An Optimized Nontoxic Electrolytic Etching Procedure for Fine Art Printmaking

Leonardo ◽  
2020 ◽  
pp. 1-10
Author(s):  
Katharine Bossmann ◽  
Jose Covarrubias ◽  
Asanka S. Yapa ◽  
Benjamin Ingle ◽  
Stefan H. Bossmann ◽  
...  
Keyword(s):  
Ferric Chloride ◽  
Fine Art ◽  
Creative Expression ◽  
Acid Etching ◽  
National Endowment ◽  
Scientific Methods ◽  
Innovative Method ◽  
The Arts ◽  
Electrolytic Etching ◽  
Funded Project

In this National Endowment for the Arts funded project we wanted to find a way to provide artists with an innovative method for creative expression using electrolytic etching techniques that have long been used in the electronics and biotech industries. Using scientific methods the electrolytic etching process was improved and then compared side by side with copper etched in ferric chloride after analysis with an AFM. The optimized electrolytic etching method proved to be superior to classical acid etching in intaglio printmaking.

Arts Nonprofits—Associations and Agencies: A Literature Review

2019 ◽  
Vol 4 (4) ◽  
pp. 1-63
Author(s):  
Robert A. Stebbins
Keyword(s):  
Social World ◽  
Fine Art ◽  
Art World ◽  
Artistic Development ◽  
Public Benefits ◽  
The Arts ◽  
Or Groups ◽  
Dance Clubs ◽  
Financial Base ◽  
Selection Of

AbstractAn association is “a relatively formally structured nonprofit group that depends mainly on volunteer members for participation and activity and that primarily seeks member benefits, even if it may also seek some public benefits” (Smith, Stebbins, & Dover, 2006, p. 23). The arts that give birth to these organizations can be classified as either fine art or entertainment art. Every art association is embedded each in its own art world and its own social world. Members of these association are mostly amateurs or hobbyists in their art.Publications on arts-related amateur, hobbyist, professional, and mixed-member associations are reviewed. Their prime mission is to foster, present, and sometimes chronicle the art that its members prize. Many of these works report on the structure of the associations as well as on the recruitment, artistic development, deployment of artists, dissemination of their art, and retention of their members. Also reviewed is a selection of publications bearing on what could be called “arts consumption clubs,” or groups such as book clubs, dance clubs, and jazz clubs established to generate interest in a given art. Some of the publications reviewed center on associational management, use of volunteers, and financial base of the group.

scholarly journals Beyond Darwinian Distance: Situating Distant Reading in a Feminist Ut Pictura Poesis Tradition

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 659-667 ◽  
Author(s):  
Lisa Marie Rhody
Keyword(s):  
The United States ◽  
National Endowment ◽  
Distant Reading ◽  
Western Tradition ◽  
Parts Of Speech ◽  
Reading Methods ◽  
The Arts ◽  
Sister Arts ◽  
The Devil ◽  
Ut Pictura Poesis

The challenge facing “distant reading” has less to do with Franco Moretti's assertion that we must learn “how not to read” than with his implication that looking should take the place of reading. Not reading is the dirty open secret of all literary critics-there will always be that book (or those books) that you should have read, have not read, and probably won't read. Moretti is not endorsing a disinterest in reading either, like that reported in the 2004 National Endowment for the Arts' Reading at Risk, which notes that less than half the adult public in the United States read a work of literature in 2002 (3). In his “little pact with the devil” that substitutes patterns of devices, themes, tropes, styles, and parts of speech for thousands or millions of texts at a time, the devil is the image: trees, networks, and maps-spatial rather than verbal forms representing a textual corpus that disappears from view. In what follows, I consider Distant Reading as participating in the ut pictura poesis tradition-that is, the Western tradition of viewing poetry and painting as sister arts-to explain how ingrained our resistances are to Moretti's formalist approach. I turn to more recent interart examples to suggest interpretive alternatives to formalism for distant-reading methods.

Obsolescence

PMLA ◽  
2008 ◽  
Vol 123 (3) ◽  
pp. 718-722 ◽  
Author(s):  
Kathleen Fitzpatrick
Keyword(s):  
United States ◽  
Graduate Students ◽  
National Endowment ◽  
The Novel ◽  
Contemporary Culture ◽  
American Novel ◽  
The Arts ◽  
The Status ◽  
Material State ◽  
Different Response

I was invited by the MLA committee on the status of graduate students in the profession to speak at a convention workshop entitled “Keywords for a Digital Profession.” My keyword was obsolescence, a catchall term for a multiplicity of conditions; there are material obsolescences, institutional obsolescences, and purely theoretical obsolescences, each type demanding a different response. I spent years pondering theoretical obsolescence while writing The Anxiety of Obsolescence: The American Novel in the Age of Television. The book argues, in part, that claims about the obsolescence of cultural forms often say more about those doing the claiming than they do about the objects of the claims. Neither the novel in particular nor the book more broadly nor print in general is dead, and agonized announcements of the death of such technologies and genres often serve to re-create an elite cadre of cultural producers and consumers, ostensibly operating on the margins of contemporary culture and profiting from their claims of marginality by creating a sense that their own values, once mainstream and now decaying, must be protected. Two oft-cited reports of the National Endowment for the Arts, Reading at Risk (2004) and To Read or Not to Read (2007), come to mind; like numerous other expressions of anxiety about the supposed decline of reading, each rhetorically creates a cultural wildlife preserve in which the apparently obsolete can flourish (United States). These texts suggest that obsolescence is, in this case at least, less a material state than a political project.

scholarly journals Investment in Fine Art Market Versus Investment in Financial Instruments

2020 ◽  
Author(s):  
Ana - Corina Dimitriu ◽  
Gheorghe Hurduzeu
Keyword(s):  
Art Market ◽  
Fine Art ◽  
Financial Instruments ◽  
The Arts ◽  
Art Investment

The art market has been seen always as an area of excellence, where only the elected people can understand the mysteries of the specific of the arts. Although there might be both investments in assets, the investment in art and the investment in financial instruments are different. This paper explores the differences between these two types of investments. Keywords: art investment, art value, art price

National Endowment for the Arts

1978 ◽  
Vol 8 (2-3) ◽  
pp. 110-110
Keyword(s):  
United States ◽  
The United States ◽  
Educational Institutions ◽  
National Endowment ◽  
The Arts ◽  
Dance Companies

The National Endowment for the Arts awards grants for projects related to the arts, and makes grants to museums, theatres, dance companies, and educational institutions in the United States to help support and improve their programs. Because of the Endowment's organization it was not possible to compile a list of Africa-related grants.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

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