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The document discusses sculpture and installation methods. It defines three-dimensional art as involving height, width, and depth. Sculpture methods include additive processes like modeling, assembling, and subtractive techniques such as carving. Relief sculptures can be low relief or high relief. The document also covers contrapposto, installation works, kinetic art, monolithic sculptures, earthworks, and time-based art.
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- 1. 1© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Figure 11.1 Louise Bourgeois, Maman, 1999. Part Four Three-Dimensional Media
- 2. 2© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Three dimensional: involves height, width, and depth • “In the round” • Relief: • Low relief (bas-relief) • High relief (haut-relief) • Contrapposto • Installation • Kinetic art • Monolithic • Earthwork • Time-based work Chapter Eleven Sculpture and Installation Methods of sculpture: • Additive • Modeling (manipulation) • Assembling • Subtractive • Carving • Casting (substitution)
- 3. 3© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Three dimensional: involves height, width, and depth Relief (frontal view): Low relief (bas-relief), high relief (haut-relief) Sculpture and Installation Figure 11.2 Mayan Sarcophagus Lid, 684 C.E. Figure 11.3 India, Durga Fighting the Buffalo Demons, 7th Century.
- 4. 4© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Additive: Modeling Figure 11.4 Maya, Figurine of a Voluptuous Lady, 700 - 900 C.E. Methods and Materials of Sculpture
- 5. 5© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Casting: Lost-Wax Process Figure 11.6 The lost-wax casting process. Figure 11.5 India, The Bodhisattva Avalokiteshvara, 12th Century. Methods and Materials of Sculpture
- 6. 6© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Subtractive: Carving Figure 11.9 Olmec, Colossal Head, 1500 - 300 B.C.E. Methods and Materials of Sculpture
- 7. 7© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Additive: assembling Figure 11.13 Petah Coyne, Untitled #1111, 2003-04. Methods and Materials of Sculpture Figure 11.10 David Smith, Cubi XII, 1963.
- 8. 8© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Monolithic Contrapposto Figure 11.19 Roman Copy of Apoxyomenos, c. 320 B.C.E. Figure 11.14 Egypt, Menkaure and Khamerernebty, c. 2460 B.C.E. The Human Figure in Sculpture
- 9. 9© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. “In the round”: full round Three Dimensional: involves height, width, and depth Figure 11.15 Rodin, The Burghers of Calais, 1884 - 85. Sculpture and the 3rd Dimension
- 10. 10© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Figure 11.17 Ivory Coast, Spirit Spouse, Early 20th Century. The Human Figure in Sculpture
- 11. 11© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Earthwork: Art made from natural materials from and for a specific place Figure 11.31 Christo and Jeanne-Claude, The Gates, 1979 -2005. Figure 11.23 Ohio, Serpent Mound, c. 1000 C.E. Working With Time and Place
- 12. 12© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Figure 11.27 Yayoi Kusama, Fireflies on the Water, 2002. Working With Time and Place Figure 11.25 Richard Serra, Bellamy, 2001.
- 13. 13© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved. Chapter Eleven Sculpture and Installation Three dimensional: involves height, width, and depth • “In the round” • Relief: • Low relief (bas-relief) • High relief (haut-relief) • Contrapposto • Installation • Kinetic art • Monolithic • Earthwork • Time-based work Methods of sculpture: • Additive • Modeling (manipulation) • Assembling • Subtractive • Carving • Casting (substitution)
Editor's Notes
- Activities: “Sculpture Hunt” on campus Virtual Museum: Compare & contrast a 2-D & 3-D work online. Practice art analysis of a 3-D piece
- Relief sculpture is meant to be viewed from a frontal view only. Low relief projects slightly as in coins and tombstones. The image on the left is the lid of the Sarcophagus for Pacal, a Mayan ruler. The low relief carving depicts the exact moment of his death, as he is falling from life to death with deities and cosmic symbols around him. They symbolize that Pacal is dying as a god and will rise as one after his death. High relief projects by at least 1/2 of the depth. The monumental relief panel from an Indian temple includes both high relief as well as parts of figures carved more than half-round. Durga is rushing forward on the left with her army. To the right, the demon and his supporters flee in defeat. Indian tradition treated the temple as a gigantic piece of walk-in sculpture, with carvings on the interior, exterior, columns, doorway and ceilings. Statues were also added into this enlivened space.
- Additive processes begin with an armature or framework onto which media is added. In 2-D works, modeling can refer to the use of chiaroscuro to simulate 3-D. In 3-D works, modeling is a term for shaping a form in a plastic (flexible) media (clay, wax, wire, etc.). Clay is a popular medium due to its plastic nature. It is durable after it is fired in a kiln, then termed terra cotta. Unlike stone, it allows for detail, and flexibility in working techniques, as well as spatial flexibility. Much of the ancient art, like this Mesoamerican figurine, was formed from clay, a natural material. This sculpture was built by hand, then worked with the Mayan tools of stone and wood over 1,000 years ago. It is part of a group of objects that were buried in a tomb, thereby preserving it.
- The lost-wax process dates back to the 3rd millennium B.C.E. Casting begins with an additive model from which a mold is made. A subtractive method then leaves space for multiple images to be made in an indirect process. Many people place this technique in its own category. It allows for very durable media, such as the bronze and concrete, heroic, memorial statues we are accustomed to. Each piece is unique, as the wax original is destroyed in the process. There are other processes, including indirect/investment casting which allows for limited editions or multiples. Casting can be used for clay, plastics, resins, plaster, and other modern materials. This Indian casting was then gilded with a thin layer of gold to create a glowing, reflective surface of the body that contrasts with the minutely detailed surface of the jewelry, hair, and flowers. He is in a relaxed, sinuous pose, seated on a stylized lotus throne with lotus blossoms twining beside him.
- The subtractive method begins with a block of solid material which will be carved away. Carving is a much more aggressive and complex process. From this block, the sculptor must envision a topographical image from all 4 sides. This is a very time consuming physical process. If too much is taken off, it usually cannot be added, especially when working with stone. For this reason, negative space, balance, and structure had to be considered in the planning stages. The “Colossal Head” is a monolithic sculpture (a relatively closed form that reflects the single stone or block of wood). It is one of the few examples from one of the earliest cultures in Mesoamerica: the Olmec. It is carved from local basalt (volcanic stone) that does not lend itself to highly detailed work. Using stone tools, the Olmec sculptors carved a broad plane surface with subtle modeling.
- Assembling involves constructing a whole from individual parts. David Smith’s sculptures were groundbreaking in the use of material and their form. Cubi XII is made of steel, a modern era material. Smith assembled basic geometric shapes and welded them together. The effect in Cubi XII is of an armload of packages forever about to tumble. Both ancient and modern artists frequently utilize “found objects” (any item not originally created as a work of art). “Untitled #111 (Little Ed’s Daughter Margaret)” is assembled from materials that we don’t normally associate with sculpture. Attached to the wall behind it by a hidden support, it hovers before us like a human presence. Branches and silk flowers dipped in midnight blue wax drip downward. Ribbons, feathers, stuffed pheasants, empty bird skins, the remains of a gown, and a braid of hair slowly reveal themselves. Patient observers may also see droplets of water drip down the work. Hidden inside is a statue that weeps from time to time as water overflows, pumped through tubing connected to it’s eyes. Her sculpture is sad and silly at the same time.
- Early Monolithic sculptural methods relied on retaining as much of the block as possible for durability. The Egyptians considered the duration of this sculpture paramount to immortality. Note the formal symmetry, power, dignity and the concept of bond that is conveyed through this piece. The aesthetics are logical when you know the context of the work. The most important concept for the Egyptians was that of continuity in the afterlife. During Greek and Roman times, artists worked with more durable stone (marble), as well as refined methods to allow for negative space as well as movement or gesture. This example shows the more naturalistic scientific studies of movement and anatomy. Contrapposto (counterpoise or counterbalance) involves the balance of shifting weight in a relaxed posture. Note the “S” curve of the spine and opposing axis of the shoulders and hips. They derived an ideally beautiful body type, governed by harmonious proportions.
- “In the round” or freestanding sculpture is meant to be viewed from all angles. Frequently, artists utilize negative space to create compositional devices, much as they would the background in two-dimensional art. You would have to walk around this piece to capture the variety of emotions & expressions of each of the brave Frenchmen who offered to give their life in exchange for their town remaining free. We see anger, sorrow, despair, and resignation portrayed in the various figures.
- This traditional African sculpture represents a spirit, not a specific individual. The human face and form are abstracted to convey universal concepts. The Baule sculptor believed that each person has an earthly spouse as well as a spirit spouse in the Otherworld. If the spirit spouse is happy, all is well. To remedy jealousy or other trouble in domestic life, a statue is commissioned to be as beautiful as possible. It is placed in a household shrine and tended to with gifts and small offerings.
- Earthwork art has been documented since primitive time in all cultures, as is the case with Serpent Mound in Ohio. Its purpose is unknown to us, as are the original creators. Most of us carry this desire to alter our environment. At home, we create gardens, patios, and tree houses. Christo tried to emphasize man’s environment that we take for granted, altering its appearance so that we would take time to reevaluate. He also wanted to bring art into the environment, rather than imitate it. The process included hearings, permits, planning, organizing and insuring workers. Hundreds of paid workers arrived from all over the country to help Christo and Jeanne-Claude set up 7,503 saffron-colored gateways along the 23 miles of New York City’s Central Park. On the opening day of the project, the workers went from gate to gate freeing the banners, which unfurled and billowed in the wind. Four million visitors from all over the world traveled to witness this site-specific installation. After only 16 days in place, Christo and his crew then dismantled, recycled material, and restored the park to its original aesthetic. The artist funds these Environmental Sculptures himself with no grants or public funding. The projects live on through sketches, photographs, and books.
- In Bellamy, Richard Serra created a sculpture that is at once both an object and a place. Bellamy partakes in the dual nature of architecture; from the outside it is viewed as an object, and from the inside it can be experienced as a shaped space. Paradoxically, Kusama created a small and intimate space that seems to open up to infinity. The walls of a 12 foot square room are lined entirely with mirrors, and a reflecting pool is sunk into the center of the floor. One hundred fifty small white lights suspended from the ceiling provide the only illumination. These lights are reflected in the water and multiplied into infinity by the mirrors. Only one viewer is allowed into the room at one time; the doors are shut and the viewer is alone.
- Activities: “Sculpture Hunt” on campus Virtual Museum: Compare & contrast a 2-D & 3-D work online. Practice art analysis of a 3-D piece Videos: Christo: Running Fence Faith Ringgold