1. Fabric Sculpture

2. Sculpture, in essence, is three dimensional art
Sculpture, in essence, is three dimensional art. Therefore, you must consider what an object will look like from all angles.
For this project, we will be experimenting with a new medium : fabric.
How will this soft, pliable medium affect what you are saying?

3. Think for a moment about a toaster; a sculpture of a toaster made out of cement will have a very different meaning than a toaster made out of soft silk. Consider this when planning your subject matter.
You are allowed to dye your own fabric any colour(s) you please, using the unbleached muslin that will be provided for you. If you want any other kind of fabric (fun fur, silk, burlap, etc) you will need to acquire that on your own. Also, you may experiment with batiking (this will be explained further later.) All fabric pieces will be stuffed with batting.

4. You are allowed to dye your own fabric any colour(s) you please, using the unbleached muslin that will be provided for you. If you want any other kind of fabric (fun fur, silk, burlap, etc) you will need to acquire that on your own. Also, you may experiment with batiking (this will be explained further later.) All fabric pieces will be stuffed with batting.

5. Choice A: It was small, now it’s BIG.
If you choose choice A then you will take an everyday object and make it at least three times its size.
For example, you could take a house key and reproduce it to scale as the size of a pillow. Consider the implications of making something small and seemingly unimportant into a larger scale that demands recognition.
Choose an object wisely; what about this particular object do you feel needs to be acknowledged?

6. Claes Oldenburg was born January 28, 1929, in Stockholm, Sweden, but spent most of his childhood in the United States. After studies at Yale University and the Art Institute of Chicago, he moved to New York City in 1956, where he established himself in the early 1960s with a series of installations and performances influenced by his surroundings on the Lower East Side.
Using ordinary, everyday objects as his form of expression, he went on to develop "soft" sculpture and fantastic proposals for civic monuments.

7. In 1969, Oldenburg took up fabrication on a large scale with Lipstick (Ascending) on Caterpillar Tracks, installed on the Yale campus, followed in 1976 by Clothespin for downtown Philadelphia.
Since 1976 he has worked in partnership with Coosje van Bruggen. Together they have executed over forty Large-Scale Projects, which have been inserted into various urban surroundings in Europe, Asia, and the United States.

8. Claes Oldenburg and Coosje van Bruggen Corridor Pin, Blue , 1999 Stainless steel and aluminum painted with polyurethane enamel,;21 ft. 3 in. x 21 ft. 2 in. x 1 ft. 4in.

9. Claes Oldenburg

10. Claes Oldenburg Screwarch, 1983 Aluminum painted with polyurethane enamel12 ft. 8 in. x 21 ft. 6 in. x 7 ft. 10 in. (3.9 x 6.6 x 2.4 m)

11. Louise Bourgeois Maman Bronze 30 ft 2005

12. C. O. Trowel I, 1971-76 Steel painted with polyurethane enamel41 ft
C.O. Trowel I, Steel painted with polyurethane enamel41 ft. 9 in. x 11 ft. 3 in. x 14 ft. 7 in. (12.7 x 3.4 x 4.4 m: 38 ft. 5 in. x 11 ft. 3 in. x 7 ft. 5 in. (11.7 x 3.4 x 2.3 m)

13. Claes Oldenburg Floor Burger 1962

14. Claes Oldenburg Lipstick (Ascending) on Caterpillar Tracks, Cor-Ten steel, steel, aluminum, cast resin; painted with polyurethane enamel 23 ft. 6 in. x 24 ft. 11 in. x 10 ft. 11 in.

15. Claes Oldenburg Soft Switches, 1964,
Claes Oldenburg Soft Switches, 1964,.Vinyl filled with dacron and canvas, 47 x 47 x 3-1/8 inches

16. Claes Oldenburg Soft Fur Good Humors, 1963
Claes Oldenburg Soft Fur Good Humors, 1963.Fake fur filled with kapok; wood painted with enamel 4 units, each 2 x 9-1/2 x 19 inches

17. Claes Oldenburg Soft Toilet 1966

18. Claes Oldenburg Knife Ship II, 1986 Steel, aluminum, wood; painted with polyurethane enamel Closed, without oars: 7 ft. 8 in. x 10 ft. 6 in. x 40 ft. 5 in. (2.3 x 3.2 x 12.3 m)

19. Claes Oldenburg Gartenschlauch (Garden Hose), 1983 Steel painted with polyurethane enamel 6,000 sq. ft.

20. Claes Oldenburg Giant Soft Drum Set, 1967
Claes Oldenburg Giant Soft Drum Set, Vinyl and canvas, metal and painted wood parts;, 48 x 72 x 84 inches

21. Flying Pins, 2000 in an area approximately 123 ft. (37
Flying Pins, 2000 in an area approximately 123 ft. (37.5 m) long x 65 ft. 7 in. (20 m) wide Steel, fiber-reinforced plastic, foam, epoxy; painted with polyester gelcoat and polyurethane enamel Ten pins, each: 24 ft. 7 in. high x 7 ft. 7 in. widest diameter

22. Dropped Cone, 2001 Stainless and galvanized steels, fiber-reinforced plastic, balsawood; painted with polyester gelcoat 39 ft. 10 in. high x 19 ft. diameter height above building: 32 ft. 10 in.

23. Batcolumn, 1977 Steel and aluminum painted with polyurethane enamel 96 ft. 8 in. high x 9 ft. 9 in,base 4 ft.

24. Stake Hitch, 1984 Stake: steel, aluminum, epoxy, painted with polyurethane enamel rope: polyurethane foam, plastic materials, fiber-reinforced plastic; painted with latex Total height: 53 ft. 6 in.

25. Knife Slicing Through Wall, 1986 Wood painted with enamel; and plasterboard or cardboard blade: 4 ft. 10 in. x 12 ft. 3 in. (1.47 x 3.66 x .08 m);

26. Bicyclette Ensevelie (Buried Bicycle), 1990 Steel, aluminum, fiber-reinforced plastic; painted with polyurethane enamel Four parts, in an area approximately 150 ft. 11 in. x 71 ft. 2 in.

27. Bottle of Notes, 1993 Steel painted with polyurethane enamel30 x 16 x 10 ft. (9.1 x 4.9 x 3.1 m)

28. Apple Core 1990

29. Extinguished Match 1987 latex-coated urethan foam 240 x 690 x 80 cm

30. Claes Oldenburg Clothespin 1976

31. Shuttlecocks, 1994 Aluminum and fiber-reinforced plastic painted with polyurethane enamel Four shuttlecocks, each 17 ft. 11 in. high x 15 ft. 1 in crown diameter and 4 ft.

32. Lion's Tail, 1999 Stainless steel, aluminum, wood, fiber-reinforced plastic, expanded polystyrene, painted with urethane enamel; nylon 18 ft. 6 in. x 15 ft. x 4 ft.

33. Choice B: Repetition, repetition, repetition.
A simple object can mean so much more when it is repeated several times.
You can give prominence to a design or subject matter by repeating its form.
Picture one little gnome staring up at you. Now add 15 more little gnomes surrounding it. How do this many gnomes change the subject matter’s presence?
One good idea is worth repeating, and can add meaning to your work by sheer volume of the subject matter.

36. Nancy Graves. Variability and Repetition of Similar Forms II 1979 Bronze and steel 6ft x 12 ft x 16 ft

37. Louise Bourgeois. Latex Costume, 1975

38. Eva Hesse Repetition Nineteen 1, 1968

39. Eva Hesse Repetition Nineteen III. 1968
Eva Hesse Repetition Nineteen III Fiberglass and polyester resin, nineteen units, Each 19 to 20 1/4" x 11 to 12 3/4" in diameter.

41. Eric McGehearty Repetition of Unreadable Books
Eric McGehearty Repetition of Unreadable Books. 2003, concrete and paper 15’x10’

42. Eleanor Antin. 100 Boots in a field

43. Andy Warhol 100 Cans, 1962 Oil on canvas, 72 x 52” (182.9 x 132.1 cm.)

44. Andy Warhol Green Coca Cola Bottles. 1962

45. Andy Warhol Brillo Boxes, 1964

46. Andy Warhol. Marilyn 1967

47. Steve Newberry. Party Favours welded steel, balloons 1999

49. Steve Newberry. Pink flamingoes trying desperately to sit down - plastic flamingoes, metal, wooden chairs

51. Christo and Jeanne Claude, The Umbrellas: Japan-USA, 1984 – 1991 Fabric, aluminum, paint, steel, concrete.Height including base 19’8”

53. Christo The Gates Central Park, New York 2005

54. Christo and Jeanne-Claude The Gates, 2005

55. Fin