PART FOUR Chapter 11: Sculpture and Installation Sculpture methods covered in this chapter include: Modeling (additive) Assembling (additive) Carving (subtractive) Casting (involves a mold) © 2013, McGraw-Hill Higher Education. All rights reserved.

© 2013, McGraw-Hill Higher Education. All rights reserved. Key Terms for this chapter include: terra cotta mold lost-wax process “in the round” low relief (bas-relief) high relief contrapposto installation earthwork time-based work © 2013, McGraw-Hill Higher Education. All rights reserved.

Sculpture and Installation Sculpture involves works of art dealing with three-dimensional space. Three-dimensional involves: Height, Width, and Depth “In the round”: Freestanding artwork that can be viewed from any angle; completed on all sides. Discussion question: How does your experience differ between sculptures that you view frontally versus those you view “in the round”? © 2013, McGraw-Hill Higher Education. All rights reserved.

Maman, Louise Bourgeois, 1999, bronze cast In-the round. Maman is French for Mom. Depicts mother as seen through child’s eyes. Awesome, tall, protective, patient, and skilled. Bourgeois’ wove and repaired tapestries.

Sculpture In relief, forms project from but remain attached to a background surface; meant to be viewed frontally. Low Relief: Also called bas-relief; figures project only slightly from the background. High Relief: Forms dramatically project from the background by generally at least half their depth. Discussion question: How does distance from relief sculpture and the time of day (outside artwork) affect your experience of it? Insert visual(s). Suggestion: 11.3 Durga Fighting the Buffalo Demon © 2013, McGraw-Hill Higher Education. All rights reserved.

Low relief (bas-relief) and High Relief Sarcophagus lid, Mexico, Mayan late Classical Period Durga Fighting the Buffalo Demon, cave, India. Left – Mesoamerica. Relief sculptures remain attached to background. Meant to be viewed frontally. Ruler Pacel in center as he falls from life to death. Right – Figures project more boldly (over ½ of body comes out)

MODELING Modeling is an additive process. The sculptor begins with a framework or nothing at all and adds material until the sculpture is finished. It is a very direct method of working. Clay, also known as terra cotta, is the most common modeling material. Discussion question: Those of you who have worked in clay, describe your physical experience with using this medium. Insert visual(s). Suggestion: 11.4 Figurine of a Voluptuous Lady © 2013, McGraw-Hill Higher Education. All rights reserved.

Figurine of a Voluptuous Lady, Maya, 700-900, ceramic Fired clay is known as ceramic or terra cotta. Made with stone and wooden tools. Survived as object buried in tomb.

CASTING Casting is a very indirect method of working. It involves a mold of some kind into which liquid or semi liquid is poured and allowed to harden. Bronze is a common casting material. Insert visual(s). Suggestion: 11.5 The Bodhisattva Avalokiteshvara © 2013, McGraw-Hill Higher Education. All rights reserved.

CASTING The lost-wax process is the most common method for casting. The wax original is destroyed in the process making each sculpture cast unique. © 2013, McGraw-Hill Higher Education. All rights reserved.

Bodhisattva, India, 12thc, Pala Dynasty More indirect than carving and modeling. Casting metal can yield a highly polished metal sculpture. Bodhisattva are spiritually advanced beings who choose to delay their buddhahood in order to help others.

Micael Jackson and Bubbles, Jeff Koons, 1988, ceramic Daylight, Rachel Whiteread, 2010, Resin. **Left- Cast using slip (watery clay) and painted gold as monumental figure. All gold and white except faces that are visual reps of the two’s close relationship and similarities. Right (tinted resin)- cast of window that is slightly shifted to make viewer see common object differently. Whiteread is known for casting domestic negative spaces (under chair, table, etc.)

CARVING In carving the sculptor begins with a block of material and cuts, chips, and gouges away until the form emerges. It is a subtractive process. Wood and stone are the principal materials historically used for this process. Discussion questions: What are advantages and disadvantages of working in this technique? When would an artist choose to use fresco over oil painting or tempera to create a work of art? Insert visual(s). Suggestion: 11.9 Virgin and Child on the Crescent Moon © 2013, McGraw-Hill Higher Education. All rights reserved.

Colossal Head,Olmec, 1500-300, Basalt Virgin and Child on the Crescent Moon, 1495, Limewood Colossal Head,Olmec, 1500-300, Basalt Left – limewood (native to Germany) is soft wood with close woodgrain, easy to carve. S curve position of Mary. Animated baby. Right – Basalt (quarried and transported weighing 44 tons) and floated by barge to land. Represented Olmec ruler. Basalt is spewn from volcanoes. Origin (center of earth) is associated with awesome natural powers.

© 2013, McGraw-Hill Higher Education. All rights reserved. ASSEMBLING In assembling, individual pieces, segments, or objects are brought together to form a sculpture. It is an additive process. Insert visual(s). Suggestions: 11.11 Cubi XII 11.13 C.F.A.O. © 2013, McGraw-Hill Higher Education. All rights reserved.

Cubi XII, 1963, Stainless Steel, 1963 Left – Steel associated with modern era. Cubes strike precarious balance. Squiggly lines contrast geometric forms. Polished to reflect and shine in sunlight. Right – Wants viewer to figure out meaning. Ref: African white mask Cubi XII, 1963, Stainless Steel, 1963 C.F.A.O., Martin Puryear, 2006-7. Pine and found wheelbarrow

Roxy Paine, 2007. Stainless steel and concrete Conjoined, Roxy Paine, 2007. Stainless steel and concrete *Naturalistic trees in organic form contrasts with stainless medium. Calls them Dendroids. Overly animated. Magical, fairy tale.

Sculpture: The Human Figure The human figure is a basic subject for sculpture throughout time. Contrapposto: Meaning counterpoise or counterbalance; sets the body in a gentle S-shaped curve that implies the potential for human motion. Insert visual(s). Suggestion: 11.20 Apoxyomenos (Scraper) © 2013, McGraw-Hill Higher Education. All rights reserved.

Menkaure and Khamerenebty, Egypt, 2490-2473 BC The Burghers of Calais, Auguste Rodin, 1884-85, Bronze Left – Royal tombs house youthful reps of king and queen. Classic Egyptian stance. Purpose = to leave trace of self. Right – Purpose – to memorialize. Commissioned by French city of Calais in 1884 to honor 6 townsmen of 14th century when Freance and England were involved in 100 year war. Men offered lives to ransom Calais from English.

Kuya Preaching, Kamakura period, before 1207 Left – religious purpose. Kuya was Buddhist monk who roamed countryside teaching people to chant (Hail to Amida Buddha). 6 small buddhas coming from mouth equal each syllable of chant. Right – figure is most common subject of traditional African art. Belief that each person has spirit spouse in other world. Sculpted form to represent spirit spouse can help calm angry spirit. Made beautiful to appeal to spirit spouse so they will live in it. Spirit Spouse, Ivory Coast , early 20th century, wood

Apoxyomenos, (Scraper),Roman copy of Lyssipos, 320, marble Dying Slave, Michelangelo, 1535-16 Apoxyomenos, (Scraper),Roman copy of Lyssipos, 320, marble Western depiction of figure was to show a body worthy of being sculpted. Left – Romans made replica of Greek original. Greeks idealized the figure and Renaissance artists revisited idea. Contrapossto – slight weight shift (from Greeks)

Quantum Cloud XX (tornado), Anthony Gormley, 2000, stainless steel Glistens when sunlight hits it. Addresses questions, “How does it feel to be alive? What is it to be conscious? “

Working with Time and Place Human beings also sculpt the landscape and specific environments. There are practical, religious, and aesthetic reasons for this type of sculpture. Insert visual(s). Suggestion: 11.25 Serpent Mound © 2013, McGraw-Hill Higher Education. All rights reserved.

Working with Time and Place Earthwork: A work of art made for a specific place using natural materials found there, especially the earth itself. Installation: An artist modifies a space in some way and asks us to enter, explore, and experience it. © 2013, McGraw-Hill Higher Education. All rights reserved.

Serpent Mound, near Locust Grove, OH Earthwork. Thought to have been formed by Hopewell people during early centuries. Now thought to be 1070. One theory is mound may have been built n response to celestial event.

Reconstructed Icicles, Andy Goldsworthy, 1995 *Installation art. Time is factor in art. Uses only things in nature to make sculpture knowing that sculpture is not permanent. Process is art not product.

Fireflies on the Water, Yayoi Kusama, 2002, 150 lights and water *12’ room with walls lined in mirrors and sunken reflecting pool. Meant to be viewed solitarily.

Red Room, (Child), Louise Bourgeois, Installation, 1994 Created as partner installation for parents. Shameful feeling as if reading one’s diary. Small and large forearms, some showing protection, others teaching a task.

The Gates,Christo and Jeanne-Claude, 2/12-17/05, Installation in Central Park *Accepts no funding, raised money by selling drawings and collages generated during process. 23 miles of saffron colored cloth gates. On opening day, worked unfurled gates. Gates were in place 16 days. Other famous works were Running Fence (white)in the 1970s, and Surrounded Islands (pink)in 1980s.

Sculpture and Installation: Summary Sculpture Methods Modeling Assembling Carving Casting Key Terms terra cotta mold lost-wax process “in the round” low and high relief contrapposto installation earthwork time-based work © 2013, McGraw-Hill Higher Education. All rights reserved.