6th International Meeting on Retouching of Cultural Heritage, RECH6

RECH Biennial Meeting is one of the largest educational and scientific events in Retouching field, an ideal venue for conservators and scientists to present their research results about retouching. The main focus will be to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied during the retouching process in different areas of conservation: mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork, photography, contemporary art, among others. This Meeting aims to address retouching by encouraging papers that contribute to a deeper understanding of this final task of the conservation and restoration intervention. The main theme embraces the concepts of retouching, the criteria and limits in the retouching process, the bad retouching impact on heritage and their technical and scientific developments.This Meeting will discuss real-life approaches on retouching, focusing on practical solutions and on sharing experiencesColomina Subiela, A.; Doménech García, B.; Bailão, A. (2023). 6th International Meeting on Retouching of Cultural Heritage, RECH6. Editorial Universitat Politècnica de València. https://doi.org/10.4995/RECH6.2021.1601

Collaborative digital and wide format printing: Methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including RichardHamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role.The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints.The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking.This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role.It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies

Collaborative digital and wide format printing : methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including Richard Hamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role. The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints. The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking. This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role. It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Aiding the conservation of two wooden Buddhist sculptures with 3D imaging and spectroscopic techniques

The conservation of Buddhist sculptures that were transferred to Europe at some point during their lifetime raises numerous questions: while these objects historically served a religious, devotional purpose, many of them currently belong to museums or private collections, where they are detached from their original context and often adapted to western taste. A scientific study was carried out to address questions from Museo d'Arte Orientale of Turin curators in terms of whether these artifacts might be forgeries or replicas, and how they may have transformed over time. Several analytical techniques were used for materials identification and to study the production technique, ultimately aiming to discriminate the original materials from those added within later interventions

Poetry's Afterlife: Verse in the Digital Age

At a time when most commentators fixate on American poetry's supposed ""death,"" Kevin Stein's Poetry's Afterlife instead proposes the vitality of its aesthetic hereafter. The essays of Poetry's Afterlife blend memoir, scholarship, and personal essay to survey the current poetry scene, trace how we arrived here, and suggest where poetry is headed in our increasingly digital culture. The result is a book both fetchingly insightful and accessible. Poetry's spirited afterlife has come despite, or perhaps because of, two decades of commentary diagnosing American poetry as moribund if not already deceased. With his 2003 appointment as Illinois Poet Laureate and his forays into public libraries and schools, Stein has discovered that poetry has not given up its literary ghost. For a fated art supposedly pushing up aesthetic daisies, poetry these days is up and about in the streets, schools, and universities, and online in new and compelling digital forms. It flourishes among the people in a lively if curious underground existence largely overlooked by national media. It's this second life, or better, Poetry's Afterlife, that his book examines and celebrates

A critical survey of the materials and techniques of Charles Henry Sims RA (1873-1928) with special reference to egg tempera media and works of art on paper

This thesis collates and provides new knowledge about the working practices and dissemination of materials and techniques of a leading Edwardian painter. Charles Sims RA (1873-1928) represents a neglected body of British artists who were responding to and assimilating certain new tendencies within early modernism yet at the same time were conscious and respectful of traditional practices and training methods. The study makes consistent reference to the extensive studio archive at Northumbria University whose existence has provided a unique opportunity to map Sims’ own informal working notes and observations, against the retrospective account Picture Making (1934) by his son, and instrumental and technical analyses performed on some works. The significance of this specific period in relation to the development of new materials and techniques, and the role instruction manuals and teaching played in developing Sims' stylistic and at times thematic approaches to practice are also discussed. Of particular interest are those which focus on drawing, watercolour and egg tempera techniques, media which perfectly suited Sims' temperament and arguably featured in and formed his best works. The thesis also aims to compare Sims' working practices with those of his better known contemporaries such as Augustus John, Philip Wilson Steer, William Orpen (all from the Slade) as well as members of the Tempera Revival movement. by crossreferencing reports held in national and international collections with hitherto unseen material. As a consequence the research will have a much wider application beyond the field of conservation, and will illuminate early 20th century artistic inheritance and intent