4. 1. FREE-STANDING
OR FULL-ROUND.
threedimensional space
• It inhibits
in the same way that living things do.
• Sculpture in the round cannot be
appreciated from only a single
viewpoint but must be circled and
explored.
7. 2. RELIEF SCULPTURE
• A relief sculpture grows out of flat,
two-
dimensional background, and its
projection into three-dimensional space is
relatively shallow.
• The back of the relief sculpture is not meant
to be seen, the entire design can be
understood from a frontal view.
• Relief sculptures are usually used in
combinations with architecture as wall
decorations.
12. My sculpture "insect" got its name
because its wings reminded me of
an insect, while at the same time I
refer to secans.
Lucien den Arend
This is a very elementary sculpture. The
two curved lines meet at a ninety
degree angle, the point where they
meet being mittered. If the mitered
surface would have been a moveable
joint, the two half circled could be
turned until the circle closed. - See more at: http://www.denarend.com/linear-sculpture/index.htm#sthash.xhDDMKZs.dpuf
13. METHODS OF EXECUTION
1. Subtraction / carving – cut away
unwanted raw material; carving away
2. Manipulation/ modeling – shape material
with the use of hands
3. Substitution/ casting – material that is cast
from one state to another
4. Construction/ fabrication – add element to
element
14. METHODS 1:
SUBTRACTION/CARVING
• Carving is the process of creating a sculpture
by cutting or chipping a form from a solid mass
of material using some sort of chisel or carving
tool.
• Because material is taken away from the mass,
carving is known as a subtractive
method of sculpture. The most common
materials used in carving sculptures are stone
and wood. In fact, most sculptures throughout
history were made using this method.
17. Queen & son Pepi II, 6th
dynasty Egyptian, alabaster
18. 2. MANIPULATION/MODELING
• Modeling is a process in which the artist uses a soft,
pliable material such as wax, clay or plaster that is
gradually built up and shaped until the desired form is
attained. Unlike carving, modeling is
an
additive method, as the sculptor is
continually adding material to the form.
• The material will typically be constructed atop some
sort of metal frame or skeleton to lend support to the
soft material, so it will be able to maintain its shape.
22. 3. SUBSTUTION/CASTING
• In the casting process, an artist creates a sculpture from a
soft, malleable substance such as wax, plaster or clay. This
sculpture will serve as the model that will be
encased
in plaster, silica or some other substance to make a cast.
• Eventually, a fireproof cast is produced that can be filled
with molten metal such as bronze. When the metal cools,
the result is a metal version of the original sculpture.
• The major benefit of casting is that the artist may be able
to produce multiple copies of the sculpture using the
same cast.
24. CIRE-PERDUE
• Lost wax technique (cire-perdue)- cast sculpture
in which the basic mold uses a wax model which is then
melted to leave desired spaces in the mold
• often used for jewelry or small sculptures
http://library.thinkquest.org/23492/data/bronze.htm?tqskip1=1&tqtime=0318
25. Akan Brass Weights: based on Islamic
ounce. A wedding gift could be a set
of weights for a bridegroom.
28. 4. FABRICATION
•
•
The most modern sculpting technique, also known as
construction.
The artist will take existing materials and attach them
together in some fashion, with the resulting
combination of materials
•
forming the sculpture. Sculptures created through this
process typically use found objects, such as scrap metal
pieces that are welded together.
A creation of art is done through joining or fastening. It
also includes welding, gluing, stapling, soldering, nailing
materials together.
41. DESIGN PRINCIPLES
Proportion – relative relationship of shapes to
one another
Repetition – rhythm, harmony, variation
Articulation – manner by which we move from
one element to the next (how the artist has
repeated, varied, harmonized, & related its
parts and the movement from one part to
another)
Focal area – emphasis
Scale – size in relation to standard
Balance – Biomorphic / geometric forms
42. PROPORTION
• proportion is the
relative relationship
of shapes to one
another within the
sculpture itself.
Olmec 400-800 BCE
43. • whenever you have an
element that occurs
multiple times
REPETITION
Frank Gaylord, Korean Memorial, 19
46. ARTICULATION
• articulation is how the
different parts of the
sculpture seem to be
joined together
Marshland Two, 2013, steel, H 187cm
Anthony Smart
47. • Sculptors, like painters or
any other visual artists,
must concern themselves
with drawing our
eye to those areas of
their work that are central
to what they wish to
communicate.
FOCAL
AREA
Bernini, The ecstasy of St. Teresa, 1647–1652
48. FOUND
• when a sculptor makes
their sculpture out of a
raw material but more
or less is just kind of
picked up either from
the natural world
toward using other
people’s discarded
items sometimes just
finding things on the
street or on the sidewalk
and sort of using that as
raw material…
Kitchen Utensil Skull
Subodh Gupta cooked up this giant
skull sculpture out of dinner plates, pots,
whisks, and other kitchen utensils.
49. • Bernard Pras
makes piles of
trash that
from most
angles look
like he’s just
another
litterbug, but
when you
look at them
just right you
see
masterpieces.
50. By Lirio Salvador
SANDATA NI BERNARDO CARPIO
Mixed Media
108×46×7 cm
2008
Drone Transit
Mixed Media
85×221× 24 cm
2009
51. Lirio says "It's all about
the merging of my native
oriental culture and the
present industrial
environment that is
slowly corrupting my
native land". He creates
his assemblage of
musical instruments
using day to day
materials that are found
in his present
environment, including
bicycle gears, drain
cleaning springs and
stainless steel tubes.
Elemento in action
52. EPHEMERAL
• is one that is
transitory that
means it's meant
only to last for a
short amount of
time…
• conceptual,
transitory, and
makes statement
then ceases to exist
53. INTERACTIVITY
• the viewer
somehow
changes the
sculpture and
that's an
intention…
• you can make
sculptures that
somehow
people can
interact with
Flow 5.0 is an
interactive
landscape made
out of hundreds of
fans which reacts to
your sound and
motion. By walking
and interacting the
visitor creates an
illusive landscape of
transparencies and
artificial wind.
54. Titled “Cloud”, the installation was created by
Canadian artist Caitlind Brown for a late night art
festival, Nuit Blanche in Calgary. The viewers were
able to turn on the 1,000 functioning bulbs (the
other 5,000 were burnt-out bulbs donated by the
public) by pulling on metal chains that were
attached to them, causing a giant sparking and
flickering effect.
58. The Little Fourteen-YearOld Dancer; cast in
1922 from a mixedmedia sculpture
modeled ca. 1879–80
Edgar Degas (French,
1834–1917)
Venus of Willendorf, 24,000 B.C.E – 22,000 B.C.E.
man cutting his toenails, 18-19thc.
59.
60. New Jersey-based artist Sue Beatrice, aka All Natural Arts, creates spectacular steampunk
sculptures made out of old watch parts. With the environment in mind, her clever little
creations are made entirely out of recycled materials that offer a bit of whimsy. The
discarded and found objects (gears, sprockets, vintage pocket watches, etc.) are
upcycled and repurposed into unique items that boast themes of nature.
62. - to highlight the material and
make the material look exactly like
what it is
GLYPTIC
SCULPTURE
It highlights exactly what wood looks
like it's the color of wood, the shape of
wood.
The roughness of the rock
actually becomes but one of
the important things that we're
really seeing in the sculpture.
67. Surrounded Islands, Biscayne Bay, 2 weeks 1983, 6.5 million
sq. feet of fabric- underlined various elements and ways
the people of Miami live between land and water
Editor's Notes
Manny Pacquaio statue at MOA by Fred Baldemor, bronzeStation of the Cross by Napoleon AbuevaLinear sculpture by Lucien den Arend
Found Objects: changes the context of objects, combines objects in a different way, or decides an object has an aesthetic reference and presents it that way
In 1926-27, Bird in Space was the subject of a court battle over its taxation by U.S. Customs. In October 1926, Bird in Space, along with 19 other Brâncuși sculptures, arrived in New York harbor aboard the steamship Paris.[5] While works of art are not subject to custom duties, the customs officials refused to believe that the tall, thin piece of polished bronze was art and so imposed the tariff for manufactured metal objects, 40% of the sale price or about $230[6] (over $2800 in 2010 U.S. dollars). Marcel Duchamp (who accompanied the sculptures from Europe), American photographer Edward Steichen (who was to take possession of Bird in Space after exhibition), and Brâncuși himself were indignant; the sculptures were set to appear at the Brummer Gallery in New York City and then the Arts Club in Chicago. Under pressure from the press and artists, U.S. customs agreed to rethink their classification of the items, releasing the sculptures on bond (under "Kitchen Utensils and Hospital Supplies") until a decision could be reached. However, customs appraiser F. J. H. Kracke eventually confirmed the initial classification of items and said that they were subject to duty. Kracke told the New York Evening Post that "several men, high in the art world were asked to express their opinions for the Government.... One of them told us, 'If that's art, hereafter I'm a bricklayer.' Another said, 'Dots and dashes are as artistic as Brâncuși's work.' In general, it was their opinion that Brâncuși left too much to the imagination."[5] The next month, Steichen filed an appeal to the U.S. Customs' decision.Under the 1922 Tariff Act, for a sculpture to count as duty-free it must be an original work of art, with no practical purpose, made by a professional sculptor.[5] No one argued that the piece had a practical purpose, but whether or not the sculpture was art was hotly contested. The 1916 case United States v. Olivotti has established that sculptures were art only if they were carved or chiseled representations of natural objects "in their true proportions." A series of artists and art experts testified for both the defense and the prosecution about the definition of art and who decides exactly what art is.[5]Brâncuși's sworn affidavit to the American Consulate explained process of creating the piece, establishing its originality:[5]I conceived it to be created in bronze and I made a plaster model of it. This I gave to the founder, together with the formula for the bronze alloy and other necessary indications. When the roughcast was delivered to me, I had to stop up the air holes and the core hole, to correct the various defects, and to polish the bronze with files and very fine emery. All this I did myself, by hand; this artistic finishing takes a very long time and is equivalent to beginning the whole work over again. I did not allow anybody else to do any of this finishing work, as the subject of the bronze was my own special creation and nobody but myself could have carried it out to my satisfaction. Despite the varied opinions on what qualifies as art presented to the court, in November 1928 Judges Young and Waite found in favor of the artist. The decision drafted by Waite concluded:[5]The object now under consideration . . . is beautiful and symmetrical in outline, and while some difficulty might be encountered in associating it with a bird, it is nevertheless pleasing to look at and highly ornamental, and as we hold under the evidence that it is the original production of a professional sculptor and is in fact a piece of sculpture and a work of art according to the authorities above referred to, we sustain the protest and find that it is entitled to free entry. This was the first court decision that accepted that non-representational sculpture could be considered art.[7]
Ephemeral = Surrounded Islands, Biscayne Bay, 2 weeks 1983, 6.5 million sq. feet of fabric- underlined various elements and ways the people of Miami live between land and water
