SCULPTURE. silly synopsis of sculpture cartoon

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1 SCULPTURE silly synopsis of sculpture cartoon McGraw-Hill Higher Education, Inc. 2008

2 Chapter Eleven Sculpture and Installation Three Dimensional: involves height, width, and depth. In The Round Relief: Low relief (bas-relief) High relief (haut-relief) Installation Kinetic art Monolithic Earthwork Time-based work Methods of sculpture: Additive Modeling (manipulation) Assembling Subtractive Carving Casting (substitution) McGraw-Hill Higher Education, Inc. 2008

3 Approaches to Three Dimensions in Sculpture Sculpture made to be seen from many sides is known as freestanding, or sculpture in the round Many freestanding sculptures are made so that we can move around them Relief is a type of sculpture specifically designed for viewing from one side The image in a relief either protrudes from or is sunk into a surface It can have very little depth (bas-relief) or a great deal (high relief)

4 Carving The most ancient works of art that still exist were made using subtractive methods of sculpture Most of these were worked by chipping, carving, sanding, and polishing

5 2.146a Colossal Head #10, Olmec. Basalt. San Lorenzo, Veracruz, Mexico

6 2.146b Colossal Head #10, Olmec. Basalt. San Lorenzo, Veracruz, Mexico

7 METHODS McGraw-Hill Higher Education, Inc. 2008

8 Sculpture and the 3 rd Dimension Three Dimensional: involves height, width, and depth. Relief (frontal view): Low relief (bas-relief), High relief (haut-relief) McGraw-Hill Higher Education, Inc. 2008

9 LOW RELIEF SCULPTURE Relief sculpture. Apollo. Greek Silver Coin.

10 CARVED RELIEF SCULPTURE Army on the March. Angkor War. C Cambodia. Sandstone.

11 CAST HIGH RELIEF Robert Longo Corporate Wars: Wall of Influence Cast Aluminum.

12 Chamberlain. Ahyre terra cotta MODELING

13 MODELING Arneson. California Artist Stoneware (ceramics) Glazed. ARMATURE Mayan, c Terracotta and paint.

14 Modeling Modeling in clay or wax (for example) is an additive process; the artist builds up the work by adding material Because such materials as clay often cannot support their own weight, sometimes an artist will employ a skeletal structure, called an armature, to which the clay will be added; the armature will then later be removed (or burned away) when the work is dry

15 2.151 Sarcophagus from Cerveteri, c. 520 BCE. Painted terracotta, 3 9½ x 6 7. Museo Nazionale di Villa Giulia, Rome, Italy

16 SUBTRACTIVE McGraw-Hill Higher Education, Inc. 2008

17 SUBTRACTIVE: CARVING Insert 72 dpi visual Suggested visual: figure 11.6 Olowe of Ise, Bowl With Figures, Early 20th Century. Catlett. Mother and Child # Walnut. 38 McGraw-Hill Higher Education, Inc Olmec, Colossal Head, B.C.E. Monolithic Sculpture

18 McGraw-Hill Higher Education, Inc. 2008

19 CARVING Michelangelo. Awakening Slave Marble. 9

20 Iowa State Fair. Butter. McGraw-Hill Higher Education, Inc. 2008

21 Methods and Materials of Sculptures Additive: assembling McGraw-Hill Higher Education, Inc. 2008

22 28.14 Oldenburg. Clothespin. Central Square, Philadelphia Corten and Stainless Steel.

23 Construction Constructed sculptures use a variety of methods to create and put together their components Methods for constructed sculpture have proliferated with the growth of standardized, engineered materials, such as sheet metals and plastics The artists of the Constructivist movement in the Soviet Union created an entire art movement based on sculptural

24 ASSEMBLAGE WELDING Gonzalez. Maternity. Welded Iron (lft). 49 7/8 Gonzalez Montserrat Sheet Iron. 5 5

25 2.156 Naum Gabo, Constructed Head No. 2, Cor-ten steel, 69 52¾ 48¼. Tate, London, England

26 Mixed Media Cai Guo-Qiang. Borrowing Your Enemy s Arrows Inside Out: New Chinese Art. P.S. 1. New York. Wooden boat, straw, bamboo, arrows, flags and fan. 32 ½ long.

27 Bessie Harvey. Snake Through Eye Painted Wood and Mixed Media. 24

28 CASTING: LOST WAX Casting: Lost-Wax Process (cire perdue) Rodin. Burghers of Calais. lost wax contemporary method (6 min) McGraw-Hill Higher Education, Inc. 2008

29 Casting Involves adding a liquid or pliable material to a mold The first step in casting is to make a model of the final sculpture. This is used to make a mold A casting liquid (often molten metal, but other materials such as clay, plaster, acrylic polymers, or glass are also used) is poured into the mold When it hardens, the result is a detailed

30 2.152 Riace Warrior A, c. 450 BCE. Bronze, 6 6 high. National Museum, Reggio Calabria, Italy

31 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Seven steps in the lost-wax casting process Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

32 Sculpture and the 3 rd Dimension Three Dimensional: involves height, width, and depth. In the round : full round Rodin, The Rodin Thinker. McGraw-Hill Higher Education, Inc. 2008

33 LOST WAX Head of an Oba --Benin Civilization, 16th century McGraw-Hill Higher Education, Inc. 2008

34 McGraw-Hill Higher Education, Inc Duane Hanson. Tourists

35 Balantine Ale.

36 George Segal. McGraw-Hill Higher Education, Inc. 2008

37 28.15 Segal. Chance Meeting Segal. Sidney Janis Looking at a Painting by Mondrian

38 NEW(ISH) MEDIA McGraw-Hill Higher Education, Inc. 2008

39 Working with Time and Place Earthwork: Art made from natural materials from and for a specific place. Ohio, Serpent Mound, c C.E. McGraw-Hill Higher Education, Inc Goldsworthy. Ice Star.

40 Earthworks Prehistoric artists of the Americas made monumental sculptures that used the surface of the Earth itself as material: this was additive sculpture on a very large scale Because of their enormous size, earthwork projects need the collaboration of many artists and workers

41 2.154 Great Serpent Mound, c. 800 BCE 100 CE, 1330 x 3, Locust Grove, Adams County, Ohio

42 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Great Serpent Mound As can be readily seen from the air, it resembles a snake with its mouth open, ingesting an egg The head of the serpent and the egg are aligned to the position of the setting sun on the summer solstice, suggesting that it was used in making solar observations The original artists heaped piles of earth to sculpt this work onto the Ohio landscape Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

43 2.155 Robert Smithson, Spiral Jetty, Black rock, salt crystals, and earth, 160 diameter, coil length 1500 x 15. Great Salt Lake, Utah

44 McGraw-Hill Higher Education, Inc. 2008

45 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Robert Smithson, Spiral Jetty Smithson chose a spiral, a shape naturally found in shells, crystals, and even galaxies The coiled artwork was made by dumping 6,550 tons of rock and dirt, off dump trucks, gradually paving a spiraling roadbed out into the salt lake Over the years the lake has repeatedly submerged and then revealed the sculpture The artwork is constantly evolving as it drowns and then rises with a new encrustation of salt crystals Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

46 Light Installation, Environment Piece. Turrell. Meeting Installation at P.S. 1, Long Island City, NY.

47 306 Mel Chin. Revival Field. Pig s Eye Landfill. St. Paul Minnesota SITE SPECIFIC CROP ART

48 Working with Time and Place Insert 72 dpi visual Suggested visual: figure Jeff Koons, Puppy, Christo. Gates. McGraw-Hill Higher Education, Inc. 2008

49 29.26, Umbrellas in California (1984) , days Christo. Umbrellas in Japan. 1, days.

50 Light and Kinetic Sculpture Sculptors who work with movement and light express their ideas in ways that would not have been possible just a century or two before These moving and lighted sculptural works, like those of the Constructivists, rely on mechanical engineering as well as the creative input of the artist

51 2.160 László Moholy-Nagy, Light Prop for an Electric Stage, Exhibition replica, constructed 2006, through the courtesy of Hattula Moholy-Nagy. Metal, plastics, glass, paint, and wood, with electric motor, 59½ x 27⅝ x 27⅝. Harvard Art Museums, Busch- Reisinger Museum, Cambridge, Massachusetts

52 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Naum Gabo, Constructed Head No. 2 Investigates the sense of space and form implied by flat planes, in contrast to the solid mass of conventional sculpture Gabo is more interested in showing its interior construction than the exterior surface He has welded the intersecting planes of metal together more as if he were a mechanic or engineer Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

53 2.162 George Rickey, Breaking Column, 1986 (completed by the artist s estate, 2009). Stainless steel, 9 11⅜ x 5½. Contemporary Museum, Honolulu, Hawaii

54 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture George Rickey, Breaking Column The components of Rickey s sculpture are carefully balanced so that they can pivot in a variety of directions and provide an infinite number of constantly changing views Breaking Column is moved by the slightest current of air; it also has a motor, and moves even when there is no wind Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

55 Dan Flavin. Installation. Menil Gallery McGraw-Hill Higher Education, Inc. 2008

56 28.21 Dan Flavin. Untitled.(In honor of Harold Joachim), Flourescent light fixtures with pink, blue, green and yellow tubes. 8 across the corner.

57 McGraw-Hill Higher Education, Inc James Turrell. The Light Inside MFAH.

58 Installations Installation art involves the construction of a space or the assembly of objects to create an environment; we are encouraged to experience the work physically using all our senses, perhaps entering the work itself

59 2.163a Antony Gormley

60 2.163b Antony Gormley, Asian Field, ,000 hand-sized clay elements, installation view, warehouse of former Shanghai No. 10 Steelworks, China

61 PART 2 MEDIA AND PROCESSES Perspectives on Art: Antony Gormley Asian Field Chapter 2.9 Sculpture Traveling to communities around the world, Gormley handed out fist-sized balls of clay and instructed participants to form them into an image of their own bodies, working as quickly as possible The figures in Gormley s work are not portraits, they are corpographs: a three-dimensional equivalent of a photograph but which is left as a negative, as a void. They are simply still objects in a moving world Gormley works in the most direct way to build a bridge between art and life Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

62 2.164 Ilya and Emilia Kabakov, The Man Who Flew into Space from His Apartment, Wood, board construction, furniture, found printed ephemera, and household objects, dimensions variable

63 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Ilya and Emilia Kabakov, The Man Who Flew Into Space from His Apartment Kabakov has re-created a room which can be viewed but not entered in a small apartment in the former Soviet Union The room s inhabitant is no longer there because he has launched himself through the ceiling, bits of which lie scattered on the floor Kabakov s work juxtaposes the private life of the comrade with the presence of the Communist state Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

64 INSTALLATION SCULPTURE Jenny Holzer. Guggenheim. McGraw-Hill Higher Education, Inc. 2008

65 Kienholz. State Hospiital. Ilya Kabakov. The Man who Flew into Space from his Apartment Mixed Media Sculpture.

66 Chicago. The Dinner Party

67 New Materials and Ideas Jeff Koons. Puppy Dog. Rockefeller Center McGraw-Hill Higher Education, Inc. 2008

68 2.157 Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, Glass, steel, silicon, formaldehyde solution, and shark, 7 1½ x 17 9⅜ x 5 10⅞

69 PART 2 MEDIA AND PROCESSES Chapter 2.9 Sculpture Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living This constructed work is made with a large tank full of formaldehyde in which the artist has suspended a dead shark Hirst is known for creating his sculptures from unusual objects that contrast life and death Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

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72 McGraw-Hill Higher Education, Inc. 2008

73 OPEN AND CLOSED SCULPTURES Fig. 68 Qennefer Steward of the Palace c BCE black granite 2 9 h. Fig. 69 Giacometti. Man Pointing 47. Bronze 70 ½ x 40 ¾ x 16 3/8

74 Human Figure in Sculpture Akhenaten. Menkaure and Khamerernebty, c B.C.E.

75 Human Figure in Sculpture Polykleitos. Doryphorous. 440 BCE Kritios Boy. 480 Century BCE McGraw-Hill Higher Education, Inc. 2008

76 Abakanowicz. Agora. Kiki Smith. Mary Magdalene. Wax McGraw-Hill Higher Education, Inc. 2008

77 Readymades Artists in the early twentieth century innovated the use of artifacts that already exist as raw materials They rebelled against the historical notion that artworks are appreciated for the effort and skill that goes into making them

78 2.158 Pablo Picasso, Bull s Head, Assemblage of bicycle seat and handlebars, 13¼ x 17⅛ x 7½. Musée Picasso, Paris, France

79 Duchamp. Fountain