1. SCULPTURE Lecture 9

2. I S IT A S CULPTURE ?

3.  Yes!  Nike of Samothrace  Marble  Greek Hellenistic Period

4. I S IT A S CULPTURE ?

5.  Yes!  Greek Silver Coin Apollo, Greek silver coin. c. 425 B.C.E. 1 1/8" diameter.

6. I S IT A S CULPTURE ?

7.  No  They are functional objects…coffee mugs.  Still, aren’t they really cool??

8. I S IT A S CULPTURE ?

9.  Yes!  Pablo Picasso, Bull’s Head.  Bike seat and handlebars  1942  “Ready-Made”

10. I S IT A S CULPTURE ? http://www.youtube.co m/watch?v=_bADfh_J LLo

11. I S IT A S CULPTURE ?  Sorta?This is a Site Specific Work, which has been included in the study of sculpture.  Christo and Jeanne Claude  The Gates, NYC in 2005

12. S CULPTURE  Artworks that exist in three dimension are called sculpture (NOT statues).  Classified by how it is viewed:  In the round (seen from all sides)  Relief (image projects from the background) Alexander Calder. Obus. 1972. 142 1/2" x 152" x 89 5/8". See also Figure 10.1

13. S CULPTURE : I N THE R OUND  Sculpture-in-the- round: freestanding sculptures with fronts, sides, backs, and tops. The spaces around the sculpture may also take on meaning in the work.

14. COMPARE / CONTRAST: Charles Ray. Self-Portrait. 1990. 75" x 26" x 20". Robert Arneson. California Artist. 1982. 68 1/4" x 27 1/2" x 20 1/4".

15. S CULPTURE :R ELIEF  Relief:A sculpture that is not freestanding but projects from a background surface. Viewing these works is similar to viewing a 2D form (ex: painting or drawing). Relief sculpture is referred to as high relief, or low (bas) relief. Robert Longo. Corporate Wars: Wall of Influence, middle portion. 1982. 7' x 9'. Army on the March. 1100–1150.

16. S CULPTURE : S UBTRACTIVE P ROCESSES  Subtractive process: unwanted material is removed.Most difficult process.  Carving:the sculptor starts with a block of material and cuts/chisels away portions of it until the form is created.  Common media are stone, wood, ivory. Michelangelo Buonarroti. Awakening Slave. 1530–1534. Height 9'.

17. CARVING MARBLE  http://www.getty.edu/art/gettyguide/videoDetails? http://www.getty.edu/art/gettyguide/videoDetails? segid=4219  Tools featured in this video:  Tooth chisel  Point chisel  Drill  Rasp (a metal filing/smoothing tool)

18. S CULPTURE : A DDITIVE P ROCESSES  Additive process: material is added, assembled, or built-up.  Common additive processes are modeling, casting, and constructions.  Modeled works are often made from clay, cast works are often metal, and constructions are any kind of material adhered together. Ken Price, Vink, 2009. Figure 10.7 Modeling

19. Deborah Butterfield. Conure. 2007. 92.5”x119”x30”. Marc Andre Robinson. Throne for the Greatest Rapper of all Time. 2005. 76”x 69” x 48”. COMPARE / CONTRAST

20. CASTING BRONZES / LOST WAX CASTING  http://www.getty.edu/art/gettyguide/videoDetails?segi http://www.getty.edu/art/gettyguide/videoDetails?segi d=370  Tools used in this video:  Wax skin over clay form/core  Iron and wire armature  Second wax form  Core pins of iron  Sprues (wax rods)  Pouring cup  Kiln (oven)  Molten bronze in a crucible  Chisel and small iron tools  Cloth

21. Rachel Whiteread. Public Art Fund Watertower Project. 1997. 12' high, 9' diameter. http://www.youtube.com/watch?v=MEtsYIIIfkw http://www.moma.org/collection/object.php?object_id=820 16

22. I NSTALLATION  Type of 3D art that transforms a space to tell a story.  The entire room is filled with items that conveys the content.  Works that cannot be moved are called site- specific. Cady Noland. This Piece Doesn't Have a Title Yet. 1989.

23. Olafur Eliasson. The Weather Project. 2003–2004. IS THIS WORK INSTALLATION? IS THIS WORK SITE-SPECIFIC?

24. Olafur Eliasson. The Weather Project. 2003–2004. IS THIS WORK INSTALLATION? YES IS THIS WORK SITE-SPECIFIC? YES

25. R ICHARD S ERRA ’ S T ILTED A RC, IN N EW Y ORK ’ S F EDERAL P LAZA 1981-1989  120 feet long, 12 feet high, 2.5 inches thick  Unfinished steel  $175,000

26. A RT OR E YESORE ?ART  “The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer’s movement. Step by step the perception not only of the sculpture but of the entire environment changes.”

27. A RT OR E YESORE ?UGLY!!!  “ Tilted Arc was slammed with a whole thesaurus of negative adjectives— "arrogant," "overbearing," "barren" and "depressing"— and a few disparaging nouns like "eyesore" and "iron curtain." The sculpture was accused of ruining the plaza, collecting litter, attracting graffiti and aiding potential terrorists. The solution, said William Toby, regional administrator of the Health Care Financing Administration, was "relocation to a better site—a metal salvage yard."People magazine, 1985.

28. A RT OR E YESORE ?W HAT DO YOU THINK ?  What are some of the main functions of public art in the United States today?  Does public art need to be attractive?  What rights does an artist have to their work if it is in a public arena?

29. Matthew Barney http://www.youtube.c om/watch?v=VJfI1LRK 0tc http://www.pbs.org/a rt21/watch- now/segment- matthew-barney-in- consumption

32. A FTER L ECTURE 9 Y OU S HOULD B E ABLE TO :  Distinguish between Sculpture-in-the-round and Relief sculpture.  Identify how modeling, casting, carving, and assembling differ.  Describe how cast works in metal are created.  Explain how installation works differ from traditional 2D and 3D works.