visually. With Taipei's Nanhai Academy and the National Palace Museum as case studies, this paper argues that 'museum' has come to be conceptualized, not merely as place of exhibition, but as political symbols which represent the official definition of the nation. 'Museum' was given a political function and loaded with powerful political icons: axial and ceremonial arrangement of spaces, iconographic programmes and spatial narratives, evolutionary chronological displaying, pseudo-Chinese classical architectural elements, and the sculptures/ portraits of political elites placed in squares and exhibition halls. This paper contends that the two exemplifying museums which carry political function actually visualize the imagination of the nation. By interpreting these museum architectures in a broader social and political context, and verifying with museology, the paper demonstrates that an investigation of the Chinese national style would be inevitable if a better understanding of the development of modern architecture in Post-war Taiwan is to be achieved. ; info:eu-repo/semantics/publishedVersion

The paper focuses on the problem of continuity and development of iconographical solutions related to some prominent elements of historical furnishing in the Zagreb cathedral (tabernacle, St Ladislas' altar in the north apse), observing their changes over a longer time span: from the late 15th to the early 18th century. A monumental gothic tabernacle (Sakramentshaus) that originally stood in the north of the sanctuary was probably erected during the embellishment of the cathedral presbytery, carried out by Bishop Osvald Thuz (1466–1499). According to later historical descriptions, its high stone structure comprised statues of the holy Hungarian kings Stephen and Ladislas, Prince St Emeric and St Martin of Tours, and was topped by angels and a pelican (symbol of the Eucharist). The tabernacle was removed during the redecoration of the sanctuary around 1800, but it could arguably be connected to a sandstone fragment preserved at the Croatian History Museum, which depicts a crowned head of an old man (identified as St Stephen). When, in 1701, the new marble tabernacle was placed upon the high altar, it once more featured the Arpadian saints. Unfortunately, it was also destroyed and dispersed during the 19th century, but the already known sculptures of St Stephen and St Ladislas have now been related to a small marble statue of St Emeric from the Arts and Crafts Museum in Zagreb. An interesting example of specific iconographical development can, furthermore, be observed in two painted cycles with St Ladislas' legend, which once adorned the saint' s altars from the 15th and 17th centuries. Departing from the ingrained medieval hagiographical sources, the later cycle arguably reflects the 17th-century development in Croatian political and historiographic ideas by introducing some new iconographical motives as well as re-using some of the old ones.

Humans are energy hogs, intelligent purveyors of displaced electrical waves construed from ancient carbon compounds. Our built environment has let us forget this. Our collective ambivalence towards the subject has grown with the loss of these public assets to private companies under a socially engineered lack of public interest in energy production. There was once a time energy infrastructures were revered and upheld as public spaces, giant testaments to the greatness of society harnessing the natural world, gold stars congratulating the intelligence of humankind. Great designers, political leaders and visionaries created works of art, sculpture, landscape architecture which functioned for the greater good. Today, these works have been submerged, covered, cheapened and ill-maintained, forgotten by a society who assumes the complacent position of "consumer". We are not consumers, and it is not a product. We are a system. This thesis aims to realign our energy needs back into public consciousness to recreate stewardship around our crumbling energy infrastructure and bring agency to those wishing to know where their energy comes from. Starting with secondary research on human energy consumption, it's recent surge and the technologies which sustain it, the study will narrow its cartographic pursuits to the region of New England, where many individual companies hold rights to an intricate energy system which blurs political boundaries. In mapping this system, we will create a network wherein the public can occupy space within their energy infrastructures. In evaluating this network, the focus will downshift into a site specific, primary investigation of these ideals in an urban environment, concluding in a design exercise in landscape urbanism which focuses not on the adaptive reuse of infrastructures past, but the seamless political integration of the public realm and existing essential infrastructures which function today.

Producción Científica ; La figura de Ricardo de Orueta (1868-1939) es un ejemplo revelador de la cultura española de las primeras décadas del siglo xx, de su vitalidad creativa, así como del clima político de esta etapa compleja y mal conocida de nuestra historia, que merece ser rescatada y bien estudiada. En septiembre de 2014, el Museo Nacional de Escultura de Valladolid ha inaugurado una exposición temporal bajo el título Esto me trae aquí. Ricardo de Orueta, en el frente del arte (1868-1939) y que luego viajará al Museo Municipal de Málaga y a la Residencia de Estudiantes de Madrid. Esta exposición pretende sacarle de la letra muerta en que cayó al morir en 1939. Gracias a esta exposición, quienes aún no le conocían han podido comprender que se trataba de un español por descubrir; y, en el campo de nuestra cultura, de un hombre imprescindible. ; Ricardo de Orueta (18681939) is a revealing example of early 20th-century Spanish culture. His creative vitality - like the political climate of that complex and poorly understood time in our history - deserves to be rescued and studied in depth. In September 2014, the National Museum of Sculpture in Valladolid inaugurated a temporary exhibition entitled "Esto me trae aqui"(This Brings Me Here). Ricardo de Orueta, at the forefront of art, then travelled to the Municipal Museum of Malaga and the Residencia de Estudiantes (Students' Residence) in Madrid. This exhibition aims to rescue him from the oblivion he fell into upon his death in 1939. Thanks to this exhibition, those who had not come across de Orueta before have been able to discover the artist here and see that he is a crucial figure for Spanish culture.

Рассмотрено создание разнообразных памятников в Москве, Смоленске, Малоярославце и Санкт-Петербурге, их архитектурные и композиционные особенности на фоне исторических событий Отечественной войны 1812 г., затронуты проблемы сохранения и реставрации историко-культурного наследия России. Посвящается году Российской истории и одному из важнейших его событий 200-летию Отечественной войны 1812 г. ; The article covers a relevant historical and cultural problem of elaboration and maintenance of monuments of the military glory of 1812. The author considers various architectural and sculptural monuments illustrating heroic events of Patriotic war of 1812, built in the two Russian capitals Moscow and Saint Petersburg in different historical periods, and also in primordial Russian towns, such as Smolensk, Vyazma, and Maloyaroslavets. Architectural and composition-related features of this or that monument erected against the background of historic events of the war of 1812 are analyzed in detail. The author demonstrates the links between architecture and sculpture within the framework of town-planning solutions implemented in the pieces that have found their places in the towns enlisted above. The value of symbols of the Victory and Glory of the Russian army and the Russian people is marked. The names of the most famous heroes of this war, starting from a field marshal and ending with a soldier are inscribed. By addressing the historical and cultural heritage of Russia, the author informs readers about the most significant events of the war. The author mentions an acute problem of the modernity, that is, preservation and restoration of monuments, and shares his view point. The value of the historic and cultural heritage of Russia for military and patriotic education is emphasized. The article is prepared within the framework of the year of the Russian history.

Rudolf Valdec, together with Robert Frangeš-Mihanović, was a sculptor of the Zagreb circle in the late 19th and early 20th century. Medal art in Croatia began with those two leading Croatian sculptors at the time of Art Nouveau. Right from the beginning their commemorative works were on par with contemporary European medal-making. Rudolf Valdec's medals are completely in the Art Nouveau style, which implies that the plaque was the dominant form of art expression. He was an excellent portraitist, and his plaques are technologically perfect. He made small portraits and compositions in shallow relief, with meticulously rendered decorative details in curving lines. The Collection of Medals and Plaques in the Modern Gallery in Zagreb has fifty five works by Rudolf Valdec. Twenty plaques and two medals were made after posters, in several techniques and struck in a variety of materials. They date from 1905, when Valdec started his work on medals, to 1923, when he made the last plaque. The Dragutin Mandl Collection of Medals and Plaques has all the fourteen works by the artist, a total of forty-nine specimens, and six specimens were acquired from other sources. This article for the first time gives a comprehensive and detailed presentation of all the medal works of Rudolf Valdec, enabling the public at large, and also experts, to get to know his complete opus in medals in the Modern Gallery in Zagreb. The commemorative work by this Croatian sculptor must be seen in the context of the art medal. Rudolf Valdec is one of the pioneers of the modern Croatian medal, with masterpieces in this branch of sculpture. Outstanding is the portrait plaque of J.J. Strossmayer (1905) and the plaque with the figural composition Military Casino (1911).

Researchers have called for more studies of how organizations institutionalize the unfamiliar as taken for granted. This study answers this call by examining how an organization has advocated an unfamiliar activity, the prosumption of art. To show how particular means and ends become taken for granted, this research analyzes how the Burning Man organization has promoted a logic advocating the prosumption of art. Using an in-depth ethnographic study of the organization behind Burning Man, a weeklong gathering of 50,000 persons around a ceremonial bonfire of a 40-foot-tall sculpture in the Nevada Black Rock Desert, the author shows how the Burning Man organization codified and advocated what she identifies as an inclusive community logic, a set of beliefs and practices that promote artistic prosumption. Members sought to expand who may produce art by recasting producers and consumers as prosumers, what kind of art is produced by encouraging interactions via prosumption, and how art is consumed by imbuing prosumption with specific meaning via connection. However, conflicts about whether particular actions support or undercut the inclusive community logic have not only challenged the Burning Man organization's authority to shape prosumption but also forced organizers to clarify the ambiguous contours between appropriate and inappropriate activities. This research makes three contributions: (a) It reveals how an organization can facilitate new conceptions of activities by promulgating a logic that highlights contrasts between not-yet-familiar and conventional means; (b) it delves into how an organization adjudicates among competing conceptions of appropriate activities, illuminating the promotion of presumption specifically and the emergence of a logic generally; and (c) it synthesizes three separate literatures on the sociology of organizations, prosumption, and art.

This work examines how Roman marble were reused into religious and civil buildings beetween the IVth-Xth / XIth-XVth centuries in some centers of Campania. The aims of this research were threefold: I. to establish a corpus around the spolia of old centers of Campania. II. to consider the problem of continuity and the revival of the past in new buildings through the codification of new religious and politic aesthetic. III. to demonstrate the origin of spolia from ancient centers of Campania and not only from Lazio' centers. The evidence of some unpublished materials (as sarcophagi and capitals), preserved mainly in local Museums, or reused in Medieval Churches and in the streets of cities, contribute to better delineate our knowledges about Campania spolia, before known from authoritative studies on the subject. The use of spolia in Campania is interesting to understand the survival of the ancient Roman society of Campania during the Longobard and Norman dominations. We can also describe the difference between the reuse of earlier building materials or decorative sculpture on new momuments in South and North Campania, looking at the spolia found in Capua (for example, coming from the marbles of the Amphitheatre or Theatre in Santa Maria Capua Vetere), Sessa Aurunca and Teano and Salerno-Amalfi' coast. The origins of spolia are from imperial-roman Theatre and Amphitheatre very rich in marble to be reused, from imperial necropolis of republican centers of Campania, restored by Traiano and Adriano emperors, but also from important villae around Naples and Flegrean Bay. In the Medieval age, the coastal cities acquire the materials through maritime trade: from Paestum to Salerno-Amalfi to Naples-Pozzuoli-Ostia-Roma, but also through regional routes: Nuceria-Capua-Benevento, full of roman spolia.

Conflicted Antiquities is a rich cultural history of European and Egyptian interest in ancient Egypt and its material culture, from the early nineteenth century until the mid-twentieth. Consulting the relevant Arabic archives, Elliott Colla demonstrates that the emergence of Egyptology—the study of ancient Egypt and its material legacy—was as consequential for modern Egyptians as it was for Europeans. The values and practices introduced by the new science of archaeology played a key role in the formation of a new colonial regime in Egypt. This fact was not lost on Egyptian nationalists, who challenged colonial archaeologists with the claim that they were the direct heirs of the Pharaohs, and therefore the rightful owners and administrators of ancient Egypt's historical sites and artifacts. As this dispute developed, nationalists invented the political and expressive culture of "Pharaonism"—Egypt's response to Europe's Egyptomania. In the process, a significant body of modern, Pharaonist poetry, sculpture, architecture, and film was created by artists and authors who looked to the ancient past for inspiration. Colla draws on medieval and modern Arabic poetry, novels, and travel accounts; British and French travel writing; the history of archaeology; and the history of European and Egyptian museums and exhibits. The struggle over the ownership of Pharaonic Egypt did not simply pit Egyptian nationalists against European colonial administrators. Egyptian elites found arguments about the appreciation and preservation of ancient objects useful for exerting new forms of control over rural populations and for mobilizing new political parties. Finally, just as the political and expressive culture of Pharaonism proved critical to the formation of new concepts of nationalist identity, it also fueled Islamist opposition to the Egyptian state.