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Sculpture upload


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Sculpture upload

  1. 1. Art in the 3rd Dimension: Sculpture<br />Reading:<br />Artforms, 162-188<br />Terms/Concepts:<br />relief, high relief, low relief, bas relief, sunken relief, additive, subtractive, modeling, casting, carving, assembled/constructed sculpture, assemblage, kinetic sculpture, mixed media, plasticity, <br />installation, site-specific, ceramics, potter, firing, earthenware, kaolin, stoneware, throwing, slip, glaze.<br />
  2. 2. Relief Sculpture vs. Sculpture in the Round<br />
  3. 3. Types of Relief<br />Sunken Relief<br />High Relief<br />Low Relief<br />Or Bas Relief<br />
  4. 4. Additive vs. Subtractive<br />Additive Processes<br /><ul><li>Modeling
  5. 5. Casting
  6. 6. Constructing</li></ul>Subtractive Processes<br /><ul><li>Carving</li></li></ul><li>Clay<br />Earthenware<br />Stoneware<br />Kaolin<br /><ul><li>Usually White
  7. 7. Colors are shades of red and brown
  8. 8. Colors range from light to dark browns
  9. 9. Very Fine
  10. 10. Fewest Impurities
  11. 11. Texture ranges from slightly course to moderately coarse
  12. 12. Can be very coarse in texture
  13. 13. Smooth texture
  14. 14. High Firing Temperature
  15. 15. Very High Firing Temperature
  16. 16. Translucent Sheen
  17. 17. High Firing Temperature</li></li></ul><li>Modeling<br />See video clip below.<br />
  18. 18. Pottery<br />Throwing<br />
  19. 19. Pottery<br />Throwing<br />Coil Pots<br />
  20. 20. Pinch Pots<br />
  21. 21. Firing: Historical Kilns<br />
  22. 22. Firing: Today<br />
  23. 23. Metal<br />Bronze<br />Steel<br />Gold<br />
  24. 24. Lost-Wax Casting<br />See video clip below.<br />
  25. 25. Benvenuto Cellini, Salt Cellar of Francis I of France, Cast Gold on a Wooden Pedestal, 1540-1543 CE<br />
  26. 26. Piece Mold Casting<br />
  27. 27.
  28. 28. Slip Mold Casting<br />
  29. 29. Repousse<br />See video clip below.<br />
  30. 30. RepoussePhiale, Gold, Hellenistic, c. 2nd century BCE<br />
  31. 31. Stone<br />Granite<br />Limestone<br />Alabaster<br />Marble<br />Soapstone<br />Basalt<br />
  32. 32. Marble Carving<br />See video clip below.<br />
  33. 33. Mixed Media<br />Pablo Picasso, Bull’s Head, Seat and handles, 1943<br />
  34. 34. Unexpected Materials<br />Janine Antoni, Gnaw, 1992.<br />
  35. 35. Unexpected Materials<br />Janine Antoni, Lick & Lather, 1992.<br />
  36. 36. Installation<br />Fred Wilson, Mining the Museum, Installation, Cigar Store Indians facing photographs of Native Americans Marylanders, 1992.<br />
  37. 37. Edward Kienholz, Sollie 17, 1979-1980<br />
  38. 38.
  39. 39.
  40. 40. Ai WeiWei, Sunflower Seeds, Twice-Fired Porcelain, Tate Modern, 2010. <br />
  41. 41. Joseph Kosuth, One and Three Chairs, Wooden Folding Chair, Photographic enlargement of a dictionary definition of chair, and a photographic copy of a chair. 1965.<br />
  42. 42.
  43. 43.
  44. 44. Site Specific<br />Richard Serra, Tilted Arc, Federal Plaza, New York City, 1981.<br />
  45. 45. Danny Katz: "Arrogant position that art justifies interference with the simple joys of human activity in the plaza.This is not a great plaza by international standards, but a small refuge and place of revival for people who ride to work in steel containers, work in sealed rooms (with no windows) and breathe recirculated air all day. Is the purpose of art to stress the absence of joy and hope? I can't believe this was the artistic intention, yet sadly this has been the dominant effect of the work (It is arguable that "stressing the absence of joy and hope" was part of Serra's purpose, as interpreted by Horowitz )...I can accept anything in art, but I can't accept physical assault and complete destruction of ordinary human work of art created with a contempt of ordinary humanity and w/o respect for the common element of human experience can be great...I suggest Mr. Serra take advantage of this opportunity to walk away from this fiasco and move the work to a place where it will better reveal its beauty.”<br />Richard Serra, Tilted Arc, Federal Plaza, New York City, 1981.<br />
  46. 46. Serra: To remove Tilted Arc would be to destroy it<br /><ul><li> To move it is to destroy it as it was designed for that site
  47. 47. I don't make portable objects that can be relocated
  48. 48. Make works that deal with env. components of given places
  49. 49. Scale, size location of site specific works are determine by the characteristics of the site
  50. 50. Works become part of and built into structure of site and often restructure it both conceptually and perceptually</li></ul>Richard Serra, Tilted Arc, Steel Federal Plaza, New York City, 1981.<br />
  51. 51. 1981<br />1989<br />1989<br />1989<br />
  52. 52. Exam Format: Tuesday September 27th <br />Part I: Matching/Short Answer<br />10 Matching Terms (10 pts)<br />10 Material/Technique Examples (10 pts)<br />10 Theoretical Questions/Statements (10 pts)<br />5 Theme/Concept Examples (10 pts)<br />Part II: Essay<br /><ul><li>Visual Analysis of an unfamiliar image, using at least five elements/principles of art. (65 pts)</li>