Break-up: The Core of Modern Art

Art Journal ◽  
1966 ◽  
Vol 25 (4) ◽  
pp. 424
Author(s):  
Ralph A. Smith ◽  
Katharine Kuh
Keyword(s):  
The Core ◽  
Art Journal ◽  
1966 ◽  
Vol 25 (4) ◽  
pp. 424-426
Author(s):  
Ralph A. Smith
Keyword(s):  
The Core ◽  

Author(s):  
Ashlie B. Flegel

Abstract A Honeywell Uncertified Research Engine was exposed to various ice crystal conditions in the NASA Glenn Propulsion Systems Laboratory. Simulations using NASA’s 1D Icing Risk Analysis tool were used to determine potential inlet conditions that could lead to ice crystal accretion along the inlet of the core flowpath and into the high pressure compressor. These conditions were simulated in the facility to develop baseline conditions. Parameters were then varied to move or change accretion characteristics. Data were acquired at altitudes varying from 5 kft to 45 kft, at nominal ice particle Median Volumetric Diameters from 20 μm to 100 μm, and total water contents of 1 g/m3 to 12 g/m3. Engine and flight parameters such as fan speed, Mach number, and inlet temperature were also varied. The engine was instrumented with total temperature and pressure probes. Static pressure taps were installed at the leading edge of the fan stator, front frame hub, the shroud of the inlet guide vane, and first two rotors. Metal temperatures were acquired for the inlet guide vane and vane stators 1–2. In-situ measurements of the particle size distribution were acquired three meters upstream of the engine forward fan flange and one meter downstream of the fan in the bypass in order to study particle break-up behavior. Cameras were installed in the engine to capture ice accretions at the leading edge of the fan stator, splitter lip, and inlet guide vane. Additional measurements acquired but not discussed in this paper include: high speed pressure transducers installed at the trailing edge of the first stage rotor and light extinction probes used to acquire particle concentrations at the fan exit stator plane and at the inlet to the core and bypass. The goal of this study was to understand the key parameters of accretion, acquire particle break-up data aft of the fan, and generate a unique icing dataset for model and tool development. The work described in this paper focuses on the effect of particle break-up. It was found that there was significant particle break-up downstream of the fan in the bypass, especially with larger initial particle sizes. The metal temperatures on the inlet guide vanes and stators show a temperature increase with increasing particle size. Accretion behavior observed was very similar at the fan stator and splitter lip across all test cases. However at the inlet guide vanes, the accretion decreased with increasing particle size.


2019 ◽  
pp. 82-97
Author(s):  
Ramón Cernuda

Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.


Author(s):  
James Steichen

Rolf de Maré was a Swedish-born impresario, art collector, and philanthropist. Born into one of Sweden’s wealthiest families, he began collecting modern art at an early age, gaining entrée to the leading artists of the day through his relationship with the painter Nils Dardel. De Maré was the founder and sole patron of the Ballets Suédois, or Swedish Ballet, created as a vehicle for the dancer and choreographer Jean Börlin. Although the company was in existence for only five years, it proved to be the most notable rival to Diaghilev’s Ballets Russes, on which it was self-consciously modelled and which it would, in turn, influence. In addition to modern art and ballet, de Maré had a strong interest in Asian and African folk art and artefacts, amassing significant collections in these areas over the course of his many travels. De Maré’s collections constitute the core holdings of two major dance research centres, for which he provided institutional leadership and financial support: the Archives Internationales de la Danse (AID) in Paris and the Dansmuseet (Dance Museum) in Stockholm.


Author(s):  
Jeremy Spencer ◽  
J. Matthew Huculak ◽  
Carmenita Higginbotham ◽  
Anita Callaway ◽  
Eksuda Singhalampong

Impressionism is an artistic movement that flourished in France between 1860 and 1890. The term has been widely adopted around the world to describe artistic production that follows the principles and methodologies of the "Impressionists." Opposing Realism, a technique that valued accurate renderings of a scene ("to copy nature"), Impressionists sought to "observe nature" and to capture its transitory states of light and feeling. Impressionists produced paintings of natural landscapes as well as the spectacle of modern life to express an essence of modernity. They took advantage of technological innovations like collapsible paint tubes and synthetic colors, which allowed them to work quickly en plein air and use bright palettes. Modernity also brought in new products to Paris. The opening of trade routes between Japan and Europe exposed French artists to different compositional techniques through Japanese woodblock printing, specifically the ukiyo-e print. Monet claimed that Japanese artists "taught us [impressionists] to compose differently." The original movement fractured in the mid-1880s and the core artists no longer painted or exhibited together. Originally criticized for artistic incompetence that did not reflect prevailing norms in the artistic academy, Impressionist paintings are among the most reproduced and sought after popular works of modern art.


Author(s):  
Anneka Lenssen

The painter Elias Zayyat (born Damascus, Syria, 1935) has played a leading role in developing a Syrian modern art pedagogy and analysis of Syrian visual culture—particularly traditions of icon painting. He first learned painting as a teenager in the studio of Michel Kurché in Damascus, followed by fellowship study at the Academy of Fine Arts in Sofia, Bulgaria (1956–1960) and a final year at the Faculty of Fine Arts in Cairo, Egypt. Upon his return to Syria, Zayyat took an assistant teaching position at the new College of Fine Arts in Damascus, where he worked with the core faculty to overhaul and update the curriculum to an international standard of open experimentation. He became involved in the Group of Ten in 1970, which was dedicated to encouraging the development of art outside the official ministry framework in Syria. His own art is influenced by religious and popular iconography and often makes use of allegory to express the social, economic, and political plight of Syrians. Zayyat has also worked as a restorer of icons as well as completing new icon commissions. In this work, he seeks to employ a modern visual style and to develop distinctively Syrian features.


Author(s):  
Ashrafi S. Bhagat

The Madras Art movement was a regional modern art movement that emerged in the 1960s at Madras [Chennai], South India. Post Independence [1947], Indian artists had to establish their identity and authenticity as did Third World nations internationally. From the locus of the colonial established Madras School of Arts and Crafts, Devi Prasad Roy Chowdhury, its first Indian artist Principal (appointed in 1930) created the fine arts curriculum and set the stage for the development of this modern movement. It was developed further under K.C.S. Paniker, the Principal of the Art School in the 1960s [1957–1966]. The group of artists that came together in the early 1960s within the art institution provides for a critical study of modernity exercised by them within the parentheses of the Madras Art Movement. This movement that took place in the early 1960s was pushed creatively by visionaries and stalwarts such as K.C.S. Paniker in painting and S. Dhanapal in sculpture. The artist-teachers along with students creatively interacted with the vernacular art of the region, thus the school played a pivotal role in the formation of artistic statements from the core members of the Madras Art Movement. As it was the only institution offering comprehensive art education in South India, until the emergence of other art institutions in the 1960s, many students aspiring to be artists gravitated here from the four states of Kerala, Karnataka, Andhra Pradesh and Tamil Nadu. Within the movement two broad styles, ‘‘Figurative’’ and ‘‘Abstract,’’ can be identified as practiced by the artists who passed through the portals of this institution and established themselves as artists in their own right.


2017 ◽  
Author(s):  
Arne D. Ekstrom ◽  
Charan Ranganath

AbstractIn recent years, the field has reached an impasse between models suggesting that the hippocampus is fundamentally involved in spatial processing and models suggesting that the hippocampus automatically encodes all dimensions of experience in the service of memory. Here, we consider key conceptual issues that have impeded progress in our understanding of hippocampal function, and we review findings that establish the scope and limits of hippocampal involvement in navigation and memory. We argue that space and time serve as a primary scaffold to break up experiences into specific contexts, and to organize multimodal input that is to be associated within a context. However, the hippocampus is clearly capable of incorporating additional dimensions into the scaffold if they are determined to be relevant in the event-defined context. Conceiving of the hippocampal representation as constrained by immediate task demands—yet preferring axes that involve space and time—helps to reconcile an otherwise disparate set of findings on the core function of the hippocampus.


Author(s):  
S. Grévy ◽  
L. Axelsson ◽  
J. C. Angélique ◽  
R. Anne ◽  
D. Guillemaud-Mueller ◽  
...  

2017 ◽  
Vol 100 (5) ◽  
pp. 1814-1819 ◽  
Author(s):  
M. Vermillac ◽  
J.-F. Lupi ◽  
F. Peters ◽  
M. Cabié ◽  
P. Vennéguès ◽  
...  
Keyword(s):  
The Core ◽  

Sign in / Sign up

Export Citation Format

Share Document