Bored Cop Leaning against Abstract Sculpture on Plaza below Skyscraper

1999 ◽  
pp. 59-59
Keyword(s):  
Abstract Sculpture

scholarly journals ARBY SAMAH : MAESTRO SENI PATUNG ABSTRAK DI INDONESIA

2019 ◽  
Vol 8 (2) ◽  
pp. 445
Author(s):  
Harissman Harissman ◽  
Elvis Elvis ◽  
Rica Rian
Keyword(s):  
Field Observation ◽  
Descriptive Analysis ◽  
Two Dimensions ◽  
Abstract Art ◽  
Analysis Approach ◽  
Work Of Art ◽  
The People ◽  
Present Aspect ◽  
Abstract Sculpture

AbstrakPenelitian ini membahas tentang penelusuran Arby Samah yang dikenal sebagai pelopor seni patung abstrak di Indonesia, serta mengungkap alasan Arby Samah memilih berkarya patung. Tujuan penelitian ini adalah untuk mengetahui sosok Arby Samah sebagai perintis seni patung abstrak di Indonesia, dan sangat berjasa dalam perkembangan seni patung di Indonesia serta Sumatera Barat khususnya. Kajian teori menggunakan seleksi dan fokus gejala berdasarkan jiwa zaman, menitikberatkan pada perspektif historis mempunyai dua dimensi: aspek masa kini, dan Aspek masa lampau. Metode yang digunakan dalam penelitian ini adalah kualitatif dengan pendekatan deskriptif analisis. Adapun teknik pengumpulan data dilakukan melalui teknik observasi lapangan dan wawancara, pengambilan dokumen yang terkait. Hasil penelitian menunjukkan bahwa Arby Samah berkarya seni patung abstrak dilatarbelakangi oleh  faktor: 1) Budaya di Sumatera Barat yang membuat seni patung sulit berkembang. 2) Adat di Sumatera Barat yang mengikat setiap ruang gerak masyarakatnya. 3) Masyarakat di Sumatera Barat mayoritas memeluk Islam yang sangat mengikat dengan hadis dan Al-quran yang melarang membuat patung dalam wujud realis.Kata Kunci: arby samah, patung abstrak, budaya.AbstractThis research discussed about a person namely as Arby Samah that has known as a pioneer of art sculpture in Indonesia, it was also to reveal the reason of Arby Samah why choosing sculpture as his work of art. The aim of the research was too see the figure of Arby Samah as a pioneer of art sculpture in Indonesia, and also his contribution to the growth of art sculpture in indonesia especially in west sumatera province. Theory of the research used  the selection and observation of the nature symptom. This research focused to the historic perspective that consist of two dimensions, present aspect and past aspect. The method that used in this research was qualitative with descriptive analysis approach. The technique that used in collecting data were field observation, interview and taking the related documents. The result showed that when in producing abstract art sculpture, Arby Samah was influenced by factors: 1) West Sumatera culture that made art sculpture  difficult to growth. 2) the tight tradition or the custom of West sumatera, it limited the people to create art sculpture. 3) Islam is the majority religion of the people in west sumatera were in Al Qur’an and Al Hadist has stated that creating sculpture in realist form was prohibited.  Keywords: arby samah, abstract sculpture, culture.

Hepworth, Dame (Jocelyn) Barbara (1903–1975)

2018 ◽  
Author(s):  
Helena Bonett
Keyword(s):  
Visual Arts ◽  
Large Scale ◽  
New Materials ◽  
Art Form ◽  
Male Dominated ◽  
Abstract Sculpture

Barbara Hepworth was a sculptor, draughtsperson, painter and printmaker, born in Yorkshire but based in London and St Ives in Cornwall, with a career spanning from the late 1920s to her death in 1975. Known for her pioneering abstract sculpture—including pierced forms and multipart arrangements—Hepworth was one of the leaders of the modernist movement in British visual arts. Her work also shares a confluence of ideas with modernists on the continent, many of whom she first met in France in the 1930s. At that time, her work was predominantly carved in wood and stone, but from the 1940s Hepworth began working with new materials, employing stringing and color in her carved pieces, and, in the following decade, using plaster and bronze to create large-scale works. She was a member of many groups, including Abstraction-Création in Paris, the 7 & 5 Society and Unit One in London, and the Penwith Society of Arts in St Ives. Engaged in a male-dominated art form, Hepworth struggled to gain the same recognition as contemporaries such as Henry Moore. Despite these difficulties, however, she gradually gained a reputation on the international stage. Today, Hepworth remains one of Britain’s most famous and best-loved sculptors.

Zen and the art of abstract sculpture

2003 ◽  
Vol 3 (5) ◽  
pp. viii-x
Author(s):  
Catherine Lewis
Keyword(s):  
Abstract Sculpture

Transgressing Gender in 1960s Abstract Sculpture

Art Journal ◽  
2016 ◽  
Vol 75 (4) ◽  
pp. 65-66
Author(s):  
Christa Noel Robbins
Keyword(s):  
Abstract Sculpture

The Role of Materials in My Geometric and Abstract Sculpture: A Memoir

Leonardo ◽  
1982 ◽  
Vol 15 (1) ◽  
pp. 1
Author(s):  
Marie Zoe Greene-Mercier
Keyword(s):  
Abstract Sculpture

Ekphrasis, Abstraction, and Myth: ‘From Psyche’s Journal’, Eurydice in the Underworld, ‘Requiem’

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
Ordinary Language ◽  
The Body ◽  
Close Reading ◽  
Physical Pain ◽  
Verbal Language ◽  
Writing Practices ◽  
Abstract Sculpture

The final chapter of the study examines Acker’s practices of ekphrasis and reappropriation of mythology in her final works. Chapter six offers a close reading of ‘From Psyche’s Journal’, Acker’s creative critical piece on Cathy de Monchaux’s sculptural work, examining the ekphrastic impulse of the work. Ekphrasis is read as enabling Acker to access the materiality of sculpture in her writing. Acker’s writing practices are placed within the context of postwar abstract sculpture by women, with a particular focus on Eva Hesse’s idea of absurdity that ‘is not a “thing” but, “the sensation of the thing.”’ Acker’s ekphrastic practice is brought into dialogue with her practice of the reappropriation of mythology, and the conceptual practice that is termed here ‘literary calisthenics’, which arises from her experiments with language and bodybuilding. Acker’s two later texts, Eurydice in the Underworld (1997) and Electra (1997) are addressed in light of Elaine Scarry’s work on the difficulty of expressing physical pain. Acker’s experiments that move towards a non-verbal language against ordinary language, and the silent languages of the body, facilitate the voicing of pain, and in particular the relation between physical pain and imagining.

Some Call It Stone: Teaching Abstract Sculpture

2004 ◽  
Vol 2 (3) ◽  
pp. 168-172 ◽  
Author(s):  
Rikki Asher
Keyword(s):  
Abstract Sculpture
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