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SC U LP T URE Le c ture 9

SC U LP T URE Le c ture 9. I S I T A S CU L P T UR E ?. I S I T A S CU L P T UR E ?.  Yes!  Nike of Samot h race  Marble  G r eek Helleni s tic Period. I S I T A S CU L P T UR E ?. I S I T A S CU L P T UR E ?.  Yes!  Greek Silver Coin. Apollo, Greek silver coin. c. 425 B.C.E.

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SC U LP T URE Le c ture 9

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  1. SCULPTURE Lecture9

  2. ISITASCULPTURE?

  3. ISITASCULPTURE? Yes! Nikeof Samothrace Marble GreekHellenistic Period

  4. ISITASCULPTURE?

  5. ISITASCULPTURE? Yes! Greek Silver Coin Apollo, Greek silver coin. c. 425 B.C.E. 1 1/8" diameter.

  6. ISITASCULPTURE?

  7. ISITASCULPTURE? No They are functional objects…coffee mugs. Still,aren’t they reallycool??

  8. ISITASCULPTURE?

  9. ISITASCULPTURE? Yes! PabloPicasso,Bull’s Head. Bikeseatand handlebars 1942 “Ready-Made”

  10. ISITASCULPTURE? • http://www.youtube.com/watch?v=_bADfh_JLLo

  11. ISITASCULPTURE? Sorta? Thisisa Site SpecificWork,which hasbeen includedin thestudyof sculpture. ChristoandJeanne Claude TheGates,NYCin 2005

  12. SCULPTURE • Artworksthat exist in threedimensionare calledsculpture(NOT statues). • Classifiedby howit is viewed: • Intheround (seen from allsides) Alexander Calder. Obus. 1972. 142 1/2" x 152" x 89 5/8". See also Figure10.1 • Relief (imageprojects fromthebackground)

  13. SCULPTURE: INTHEROUND Sculpture-in-the-round: freestandingsculptures withfronts, sides, backs,andtops. The spacesaroundthesculpturemay alsotakeon meaningin the work.

  14. COMPARE / CONTRAST: Charles Ray. Self-Portrait. 1990. 75" x 26" x 20". Robert Arneson. California Artist. 1982. 68 1/4" x 27 1/2" x 20 1/4".

  15. SCULPTURE: RELIEF Robert Longo. Corporate Wars: Wall of Influence, middle portion. 1982. 7' x 9'. Army on the March. 1100–1150. Relief: A sculpture that is not freestanding but projects from a background surface.Viewingtheseworksis similarto viewinga 2D form (ex:painting or drawing).Reliefsculptureis referredto ashighrelief,or low (bas)relief.

  16. SCULPTURE: SUBTRACTIVEPROCESSES Subtractiveprocess: unwantedmaterialis removed. Mostdifficult process. Carving: thesculptor startswithablockof materialand cuts/chisels awayportionsofituntil theformiscreated. Commonmediaarestone, wood,ivory. Michelangelo Buonarroti. Awakening Slave. 1530–1534. Height 9'.

  17. CARVING MARBLE • http://www.getty.edu/art/gettyguide/videoDetails? • segid=4219 • Toolsfeaturedinthisvideo: • Toothchisel • Pointchisel • Drill • Rasp(ametalfiling/smoothingtool)

  18. SCULPTURE: ADDITIVEPROCESSES Additiveprocess: materialisadded, assembled,orbuilt-up. Commonadditive processesaremodeling, casting,and constructions. Modeledworksareoften madefromclay,cast worksareoftenmetal, andconstructionsareany kindofmaterialadhered together. KenPrice, Vink,2009.Figure10.7 Modeling

  19. Marc Andre Robinson. Throne for the Greatest Rapper of all Time. 2005. 76”x 69” x 48”. COMPARE / CONTRAST DeborahButterfield.Conure.2007. 92.5”x119”x30”.

  20. CASTING BRONZES / LOST WAX CASTING • http://www.getty.edu/art/gettyguide/videoDetails?segi • d=370 • Toolsused inthisvideo: • Wax skinoverclay form/core • Iron and wire armature • Secondwaxform • Core pins ofiron • Sprues(waxrods) • Pouringcup • Kiln (oven) • Molten bronzeinacrucible • Chisel and smallirontools • Cloth

  21. Rachel Whiteread. Public Art Fund Watertower Project. 1997. 12' high, 9' diameter. http://www.youtube.com/watch?v=MEtsYIIIfkw http://www.moma.org/collection/object.php?object_id=82016

  22. INSTALLATION Type of 3Dart that transformsa spaceto tell a story. Theentireroomis filled with itemsthat conveys the content. Worksthat cannotbe movedarecalled site- specific. Cady Noland. This Piece Doesn't Have a Title Yet. 1989.

  23. IS THIS WORK INSTALLATION? IS THIS WORK SITE-SPECIFIC? OlafurEliasson. The Weather Project. 2003–2004.

  24. IS THIS WORK INSTALLATION? YES IS THIS WORK SITE-SPECIFIC? YES OlafurEliasson. The Weather Project. 2003–2004.

  25. RICHARDSERRA’STILTEDARC,INNEW YORK’SFEDERALPLAZA1981-1989 120feetlong,12feethigh, 2.5inchesthick Unfinishedsteel $175,000

  26. ARTOREYESORE? ART “Theviewerbecomes awareof himselfand ofhismovement throughthe plaza.As hemoves,the sculpture changes.Contraction andexpansionof the sculptureresultfrom theviewer’smovement. Stepby step the perceptionnotonlyof thesculpturebutofthe entireenvironment changes.”

  27. ARTOREYESORE? UGLY!!! “Tilted Arc wasslammed with a whole thesaurus of negativeadjectives— "arrogant," "overbearing,""barren"and "depressing"—and a few disparaging nouns like "eyesore" and "iron curtain." The sculpture was accusedof ruiningthe plaza, collecting litter, attractinggraffitiand aiding potentialterrorists. The solution, said William Toby, regionaladministrator ofthe HealthCareFinancing Administration, was "relocation toa bettersite—a metalsalvageyard." People magazine,1985.

  28. ARTOREYESORE? WHATDOYOUTHINK? Whatare some ofthe mainfunctionsof publicart inthe UnitedStates today? Doespublicart needto beattractive? Whatrights doesan artisthave to their workifit isina public arena?

  29. Matthew Barney http://www.youtube.com/watch?v=VJfI1LRK0tc http://www.pbs.org/art21/watch-now/segment-matthew-barney-in-consumption

  30. AFTERLECTURE9 YOUSHOULDBEABLETO: DistinguishbetweenSculpture-in-the-roundand Reliefsculpture. Identifyhow modeling,casting,carving,and assemblingdiffer. Describehowcast worksinmetal arecreated. Explainhow installationworksdifferfrom traditional2Dand 3D works.

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