ART: Chapter 12
Prebles' Artforms - Chapter 12: Sculpture
Learning Objectives
12.1 Compare examples of freestanding, low-relief, and high-relief sculpture.
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
12.3 Define and describe kinetic sculpture.
12.4 Explain the parameters and components of mixed media sculpture.
12.5 Discuss artists’ use of installation and site-specific art to transform their surroundings.
Introduction
Martin Puryear, C.F.A.O.: A study in contrasts with an unpainted stack of wood on one side and a large, curving shape based on an elongated African mask on the other.
Freestyle and Relief Sculpture
12.1 Compare Examples of Freestanding, Low-Relief, and High-Relief Sculpture
Definition of Sculpture: A work in three dimensions characterized by height, breadth, and depth, existing in space.
Types of Sculptures:
Freestanding or In-the-Round: Designed to be viewed from all sides.
Relief Sculpture: Projects from a background surface.
Low-Relief (Bas Relief):
Slight projection off the surface.
Example: The Apollo Coin.
High-Relief:
More than half of the natural circumference of the forms projects from the background.
Example: "Corporate Wars: Wall of Influence" by Robert Longo.
Figures
Figure 12.1: Martin Puryear, C.F.A.O. (2006–7). Painted and unpainted pine, found wheelbarrow.
Location: The Museum of Modern Art, New York.
Figure 12.2: Silver Coin with Apollo (c. 400 BCE). Located in British Museum.
Figure 12.3: "Army on the March" relief from Angkor Wat (1100–50). Sandstone carving demonstrates delicate low-relief techniques.
Figure 12.4: Robert Longo, "Corporate Wars: Wall of Influence" (1982). Cast aluminum representation of high-relief techniques.
Methods and Materials
12.2 Describe Techniques Used to Make Sculpture
Modeling:
An additive process involving materials like clay, wax, or plaster.
Example: "Ballplayer with Three-Part Yoke and Bird Headdress" from the Maya Classic period (600–800 CE).
Notes: Features naturalistic aspects and visible fingerprint impressions.
Armature: A rigid inner support used under soft modeling materials.
Auguste Rodin: Created "Naked Balzac" using a small armature and gradually added plaster.
Figures
Figure 12.5: "Ballplayer with Three-Part Yoke and Bird Headdress". Ceramic from Princeton University Art Museum.
Figure 12.6: Auguste Rodin, "Naked Balzac" (1892–93). Plaster, varnished.
12.2 (Continued)
Casting:
A process where one material is substituted for another; historically significant across cultures.
Steps in Casting:
Create a mold that completely surrounds the original sculpture.
Remove the original sculpture from the mold.
Pour casting liquid into the mold cavity.
Remove the mold once the liquid hardens.
Lost-Wax Process:
Mold is used only once and is destroyed to reveal the cast.
Example: "Father Figure" by Charles Ray, which weighs over 18 tons.
Casting Materials:
Common materials include metal, plastics, and ceramics; used for both artistic and functional items.
Figures
Figure 12.9: Charles Ray, "Father Figure" (2007). Painted steel piece, illustrating the heavy casting process.
Figure 12.10: Duane Hanson, "Man with Camera" (1991). Auto body filler with realistic detail.
Figure 12.11: Rachel Whiteread, "Untitled (Hive)" (2007–8). Resin figure representing a haunting absence.
Carving
Definition: A subtractive process where material is removed to create form.
Example: "Awakening Slave" by Michelangelo (1530–34).
An unfinished marble piece; showcases the carving process as it reveals the art within.
Figures
Figure 12.12: Michelangelo, "Awakening Slave". Reveals challenges in subtractive techniques.
Other Materials
Casting with Stone: Varieties include granite, sandstone, and jade favored in different cultures (e.g., jade by Chinese artisans).
Example: "Disk (bi)" from Western Han dynasty. Made of nephrite jade.
Figures
Figure 12.13: "Disk (bi)". 7 inches in diameter; a historical jade piece.
Constructing and Assembling
Growing in popularity in the early 20th century; involved assembling various components to form a cohesive sculpture.
Examples:
Julio González: Known for pioneering welding techniques in metal sculptures.
Phyllida Barlow: Creates large, obstructive sculptures that challenge spatial dynamics.
Marc André Robinson: "Throne for the Greatest Rapper of All Time" utilizes thrifted materials for social commentary.
Figures
Figure 12.15: Julio González, "Maternity" (1934). Steel and stone sculpture.
Figure 12.16: Phyllida Barlow, "Untitled: stilted crates 2015". Multi-material construction.
Figure 12.17: Marc André Robinson, "Throne for the Greatest Rapper of All Time" (2005). Unique assembled wood structure.
Kinetic Sculpture
12.3 Define and Describe Kinetic Sculpture
Definition: Sculpture that incorporates movement; often activated by air currents or mechanical power.
Alexander Calder: Pioneer of kinetic sculpture, known for mobiles.
Examples:
Jesús Rafael Soto: "Escritura Hurtado (Hurtado Writing)" (1975).
Jean Tinguely: "Méta-Harmonie" activates through electricity, creating a multisensory experience.
Figures
Figure 12.19: Jesús Rafael Soto, "Escritura Hurtado" (1975). Combines paint, wire, and movement.
Figure 12.20: Jean Tinguely, "Méta-Harmonie" (1979). A mixed media sculpture creating sound and movement.
Mixed Media
12.4 Explain Parameters and Components of Mixed Media Sculpture
Definition: Incorporates multiple materials to convey complex meanings.
Examples:
Cai Guo-Qiang: "Inopportune: Stage One" entangles cars and light tubes referring to violent imagery.
Lara Schnitger: Employs fabric over armatures, presenting a feminist message.
Nick Cave: Joins antiques and new materials to create vibrant, imaginative pieces.
Figures
Figure 12.21: Cai Guo-Qiang, "Inopportune: Stage One" (2004).
Figure 12.22: Lara Schnitger, "Grim Boy" (2005).
Figure 12.23: Nick Cave, Sculptural installation (2013) showcasing imaginative juxtaposition.
Installation and Site-Specific Art
12.5 Discuss artists’ use of installation and site-specific art to transform their surroundings.
The concept of sculpture has expanded beyond individual objects to encompass entire environments.
Installation Art: Transforms a space into a work of art that can be experienced by walking through it, altering the viewer's perception of the environment.
Figure 12.24: Rafael Lozano-Hemmer. "Airborne." 2013. Installation. As installed in the Museo de Arte Contemporáneo, Mexico City, 2015. This work often involves interactive elements, light, and technology to engage the viewer directly.
Site-specific Art:
Works intended only for particular locations, where the meaning and perception of the artwork are intrinsically linked to its physical setting.
Best known is Richard Serra’s "Tilted Arc" (1981):
A steel blade 12 feet high and 120 feet long that bisected a federal plaza in New York City.
Its curved form blocked views, collected graffiti, and was controversially used as a shelter by the homeless.
The artist sued when the city wanted to relocate the work, claiming it was meant for that specific spot and its removal would destroy it as art.
The court ruled that the government, as owner of the work, could dispose of it, highlighting the complexities of public art and ownership versus artistic intent.
Olafur Eliasson, "Waterfall" (2014) at the Gardens of Versailles:
A huge cascade appears to emerge out of nowhere, dramatically recontextualizing a natural phenomenon within the highly manicured, historical landscape of Versailles.
It serves as an extreme, contemporary version of the classical waterfalls and foundations already present on the grounds, playing with perceptions of nature and artifice.
Figures
Figure 12.25: Richard Serra. "Tilted Arc." 1981. Steel. Height 12’ × 120’. This monumental work became a focal point of public debate on art in public spaces.
Olafur Eliasson, "Waterfall" at the Gardens of Versailles. This site-specific installation challenges viewers to reconsider their environment through an unexpected natural element within a historical space.