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TRANSCRIPT
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SCULPTURE
silly synopsis of sculpture cartoon
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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
Chapter Eleven
Sculpture and Installation Methods of sculpture:
• Additive
• Modeling (manipulation)
• Assembling
• Subtractive
• Carving
• Casting (substitution)
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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)
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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
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2.146a Colossal Head #10,
Olmec. Basalt. San Lorenzo,
Veracruz, Mexico
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2.146b Colossal Head #10,
Olmec. Basalt. San Lorenzo,
Veracruz, Mexico
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METHODS
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Three Dimensional: involves height, width, and depth.
• Relief (frontal view): Low relief (bas-relief), High
relief (haut-relief)
Sculpture and the
3rd Dimension
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Relief sculpture. Apollo. Greek Silver Coin.
LOW RELIEF SCULPTURE
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Army on the March. Angkor War. C.1150. Cambodia. Sandstone.
CARVED RELIEF SCULPTURE
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Robert Longo Corporate Wars: Wall of Influence. 1982.
Cast Aluminum.
CAST HIGH RELIEF
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Chamberlain. Ahyre 1988. terra cotta
MODELING
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Mayan, c. 700. Terracotta and paint.
MODELING
Arneson. California Artist.
1982. Stoneware (ceramics)
Glazed.
ARMATURE
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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
• Because the process produces a very dry
and hard material, many works from
antiquity made from clay
still exist
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2.151 Sarcophagus from Cerveteri, c. 520 BCE. Painted terracotta, 3’9½” x 6’7”. Museo Nazionale di Villa Giulia, Rome, Italy
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SUBTRACTIVE
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Monolithic Sculpture
Insert 72 dpi
visual
Suggested visual:
figure 11.6
Olowe of Ise,
Bowl With
Figures, Early
20th Century.
Olmec, Colossal Head, 1500 -
300 B.C.E.
SUBTRACTIVE: CARVING
Catlett. Mother and Child # 2. 1971. Walnut.
38”
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CARVING
Michelangelo. Awakening Slave. 1530-1534.
Marble. 9’
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Iowa State Fair. Butter.
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Additive: assembling
Methods and Materials of Sculptures
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28.14 Oldenburg. Clothespin. Central Square, Philadelphia. 1976.
Corten and Stainless Steel.
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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
construction techniques
– Constructivists considered art to be a
scientific investigation of the social needs of
the time
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ASSEMBLAGE
Gonzalez. Maternity. Welded Iron. 1934 (lft).
49 7/8”
Gonzalez Montserrat. ’36-37. Sheet Iron. 5’5”
WELDING
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2.156 Naum Gabo, Constructed Head
No. 2, 1916. Cor-ten steel, 69 × 52¾
× 48¼”. Tate, London, England
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Mixed Media
Cai Guo-Qiang. Borrowing Your Enemy’s Arrows. 1998. Inside Out: New
Chinese Art. P.S. 1. New York. Wooden boat, straw, bamboo, arrows, flags and
fan. 32 ½’ long.
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Bessie Harvey. Snake Through Eye. 1986. Painted Wood and Mixed Media.
24”
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Casting: Lost-Wax Process (cire perdue)
CASTING: LOST WAX
Rodin. Burghers of Calais. lost wax contemporary method (6 min)
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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
replica of the original model
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2.152 Riace Warrior A, c. 450 BCE.
Bronze, 6’6” high. National Museum,
Reggio Calabria, Italy
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
2.153 Seven steps in the lost-wax casting process
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• “In the round”: full round
Three Dimensional: involves height, width, and depth.
Rodin, The
Rodin Thinker.
Sculpture and the
3rd Dimension
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Head of an Oba
--Benin Civilization, 16th century
LOST WAX
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Duane Hanson. Tourists
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Balantine Ale.
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George Segal.
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28.15 Segal. Chance Meeting.
1989.
28.16 Segal. Sidney Janis Looking at a Painting by
Mondrian. 1967.
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NEW(ISH) MEDIA
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Earthwork: Art made from natural materials
from and for a specific place.
Ohio, Serpent Mound, c.
1000 C.E.
Working with Time and Place
Goldsworthy. Ice Star.
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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
• Many contemporary artists believe that
earthworks
should represent a harmony between
nature and humanity
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2.154 Great Serpent Mound, c. 800 BCE–100 CE, 1330 x 3’, Locust Grove, Adams County, Ohio
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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2.155 Robert Smithson, Spiral Jetty, 1969–70. Black rock, salt crystals, and earth, 160’ diameter, coil length 1500 x 15’. Great Salt
Lake, Utah
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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Turrell. Meeting 1980-86. Installation at P.S. 1, Long Island City, NY.
Light Installation, Environment Piece.
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306 Mel Chin. Revival Field. Pig’s Eye Landfill. St. Paul
Minnesota. 1993
SITE SPECIFIC CROP ART
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Christo. Gates.
Insert 72 dpi
visual
Suggested visual:
figure 11.34
Jeff Koons,
Puppy, 2000.
Working with Time and Place
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29.25 Christo. Umbrellas in Japan.
1,340. 1991. 18 days.
29.26, Umbrellas in California
(1984)-1991. 1,760. 18 days.
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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
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2.160 László Moholy-Nagy, Light Prop for an Electric Stage, 1929–
30. 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
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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2.162 George Rickey, Breaking Column,
1986 (completed by the artist’s estate,
2009). Stainless steel, 9’11⅜” x 5½”. Contemporary Museum, Honolulu, Hawaii
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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Dan Flavin. Installation. Menil Gallery
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28.21 Dan Flavin. Untitled.(In honor of Harold Joachim),
1977. Flourescent light fixtures with pink, blue, green and
yellow tubes. 8’ across the corner.
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James Turrell. “The Light Inside’
MFAH.
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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
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2.163a Antony Gormley
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2.163b Antony Gormley, Asian Field, 2003. 210,000 hand-sized clay elements, installation view, warehouse of former Shanghai
No. 10 Steelworks, China
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Perspectives on Art:
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Antony Gormley
Asian Field
• 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
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2.164 Ilya and Emilia Kabakov, The Man Who
Flew into Space from His Apartment, 1985–8.
Wood, board construction, furniture, found
printed ephemera, and household objects,
dimensions variable
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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INSTALLATION SCULPTURE
Jenny Holzer. Guggenheim.
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Ilya Kabakov. The Man who Flew into Space from his
Apartment. 1981-88. Mixed Media Sculpture.
Kienholz. State Hospiital.
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Chicago. The Dinner Party. 1974-79.
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Jeff Koons. Puppy Dog. Rockefeller Center
New Materials and Ideas
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2.157 Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991. Glass, steel, silicon, formaldehyde
solution, and shark, 7’1½” x 17’9⅜” x 5’10⅞”
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PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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McGraw-Hill Higher Education, Inc. ©2008
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McGraw-Hill Higher Education, Inc. ©2008
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McGraw-Hill Higher Education, Inc. ©2008
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Fig. 68 Qennefer
Steward of the
Palace c. 1450 BCE
black granite 2’9” h.
Fig. 69 Giacometti. Man
Pointing ’47. Bronze 70 ½” x
40 ¾” x 16 3/8”
OPEN AND CLOSED
SCULPTURES
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Akhenaten.
Menkaure and Khamerernebty, c. 2460
B.C.E.
Human Figure
in Sculpture
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Kritios Boy. 480 Century BCE
Human Figure in Sculpture
Polykleitos. Doryphorous. 440 BCE
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Kiki Smith. Mary Magdalene. Wax
Abakanowicz. Agora.
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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
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2.158 Pablo Picasso, Bull’s
Head, 1942. Assemblage of
bicycle seat and handlebars,
13¼ x 17⅛ x 7½”. Musée
Picasso, Paris, France
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Duchamp. Fountain. 1917.