Sculpture

Transcript

1. Art  in  the  3rd  Dimension:    
   Sculpture  
   Reading:  
   Ar,orms,  162-­‐188  
    
   Terms/Concepts:  
   relief,  high  relief,  low  relief,  
   bas  relief,  sunken  relief,  
   addiAve,  subtracAve,  
   modeling,  casAng,  carving,  
   assembled/constructed  
   sculpture,  assemblage,  
   kineAc  sculpture,  mixed  
   media,    
   installaAon,  site-­‐specific,  
   ceramics,  poFer,  firing,  
   earthenware,  porcelain,  
   stoneware,  throwing,  slip,  
   glaze  
   

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2. Media  Lab  
   •  Friday  February  15  11:00-­‐3:00  Auraria  Library  206  
   •  Tuesday  February  19  2:00-­‐5:30  Auraria  Library  205  
    
   Materials  available:  oil  pastel,  chalk  pastel,  pen  &  ink,  
   pencil,  colored  pencil,  charcoal,  watercolor,  oil  paint,  
   and  acrylic  paint.  
   

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3. Quiz  #2  is  due  NEXT  TUESDAY  February  19th.  
    
   Media  ExperimentaAon  is  due  Thursday  
   February  21st.  
    
   Your  Midterm  is  on  Thursday  February  28th.    
   Study  guide  will  be  released  this  Thursday  
   Reminders  
   

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4. Relief  Sculpture  vs.  Sculpture  in  the  Round  
   Free-­‐Standing  Sculpture  
   

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5. Types  of  Relief  
   Sunken  Relief  
   High  Relief   Low  Relief  
   or  “Bas”  Relief  
   

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6. AddiAve  vs.  SubtracAve  
   AddiAve  Processes  
    Modeling  
    CasAng  
    ConstrucAng  
   SubtracAve  Processes  
    Carving  
   

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7. Clay  
   Earthenware   Stoneware   Kaolin/Porcelain  
   •  Usually  White  
   •  Very  Fine  
   •  Fewest  ImpuriAes  
   •  Smooth  texture  
   •  High  Firing  Temperature  
   •  Translucent  Sheen  
   •  Colors  range  from  light  to  
   dark  browns  
   •  Texture  ranges  from  
   slightly  course  to  
   moderately  coarse  
   •  High  Firing  Temperature  
   •  Can  be  very  coarse  in  
   texture  
   •  Colors  are  shades  of  
   red  and  brown  
   •  Very  High  Firing  
   Temperature  
   

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9. PoFery  
   Throwing   Slip  CasAng   Coil  Pots  
   

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10. Firing:  Historical  Kilns  
    

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11. right-hand clay
    into slabs for ease of handling. Although both scenes
    on the Robinson skyphos might be interpreted as
    showing a simple mass of raw clay, the different types
    of stippling incision strongly suggest two stages of
    purification comparable to the effects of the settling
    basins. Thus the herringbone-hatched mass on side B
    FIG. 5. Providence 25109. Red-figure lekythos
    illustrations of kilns on the plaques. All of these show the
    The  Kiln  
    If  you  will  pay  me  for  my  song,  O  poFers,  
    Then  come,  Athena,  and  hold  thy  hand  above  the  kiln!  
    May  the  kotyloi  and  all  the  kanastra  turn  a  good  black,  
    May  they  be  well  fired  and  fetch  the  price  asked,  
    Many  being  sold  in  the  marketplace  and  many  on  the  roads,  
    And  bring  in  much  money,  and  may  my  song  be  pleasing.  
    But  if  you  (poFers)  turn  shameless  and  deceihul,  
    Then  do  I  summon  the  ravagers  of  kilns,  
    Both  Syntrips  (Smasher)  and  Smaragos  (Crasher)  and    
             Asbetos  (Unquenchable)  too,  and  Sabaktes  (Shake-­‐to-­‐Pieces)  
    And  Omodamos  (Conqueror  of  the  Unbaked),  who  makes    
             much  trouble  for  this  craj.  
    Stamp  on  stoking  tunnel  and  chambers,  and  may  the  whole  kiln  
    Be  thrown  into  confusing,  while  the  poFers  loudly  wail.  
    As  grinds  a  horse’s  jaw  so  may  the  kiln  grind  
    To  powder  all  the  pots  within  it.  
    [Come,  too,  daughter  of  the  Sun,  Circe  of  many  spells,  
    Cast  cruel  spells,  do  evil  to  them  and  their  handiwork.  
    Here  too  let  Cheiron  lead  many  Centaurs,  
    Both  those  that  escaped  the  hands  of  Herakles  and  those  that  perished.  
    May  they  his  these  pots  hard,  and  may  the  kiln  collapse.  
    And  may  the  poFers  wail  as  they  see  the  mischief.  
    But  I  shall  rejoiced  at  the  sight  of  their  luckless  craj.]  
    And  if  anyone  bends  over  to  look  into  the  spy-­‐hole,  may  his  whole  face    
    Be  scorched,  so  that  all  may  learn  to  deal  justly.  
    

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12. Firing:  Today  
    

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13. Metal  
    Bronze   Steel   Gold  
    

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14. Piece  Mold  CasAng  
    

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15. Repousse  Phiale,  Gold,  HellenisAc,  c.  2nd  century  BCE  
    

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16. Stone  
    Granite  
    Soapstone  
    Basalt  
    Alabaster  
    Limestone  
    Marble  
    

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20. Mixed  Media  
    Pablo  Picasso,  Bull’s  Head,  
    Seat  and  handles,  1943  
    Assemblage  
    ConstrucAon  
    

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21. Unexpected  Materials  
    Janine  Antoni,  Gnaw,  1992.  
    

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22. Unexpected  Materials  
    Janine  Antoni,  Lick  &  Lather,  1992.  
    

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23. Auguste  Rodin,  Burghers  of  Calais,  1889,  
    Victoria  Tower  Gardens,  London.    
    

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24. Space  
    

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25. Space  
    

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26. Space  
    

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27. Space  
    

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28. Space  
    

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29. InstallaAon  
    Fred  Wilson,  Mining  the  
    Museum,  1992.    InstallaAon.  
    Cigar-­‐Store  Indians  facing  
    photographs  of  NaAve  
    American  Marylanders.  
    

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30. Ai  WeiWei,  Sunflower  Seeds,  Twice-­‐Fired  Porcelain,  Tate  Modern,  2010.    
    Sunflower  Seeds  of  Twice-­‐Fired  Porcelain  
    

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32. Richard  Serra,  Tilted  Arc,  Federal  Plaza,  New  York  City,  1981.  
    Site  Specific  
    

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33.  Danny  Katz:  "Arrogant  posiAon  that  art  jusAfies  interference  with  the  simple  
    joys  of  human  acAvity  in  the  plaza.    This  is  not  a  great  plaza  by  internaAonal  
    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  arAsAc  intenAon,  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  
    destrucAon  of  ordinary  human  acAvity...no  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  beFer  reveal  its  beauty.”  
    Richard  Serra,  Tilted  Arc,  Federal  Plaza,  New  York  City,  1981.  
    

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34. Serra:  To  remove  Tilted  Arc  would  be  to  destroy  it  
     
    •   To  move  it  is  to  destroy  it  as  it  was  designed  for  that  site  
    •   I  don't  make  portable  objects  that  can  be  relocated  
    •  Make  works  that  deal  with  env.  components  of  given  places  
    •  Scale,  size  locaAon  of  site  specific  works  are  determine  by  
    the  characterisAcs  of  the  site  
    •  Works  become  part  of  and  built  into  structure  of  site  and  
    ojen  restructure  it  both  conceptually  and  perceptually  
    Richard  Serra,  Tilted  Arc,  Federal  Plaza,  New  York  City,  1981.  
    

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35. 1981   1989   1989  
    Richard  Serra,  Tilted  Arc,  Federal  Plaza,  New  York  City,  1981.  
    1989  
    

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