Northwest Valley Community College ART 161

Think about this prompt “If I were a mask from an ancient or exotic culture, what would I look like and what would my purpose be?” Turn to a partner and share your thoughts  You can quickly sketch out your ideas if this helps you.

Introduction – Done! View a Slideshow of Mask Examples Evaluation of a Ceramic Mask Instructor will Demonstrate making a Mask Students will practice mask making Students can work on previous projects Closing Cleanup

Not all of the masks presented here are made of clay. They are meant to be examples of forms and features you can give to your clay mask. DO NOT COPY these masks exactly! Take inspiration from them.

“This mask was found in a tomb and was designed to frighten away evil spirits ” (British Museum, 2010).

“Nō theatre masks are the opportunity for very subtle expression in Japanese sculpture. The wooden masks are carved and then painted” (British Museum, 2010).

“Such clan headdresses are worn in ceremonial dances at 'potlatches' or feasts” (British Museum, 2010).

“This mask represents one of the eighteen disease demons. Demon masks are still used in healing rituals in Sri Lanka, particularly on the south of the island” (British Museum, 2010).

“The impassive features of this large stone funerary mask were sculpted in a greenish stone that was carefully selected for its visual qualities and symbolic value” (British Museum, 2010).

“This terracotta mask represents a female character from ancient tragedy. The smooth face and straight nose are in stark contrast to comic masks, which were often grotesquely distorted” (British Museum, 2010).

“Death and life masks are both made in the same way. The head and facial hair are oiled and a thin layer of plaster is applied to the face in several layers. Threads are set into this and when the plaster has set the mask is removed in several pieces by pulling the threads. The pieces are then put back together to form a mould from which a mask can be made.” (British Museum, 2010).

“An important part of the mummy was a helmet-like mask, which was placed over the head of the linen-wrapped body. Its youthful features were not intended as a likeness of the deceased, but projected an idealized image for their existence in the afterlife” (British Museum, 2010).

“This type of mask was worn by the Oba, probably around his neck, during a religious ceremony. The top of the pendant is decorated with heads representing the Portuguese, symbolizing Benin's alliance with and control over Europeans.” (British Museum, 2010).

“The shishi (leonine creature) mask was used in the theatre and in street festivals, sometimes carried by a single person and sometimes by a team wearing a textile body” (British Museum, 2010).

(Abright, 2010).

(Bjerkan, 2009).

(Lamartine, 2010).

Using your Ceramic Evaluation Form, evaluate this mask by Peggy Bjerkan. Remember to think about the aesthetic as well as the workmanship that went into the piece. (Bjerkan, 2009).

Assessment: Create your own mask!

Turn to a partner and show him or her your current mask project. Then tell your partner what you would create if you were to create a companion mask to go along with the one you are working on now (or have finished). Consider…  How would you keep the same theme for the two masks, yet make them different?  What new textures or designs would you introduce?  How would the construction process of the second mask go differently?

 Put away any unfinished projects and place finished ones on the appropriate Firing Shelves  Put any extra clay in the Clay Recycling Bin  Put away your supplies  Wipe off your work table

Abright, B. (2010). Bill Abright ceramics and drawings. Retrieved from Bjerkan, P. (2009). Maskwoman.com. Retrieved from Lamartine, R. (2010). Richard Lamartine ceramics gallery. Retrieved from The British Museum. (2010). Changing face:Masks from the British Museum. Retrieved from ition/changing_face_masks/changing_face_masks.aspx