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SCULPTURE
silly synopsis of sculpture cartoon
McGraw-Hill Higher Education, Inc. ©2008
McGraw-Hill Higher Education, Inc. ©2008
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
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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
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
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Monolithic Sculpture
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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
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”
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Casting: Lost-Wax Process (cire perdue)
CASTING: LOST WAX
Rodin. Burghers of Calais. lost wax contemporary method (6 min)
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
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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
Balantine Ale.
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George Segal.
28.15 Segal. Chance Meeting.
1989.
28.16 Segal. Sidney Janis Looking at a Painting by
Mondrian. 1967.
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.
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
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
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
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
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Christo. Gates.
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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
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
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
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
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.
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
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
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
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.
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.
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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
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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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
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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.
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.