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SCULPTURE

silly synopsis of sculpture cartoon

McGraw-Hill Higher Education, Inc. ©2008

http://www.knowitall.org/artopia/sculpture/movie/index.html


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)

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)

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

2.146a Colossal Head #10,

Olmec. Basalt. San Lorenzo,

Veracruz, Mexico

2.146b Colossal Head #10,

Olmec. Basalt. San Lorenzo,

Veracruz, Mexico

METHODS



Three Dimensional: involves height, width, and depth.

• Relief (frontal view): Low relief (bas-relief), High

relief (haut-relief)

Sculpture and the

3rd Dimension

Relief sculpture. Apollo. Greek Silver Coin.

LOW RELIEF SCULPTURE

Army on the March. Angkor War. C.1150. Cambodia. Sandstone.

CARVED RELIEF SCULPTURE

Robert Longo Corporate Wars: Wall of Influence. 1982.

Cast Aluminum.

CAST HIGH RELIEF

Chamberlain. Ahyre 1988. terra cotta

MODELING

Mayan, c. 700. Terracotta and paint.

MODELING

Arneson. California Artist.

1982. Stoneware (ceramics)

Glazed.

ARMATURE

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

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

SUBTRACTIVE



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”

CARVING

Michelangelo. Awakening Slave. 1530-1534.

Marble. 9’


Iowa State Fair. Butter.


Additive: assembling

Methods and Materials of Sculptures

28.14 Oldenburg. Clothespin. Central Square, Philadelphia. 1976.

Corten and Stainless Steel.

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

ASSEMBLAGE

Gonzalez. Maternity. Welded Iron. 1934 (lft).

49 7/8”

Gonzalez Montserrat. ’36-37. Sheet Iron. 5’5”

WELDING

2.156 Naum Gabo, Constructed Head

No. 2, 1916. Cor-ten steel, 69 × 52¾

× 48¼”. Tate, London, England

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.

Bessie Harvey. Snake Through Eye. 1986. Painted Wood and Mixed Media.

24”


Casting: Lost-Wax Process (cire perdue)

CASTING: LOST WAX

Rodin. Burghers of Calais. lost wax contemporary method (6 min)

http://www.youtube.com/watch?v=uPgEIM-NbhQ

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

2.152 Riace Warrior A, c. 450 BCE.

Bronze, 6’6” high. National Museum,

Reggio Calabria, Italy

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


• “In the round”: full round

Three Dimensional: involves height, width, and depth.

Rodin, The

Rodin Thinker.

Sculpture and the

3rd Dimension


Head of an Oba

--Benin Civilization, 16th century

LOST WAX


Duane Hanson. Tourists

Balantine Ale.


George Segal.

28.15 Segal. Chance Meeting.

1989.

28.16 Segal. Sidney Janis Looking at a Painting by

Mondrian. 1967.

NEW(ISH) MEDIA



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.

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

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

PART 2

MEDIA AND PROCESSES



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

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

PART 2

MEDIA AND PROCESSES



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

Turrell. Meeting 1980-86. Installation at P.S. 1, Long Island City, NY.

Light Installation, Environment Piece.

306 Mel Chin. Revival Field. Pig’s Eye Landfill. St. Paul

Minnesota. 1993

SITE SPECIFIC CROP ART


Christo. Gates.

Insert 72 dpi

visual

Suggested visual:

figure 11.34

Jeff Koons,

Puppy, 2000.

Working with Time and Place

29.25 Christo. Umbrellas in Japan.

1,340. 1991. 18 days.

29.26, Umbrellas in California

(1984)-1991. 1,760. 18 days.

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

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

PART 2

MEDIA AND PROCESSES



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

2.162 George Rickey, Breaking Column,

1986 (completed by the artist’s estate,

2009). Stainless steel, 9’11⅜” x 5½”. Contemporary Museum, Honolulu, Hawaii

PART 2

MEDIA AND PROCESSES



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


Dan Flavin. Installation. Menil Gallery

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.


James Turrell. “The Light Inside’

MFAH.

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

2.163a Antony Gormley

2.163b Antony Gormley, Asian Field, 2003. 210,000 hand-sized clay elements, installation view, warehouse of former Shanghai

No. 10 Steelworks, China

PART 2

MEDIA AND PROCESSES


Perspectives on Art:


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

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

PART 2

MEDIA AND PROCESSES



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


INSTALLATION SCULPTURE

Jenny Holzer. Guggenheim.

Ilya Kabakov. The Man who Flew into Space from his

Apartment. 1981-88. Mixed Media Sculpture.

Kienholz. State Hospiital.

Chicago. The Dinner Party. 1974-79.


Jeff Koons. Puppy Dog. Rockefeller Center

New Materials and Ideas

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”

PART 2

MEDIA AND PROCESSES



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

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

Akhenaten.

Menkaure and Khamerernebty, c. 2460

B.C.E.

Human Figure

in Sculpture


Kritios Boy. 480 Century BCE

Human Figure in Sculpture

Polykleitos. Doryphorous. 440 BCE


Kiki Smith. Mary Magdalene. Wax

Abakanowicz. Agora.

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

2.158 Pablo Picasso, Bull’s

Head, 1942. Assemblage of

bicycle seat and handlebars,

13¼ x 17⅛ x 7½”. Musée

Picasso, Paris, France

Duchamp. Fountain. 1917.

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