Hum Types of Sculpture

Sculpture

• “All-at-onceness” doesn’t apply to sculpture as it does for painting because of sculpture’s three-dimensionality.

• sculpture has mass, volume, weight, shape.

• Its tactile nature makes viewers want to touch and explore.

Most sculptures, whether abstract or representational, show viewers the

voluminosity, density, and tactile quality of things. They appear resistant and substantial.

Abstract sculptors usually restrict themselves to a minimal range of color, line, and textural qualities.

sunken

the sculpture is made by carving grooves of various depths into the surface of the sculptural material

low relief

The content of the sculpture protrudes only slightly from the background plane.

high relief

the sculpture has ample shape cut away from the surface background

sculpture in the round

sculptures that stand alone without any background surface

Sculpture evokes our outward sensations and sometimes our

inner sensation

Human bodies that are the subject of sculpture in the round are often fascinating to us because of their

sensual charm?

the human body and social protest is?

Sculptures of human figures that seem to be colorless, faceless, sexless, and less than alive suggest no free will or personality. The two images below demonstrate the concept.

sculpture vs arcitecture?

inner space and outer space is separated so inner space can be functional.

Sculpture does not provide practical inner space, as with the Sphinx.

Truth to Materials Movement

• Movement developed in the 1930s and connected to Isamu Noguchi and modern architects like Frank Lloyd Wright

• Respect for materials traditionally has been ignored

• Modern sculpture is created more with laws of nature in mind

• In a technological world, it is easy to ignore the truth of materials because viewers are so accustomed to artificial substances

Constructivist Sculpture

The constructivist joins constructed parts and arranges them to complete the work.

Kinetic Sculpture

Some artists see technology as a blessing, not a curse.

Sculpture can take advantage of modern techniques where painting cannot.

Machine sculpture

• Dedicated to humanizing the machine.

• Jean Tinguely’s Homage to New York was a onetime sculpture performance

Earth Sculpture

Earth sculpture makes the earth itself the medium, the site, and the subject matter of this avant-garde form.

Robert Smithson’s Spiral Jetty is an example.

Contemporary Multimedia Sculpture

Contemporary sculptors have been experimenting since the early years of the 20th century.

Sculpture in Public Places

• Public sculptures serve to adorn buildings and add to surrounding landscape.

• One particularly moving sculpture is Maya Lin’s Vietnam Veterans Memorial.

Tactility

Touch sensations, both inward and outward

Sunkwn-relief

Sculpture made by carving grooves of various depths into the surface planes of the sculptural material, the surface plane remaining perceptually distinct.

Low-relief

Sculpture with a background plane from which the projections are relatively small.

High-relief

Sculpture with a background plane from which the projections are relatively large.

Sculpture in the round

Sculptures that stand alone without any background surface.

Earth sculpture

The earth itself the medium, the site, and the subject matter of this avant-garde form.

Constructivist Sculpture

The constructivist joins constructed parts and arranges them to complete the work.

Kinetic Sculpture

Machine sculpture

Mass

In sculpture, three-dimensional form suggesting bulk, weight, and density.

Tactility

Tactility

Touch sensations, both inward and outward.

Sunken-relief sculpture

Sculpture made by carving grooves of various depths into the surface planes of the sculptural material, the surface plane remaining perceptually distinct.

Low-relief sculpture

Sculpture with a background plane from which the projections are relatively small.

High-relief sculpture

Sculpture with a background plane from which the projections are relatively large.

Henry Moore, one of the most influential sculptors of the twentieth century, said that the sculptor

“gets the solid shape, as it were, inside his head—he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand.”

Sensory Interconnections

It is an oversimplification to distinguish the various arts on the basis of which sense organ is activated—for example, to claim that painting is experienced solely by sight and sculpture solely by touch. Our nervous systems are far more complicated than that. Generally no clear separation is made in experience between the faculties of sight and touch.

Most sculptures, whether abstract or representational, return us to the voluminosity (bulk), density (mass), and tactile quality of things. Thus, sculpture has

touch or tactile appeal. Most sculptures appear resistant, substantial. Hence, the primary subject matter of most abstract sculpture is the density of sensa. Sculpture is more than skin deep. Abstract painting can only represent density, whereas sculpture, whether abstract or representational, physically presents density.

Abstract sculptors, on the other hand, generally restrict themselves to a

minimal range of color, line, and textural qualities and emphasize light not only to play on these qualities but also to bring out the nature of these qualities in things. Whereas abstract painters are shepherds of surface sensa, abstract sculptors are shepherds of volume sensa.

Baroque

The style dominant in the visual arts in seventeenth-century Europe following the Renaissance, characterized by vivid colors, dramatic light, curvilinear heavy lines, elaborate ornamentation, bold scale, and strong expression of emotion. Music is the only other art of that time that can be accurately described as Baroque

Romanticism

Style of the nineteenth century that in reaction to Neo-classicism denies that humanity is essentially rational and the measure of all things, characterized by intense colors, open line, strong expression of feeling, complex organizations, and often heroic subject matter.

Earth sculpture

Sculpture that makes the earth the medium, site, and subject matter.

Flying buttress

n arch that springs from below the roof of a Gothic cathedral, carrying the thrust above and across a side aisle.

Post-and-lintel

In architecture, a structural system in which the horizontal pieces (lintels) are upheld by vertical columns (posts). Also called post-and-beam.

Pediment

The triangular space formed by roof jointure in a Greek temple or a building on the Greek model.

Cantilever

In architecture, a projecting beam or structure supported at only one end, which is anchored to a pier or wall.

Earth-rooted architecture

Buildings that bring out with special force the earth and its symbolism. See sky-oriented architecture.

Symmetry

A feature of design in which two halves of a composition on either side of a central vertical axis are more or less of the same size, shape, and placement.

Sky-oriented architecture

Buildings that bring out with special emphasis the sky and its symbolism. See earth-resting, earth-rooted, and earth-dominating architecture.

Earth-resting architecture

buildings that accent neither the earth nor the sky, using the earth as a platform with the sky as a background.

Earth-dominating architecture

Buildings that “rule over” the earth.

Fractal architecture

Architecture that uses self-similar forms of various sizes to build the exterior.

augastine rodine created the?

the kiss 1888-1898

Rodin: created?

The Gates of Hell. 1880-1890
Dimensions: H. 635 cm ; W. 400 cm ; D. 85 cm
Material: Bronze

Rodin:

Walking Man (modeled before 1900, cast before 1914)
Dimensions:  33 1/2 in., 63 lb. (85.1 cm, 28.6 kg)
Material: Bronze heaviliy inspired by michael angelos slaves sculpture

Rodin:

Pain c. 1889-92. Dimensions: 11 x 6 x 5 in.
Material: Bronze camil claudell inspired this sculpture

Camille Claudel:

: The Waltz 1893

Claudel: The Age of Maturity was comissioned?

Commissioned in 1895 but the commission was cancelled in 1899, before it was cast.

Commissioned in 1895 but the commission was cancelled in 1899, before it was cast.

The Kiss. 1912

Anicka Yi is a South Korean  artist whose multisensory installations combine?

conceptual, sculptural, biological, technological and olfactory components.

Her work explores the boundaries between human, animal, plant, and machine. In a recent interview, Yi said, You cannot scroll past a smell… An image is something you look at from across the room. An atmosphere is something you stand inside and breathe in. The work enters your body, and you become part of it

Anicka Yi:

Biologizing the Machine (tentacular trouble)

Sun Yuan and Peng Yu

Can’t Help Myself

Can’t Help Myself: Tik Tok Comments

Videos of the robotic sculpture were viewed over 50 million times on Tik Tok and elicited strong emotional responses. Here are some of the comments:

it looks so tired and unmotivated

I just want to turn it off to let it ‘rest’

The robot is just stuck in a loop of nothingness, just like we are by working ourselves to the bone and being on the internet all the time

It’s based on how people try to work and help themselves live, but the longer [they] do it the more depressing and painful it gets. No matter how hard [they] try, [they] can never help [themselves]

rodin was heavily influenced by?

michaelechangelo

whereas enlightment thinks perceived the natural world as a machine thanks to newtonian phsyics the romantics perceived natureas?

a living vessel infused with a divine spiriti, it was a translucent source of mystery revelation rather than an object to be manipulated and controlled

rene descartes captures the questio to understand the mind of God durning the age of reason iwth his statemement

cogito ergo sum, i think therfore i am. they believed you could tap into the mind of Gof by seeking to understand how the universe worked.

romantics believed you could directly apprehend the spiriti of the divine my?

communing with nature, nature had the power ot ennoble the spirit and cleanse the mind and the sens of the dull torpor cause eby drudgery of daily life

the age of reason was dominated by a belief in?

deism and the clock work universe, god set the laws of gravity, thermodyanimics etc in motiona dn disappeared leaving man with intellict reason and free wil to figure out how this clock workes

the romantics were pantheists who believed all living things were infused with the spirit of the divinw

the words worths lines composed a few miles above tintern abbey

prioer to the scientific revolution humans sought?

to understand natures processes in order to live in harmony with her

how did the industrial revolution affect the romantic world view?

Industrial Revolution acted as a profound catalyst and dark counterpoint for Romanticism, shaping its worldview primarily as a passionate cultural backlash against mechanization, urbanization, and materialism. [1, 2]

Instead of viewing industrial progress as an unmitigated triumph of human ingenuity, the Romantics saw it as a destructive force that alienated humanity from its truest spiritual and emotional root

having lived through the deletrious effectsof the industrial revolution the romantics called for?

a nature, intuition, creativity and instinct.

constable believes that

nature gives us purpose and it is what we should caree about the most

what is the romantic sublime?

it is the fact that nature both mother and human nature is so awe inspiring that it is able to enable us make us feel that we are part of something majestic but it also can hurt and destroy us (hurricanes floods) it is very powerful and you cant control it.

albert buerstadt made?

the rocky mountains landers peak 1863

it was romanticism that first challenged the emerging?

dominance of the scientific and rationalsit world view?

it was romanticism that first saw how this worldview would tend toward ever?

greater social regimenation

ant it was romanticism that first claimed that art could provude an?

alternative counterculture to both science and societyl

landscape painting offers a particular lens through which we can see how humans thinking about their relationships to the natural world and how they?

should apprach living in it at different moments in history and in different cultures

in the 1960s artists began questioning

the sepration from art and nature

land art

art that is made within or atop or involving a landscape or art made from the materials drawn from the landscape

smithson creating

the spiral and wanted to explore entropy

strulpture could be better understood as part of a

structure;ess diagram or a expanded field