powerpoint 5a

1. powerpoint 5a the use of 3D space Sayre Chapters 13 - 15

2. the third dimension • three dimensional media • three-dimensional artworks relate to the viewer through the space and time that viewer occupies • three-dimensional works share space and time with the viewer and thus interact with the viewer much differently than two-dimensional works • three-dimensional works invite the viewer into the space and gives the viewer choices concerning vantage points • two-dimensional works force the viewer into the artist’s perspective, whereas three-dimensional works offer a physical presence (its matter, mass and volume) and a temporal dimension (the time it takes for a viewer to walk around it) • relief, 2d + 3d • relief is a transition between two-dimensions and three-dimensions • low relief consists of objects and figures which raise from the flat surface • high relief consists of objects and figures which project forward from the base chapter 13

3. the third dimension • sculpture defined • in-the-round means that the sculpture occupies a space (an environment) • installations (interior) and earthworks (exterior) are environments which viewers can enter • contrapposto: dynamically posed; counter-balance • types of sculpture • subtractive: removing material from a base • additive: adding material or building material up chapter 13

4. methods of sculpting • carving (-) • chipped, gouged and hammered from a block of material • modeling (+) • the manipulation of pliable material by molding, rolling, beating, pulling etc. • casting (-/+) • a positive model is used to make a negative mold in which a molten material is poured and is left to harden • assemblage (+) • process of bringing individual objects together to form a new whole • found object: using objects made for a purpose other than making art to create an assemblage chapter 13

5. use of the environment • installation • viewer enters a room or interior space which is the art (not be confused with containing the art) • earthworks • similar to an installation, but is an exterior space and can become incredibly large • performance art • an unconventional theatrical work in that that narrative is loose (if present at all) and works more or less as a living piece of artwork • viewed like a sculpture or other artwork and not like a play production, yet has elements of both drama and three-dimensional art chapter 13

6. the critical process • thinking about sculpture • the third dimension incorporates the viewer’s space with the artwork’s space • this changes the viewer to an audience member, meaning the viewer no longer simply “views” the artwork but experiences it – this is especially true in installation and performance pieces • Zhang Huan, Berlin Buddha, 2007 • being made of only compacted ash, it disintegrated • How does this artwork interact with time? How is time a factor in viewing and participating in the artwork? • How does action and participation change art? • Why does a piece which will disappear over time change the way it is experienced? chapter 13

7. useful artworks • handicrafts • works made of clay, glass, fiber, metal and wood • typically, functional objects but in the hands of an artist can be used to create aesthetically beautiful pieces • also referred to as artisanry, arts & crafts, or the Arts & Crafts Movement • consists of various practices, including, but not limited to: • assemblage • beadwork • carving, shaping and whittling • furniture making, cabinetry, woodturning and woodworking • crochet, knitting, needlework and quilting • embossing, engraving and mosaic • pottery, basket-making and metalworking • clothing making, sewing and shoemaking chapter 14

8. methods and materials • ceramics • use of clay which is hardened, fired in a kiln, and glazed • methods: slab, coiling, score & slip, pinch, wheel-thrown and hand-building • types: earthenware, stoneware and porcelain • glass • formed from liquid, hot silica or sand • methods: glassblowing (free-blowing or mold-blowing), shaping, stained-glass, and mosaic • types: black glass, uranium glass, murrine (patterned), muff, rolled, flash, and crown • wood • tree and plant material • methods: carving, turning, burning, sanding, finishing and whittling • forms: furniture, sculpture, cabinetry, boat-making, fetishes, mask-making and luthiery • fiber • natural and man-made fibers: • made from vegetable matter, animal silk or hair and wood • made from carbon, polymer, cellulose and other synthetics • methods: weaving and embroidery • forms: tapestry, baskets, rumals, rugs, wall-hangings, collage and clothing • metal • metals: bronze, copper, brass, silver, gold, platinum, tin and iron • methods: repoussé, embossing, casting, grinding, welding, soldering and filing • forms: utensils, weaponry, sculpture, busts, figurines, fetishes and other decorative purposes • paper working • types: papyrus, cotton-paper, sugar-paper, papier-mâché and laminar • methods: origami, papier-mâché building, masking and molding chapter 14

9. the critical process • thinking about crafts as fine art • sculptural methods and materials are more active than painting, drawing or other two-dimensional media • crafts with artistic ends, as opposed to only utilitarian ones, offer a sculptural experience • Martin Puryear, Ladder for Booker T. Washington, 1996 • How does Puryear challenge the functionality of the art-object, typically used only for its utilitarian purposes? • How does Puryear create “artificial perspective” in this work? • How does the title of Puryear’s work relate to the subject matter, the content and the meaning of the handicraft-sculpture? chapter 14

10. living & working spaces • architecture • the history of building structures in relation to environment and technology available • architecture follows the principles of art but also has its own set of rules • Marcus Vitruvius Pollio – Roman architect, engineer & writer • author of the volumes entitled De Architectura (“On Architecture”) • architecture is a mimicry of natural forms such as the nests of bees and birds • fundamentals: order, arrangement, eurhythmy, symmetry, propriety and economy chapter15

11. technology & architecture • structural systems • shell system: walls provide structural support and the outside covering • skeleton-and-skin system: basic interior frame supporting the more fragile covering • tensile strength: the ability of a building material to span horizontal distances without buckling • load-bearing: walls bear the weight of the roof; gravity creates the pressure which locks the walls, joists and beams into place chapter15

12. technology & architecture • architecture of ancient greece • post-and-lintel: horizontal beam supported at each end by a vertical post or wall • drums and fluting: columns made of pieces of stone which are stacked atop one another, and grooves carved the length of the entire column • acropolis: temple atop an elevated site above the city • colonnade: row of columns • capitals: the top part of a column which can be categorized by style: doric, ionic or corinthian • elevation: vertical design • order: the relationship of the platform, column and entablature • architecture of ancient rome • arch: replaces post-and-lintel and allows for much larger structures • keystone: central stone that keeps an arch stable by placing opposing pressure on the other stones • amphitheater: two semicircular theaters are brought to face • vaults: arches joined as barrel vaults (two arches) or groined vaults (multiple arches) • dome: a hemisphere; a continuous arch rotated 360˚ • oculus: an opening in the dome which allows light in • springing: the point where an arch or dome rises from its support chapter15

13. technology & architecture • architecture of churches • cruciform plan: cross-shaped consisting of main hall crossed by a transept (side-wings) and headed by an apse • apse: semicircular projection at the end • nave: the central aisle • pointed arch: straightened keystone to form a peak • flying buttresses: a reinforcement of a wall and an open gap forming the arch • cathedral: religious building of worship that contains the seat of a bishop • gargoyle: a carved grotesque with a spout to drain water from the roof • grotesque: a non-waterspout carving used for ornamentation • ribbed vaults: the intersection of barrel vaults creates a vault similar to a groin vault chapter15

14. technology & architecture • modern architecture • cast-iron construction: by adding carbon to iron, cast-iron becomes more rigid and strong • wood-frame: a true skeleton-and-skin structure made by support beams and trusses (a triangular framework) • steel and reinforced concrete construction: steel cage connected by floors made of reinforced concrete (steel rebars strengthen the concrete) • cantilever: a beam supported on one end, allowing for roofs to extend beyond the wall or frame • skyscraper: towering buildings using steel and reinforced concrete as well as large glass windows; defined by being compared to the local skyline or cityscape; developed in 19th century Chicago • contemporary architecture • green architecture: smaller buildings which integrate and are compatible with nature; are energy efficient and use recycled, reusable and sustainable materials • community: a group of interacting people in a populated environment; community living describes how the structures and dwellings used by these people are organized • infrastructure: the systems which deliver services to people, such as: water, waste removal, energy, transportation and communication • illumination: the use of light in architecture; a focus on integrating natural lighting and daylighting into living and working spaces chapter15

15. the critical process • thinking about architecture • architecture charts the chronology of technological advancements from simple post-and-lintel systems to the development of skyscrapers and green architecture • the need for humans to dwell in suitable habitats has not changed since the beginning of our kind • because of this many dwellings stay timeless; those ancient solutions are still applicable today • Moshe Safdie, Canadian Habitat1967 • Compare the Moshe Safdie to the multi-story apartmenet blocks built in Taos Pueblo, New Mexico, 1000-1450 CE. How are they similar? Why do you think this design is still used today? • What do these structures say about the humans need to cohabitate and form communities? • How do these structures use of three-dimensional space? chapter 15