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Prebles’ Artforms
Twelfth Edition
Chapter 12
Sculpture
Copyright © 2019, 2014, 2011 Pearson Education, Inc. All Rights Reserved
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.
Copyright © 2019, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Introduction
Martin Puryear, C.F.A.O.
Unpainted stack of wood on one side
Large, curving shape based on an elongated African mask on the other
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Freestyle and Relief Sculpture (1 of 4)
12.1 Compare examples of freestanding, low-relief, and high-relief sculpture.
Sculpture is a work in three dimensions.
Height, breadth, depth
Experience existing in space
Two main types: freestanding and relief
Freestanding or in-the-round
Sculpture meant to be seen from all sides
Relief
Sculpture projects from a background surface
Low-relief (bas relief)
Slight projection
The Apollo coin
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4
Martin Puryear. C.F.A.O. 2006–7. Painted and unpainted pine and found wheelbarrow. 8’5” × 6’5-1/2” × 61”. The Museum of Modern Art, New York. Photograph: Richard Goodbody. © Martin Puryear. Courtesy of the Matthew Marks Gallery. [Fig. 12-1]
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Freestyle and Relief Sculpture (2 of 4)
12.1 Compare examples of freestanding, low-relief, and high-relief sculpture.
Freestanding or in-the-round
Sculpture meant to be seen from all sides
Relief
Sculpture projects from a background surface
Low-relief (bas relief)
Slight projection
The Apollo coin
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6
Silver Coin with Apollo. c.400 BCE.
British Museum 1896,0601.18. © The Trustees of the British Museum. [Fig. 12-2]
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Freestyle and Relief Sculpture (3 of 4)
12.1 Compare examples of freestanding, low-relief, and high-relief sculpture.
Relief
Low-relief (bas relief)
Temple complex of Angkor Wat, the center of Khmer empire in 12th century
Army on the March
Delicate low-relief carving
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Army on the March. Relief from Angkor Wat, Cambodia. 1100–50. Sandstone. Photographer: Eliot Elisofan. Time & Life Pictures/Getty Images. [Fig. 12-3]
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Freestyle and Relief Sculpture (4 of 4)
12.1 Compare examples of freestanding, low-relief, and high-relief sculpture.
Relief
High-relief
More than half of the natural circumference projects from surface
Corporate Wars: Wall of Influence
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10
Robert Longo. Corporate Wars: Wall of Influence. 1982. Middle portion. Cast aluminum. 7’ × 9’. Courtesy of the artist and Metro Pictures. [Fig. 12-4]
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Methods and Materials (1 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Modeling
An additive process of building up material such as clay, wax, or plaster
Ballplayer with Three-Part Yoke and Bird Headdress
Naturalistic clay sculpture
Fingerprint impressions visible
Armature
A rigid inner support under soft materials
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Ballplayer with Three-Part Yoke and Bird Headdress. Maya Classic period, 600–800 CE. Ceramic with traces of blue pigment. 13-15/32” × 7”. Princeton University Art Museum. Museum purchase, Fowler McCormick, Class of 1921 Fund, in honor of Gillett G. Griffin on his 70th birthday. 1998–36. Photo by Bruce M. White. © 2018. Princeton University Art Museum/Art Resource NY/Scala, Florence. [Fig. 12-5]
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Methods and Materials (2 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Modeling
Auguste Rodin, Naked Balzac
Small armature
Gradually added plaster
When plaster dried, he removed the armature
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Auguste Rodin. Naked Balzac. 1892–93.
Plaster painted with varnish. Height 29-3/4”. Rodin Museum, Philadelphia. 1971-142-1. Philadelphia Museum of Art, Pennsylvania, PA, USA/Bridgeman Images. [Fig. 12-6]
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Methods and Materials (3 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Modeling
Ken Price, Vink
Non-representational
Clay layered in acrylic paint
Mysterious, iridescent quality
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Ken Price. Vink. 2009. Acrylic on fired ceramic. 9” × 20” × 11”. © Ken Price. Courtesy of L.A. Louver, Venice, CA. [Fig. 12-7]
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Methods and Materials (4 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Casting
Process involving the substitution of one material for another
Developed in ancient China, Greece, parts of Africa
Used extensively in the West from Renaissance times
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Methods and Materials (5 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Casting
Steps
Mold taken from original work
Completely surrounds the original
Original sculpture removed from the mold
May require disassembly
Casting liquid poured into mold cavity
Mold removed when liquid hardens
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The Lost-Wax Casting Process. [Fig. 12-8]
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Methods and Materials (6 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Casting
Lost-wax process
Mold only used once and destroyed to remove the hardened cast
Solid or hollow
Many items other than art are cast.
Engine parts, dishes, children’s toys
Charles Ray, Father Figure
Based on green plastic toy tractor
Enlarged to life-size
Cast in solid steel, weighs more than 18 tons
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Charles Ray. Father Figure. 2007. Painted steel. 93-3⁄4” × 137” × 71-3⁄4”. © Charles Ray. Courtesy of Matthew Marks Gallery, New York. [Fig. 12-9]
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Methods and Materials (7 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Casting
Duane Hanson
Cast actual people
Silicone rubber applied to skin
Cut cast away
Painted skin tones, added human hair and clothing
Man with Camera
Jolt of realism
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Duane Hanson. Man with Camera. 1991. Auto body filler polychromed in oil, mixed media, accessories. Life size. Van de Weghe Fine Art, New York. Photo by Tom Powel Imaging, Inc. © Estate of Duane Hanson/Licensed by VAGA, New York, NY. [Fig. 12-10]
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Methods and Materials (8 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Casting
Rachel Whiteread, Untitled (Hive I)
Beekeeper’s hive filled with brown-orange resin
Gives absence a new kind of haunting presence
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Rachel Whiteread. Untitled (Hive) I. 2007–8. Resin (two parts). 32-1⁄8” × 20-15⁄16” × 25-3⁄16”. © Rachel Whiteread. Courtesy of the Gagosian Gallery. [Fig. 12-11]
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Methods and Materials (9 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Carving
Subtractive process of taking away unwanted material
Michelangelo, Awakening Slave
Unfinished piece revealing process
Most challenging method
No error correction possible
Marble preferred material in the West
Can be polished for smooth surface
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Michelangelo Buonarroti. Awakening Slave. 1530–34. Marble. Height 9’. Galleria dell’Accademia, Florence. akg-image/Rabatti-Domingie. [Fig. 12-12]
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Methods and Materials (10 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Carving
Other materials
Granite
Less vulnerable to modern pollution
Sandstone and limestone
Schist favored by Egyptians
Jade favored by Chinese
Suitable for small, elaborate pieces
Raised bosses on surface of disk (bi)
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Disk (bi). China, Western Han dynasty, c.100–220 CE. Jade (nephrite). Diameter 7”. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington. D.C. Gift of Charles Lang Freer, F1916.155. [Fig. 12-13]
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Methods and Materials (11 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Carving
Wood
Preference for walnut and cypress
Elizabeth Catlett, Mother and Child
Abstract composition of sweeping curves and essential shapes
Highly polished smooth wood
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Elizabeth Catlett. Mother and Child #2. 1971. Walnut. Height 38”. Photograph by Samella Lewis. © Catlett Mora Family Trust/Licensed by VAGA, New York, NY. [Fig. 12-14]
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Methods and Materials (12 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Constructing and assembling
Assembled sculpture
Became popular early in 20th century
Julio González
Pioneered the use of a welding torch in metal sculpture
Assisted Picasso
Maternity
Airy, playful, feminine shape
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Julio González. Maternity. 1934. Steel and stone. Height 49-7⁄8”. © Tate, London 2013 © 2018 Artists Rights Society (ARS), New York. [Fig. 12-15]
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Methods and Materials (13 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Constructing and assembling
Phyllida Barlow
Ungainly constructions that fill galleries to point of obstruction
Teetering piece is a visual jolt to viewers
Carefully engineered for safety
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Phyllida Barlow. Untitled:stiltedcrates2015. 2015. Timber, polyurethane foam, polystyrene, cement, steel, plywood, plastic fastening, paint, hardboard, and PVA. Eight parts, each approx. 196-7/8” × 393-3/4” × 472-1/2”. © Phyllida Barlow. Courtesy of the artist and Hauser & Wirth. [Fig. 12-16]
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Methods and Materials (14 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Constructing and assembling
Marc André Robinson, Throne for the Greatest Rapper of All Time
Lower center of found chairs
From thrift stores or old used furniture
Higher back and wings dignify the intended sitter
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Marc André Robinson. Throne for the Greatest Rapper of All Time. 2005. Wood. 76” × 69” × 48”. Private Collection. [Fig. 12-17]
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Methods and Materials (15 of 15)
12.2 Describe modeling, casting, carving, and constructive techniques used to make sculpture.
Martin Puryear: Constructing Possibilities
“The difference is so great when you go into the third dimension.”
Served in Peace Corps in Sierra Leone
Admired woodworkers for resourcefulness and skill
Hominid
Creation shows obvious craftsmanship
Work designed to suggest shapes
Viewers then complete in their minds
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Martin Puryear. Hominid. 2007–11. Eastern white pine. 73” × 77-1/2” × 57”.
Currently located at Martin Puryear’s studio. Photograph: Christian Erroi. © Martin Puryear. Courtesy of Matthew Marks Gallery. [Fig. 12-18]
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Kinetic Sculpture (1 of 2)
12.3 Define and describe kinetic sculpture.
Sculpture that moves
Pioneer Alexander Calder
Focus on shape, space, and movement
Often called mobiles when parts move in response to small air currents
Jesús Rafael Soto, Escritura Hurtado (Hurtado Writing)
Wire slowly swaying in response
Resembles strokes of handwriting
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Jesús Rafael Soto. Escritura Hurtado (Hurtado Writing). 1975. Paint, wire, nylon cord, and wood. 40" × 68" × 18". Reprinted with permission from the General Secretariat of the OAS AMA. Art Museum of the Americas Collection. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 12-19]
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Kinetic Sculpture (2 of 2)
12.3 Define and describe kinetic sculpture.
Some move under human-made power
Jean Tinguely, Méta-Harmonie II
Used electricity
Viewers activate the work
Creates a cacophony of sound
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Jean Tinguely, Méta-Harmonie II. 1979.
Mobile scrap-iron sculpture with musical instruments and other objects. Three parts; iron, sheet metal, brass, plastic, rubber, wood, leather, glass, electric motor. 149-1/2” × 271-1/2” × 63”.
Emanuel Hoffman Foundation. Gift of Paul Sacher 1980, on permanent loan to the Ӧffentliche Kunstsammlung Basel. Photograph: Bisig & Bayer, Basel. © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 12-20]
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Mixed Media (1 of 3)
12.4 Explain the parameters and components of mixed media sculpture.
A variety of media in a single work
Often represents a cultural or symbolic meaning
Cai Guo-Qiang, Inopportune: Stage One
Nine automobiles perforated with light tubes
References both contemporary action movies and car bombings by terrorists
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Cai Guo-Qiang. Inopportune: Stage One. 2004. Nine cars and sequenced multichannel light tubes. Each car: 16’ × 6’. Collection of Seattle Art Museum, Gift of Robert M. Arnold, in honor of the 75th Anniversary of the Seattle Art Museum, 2006. [Fig. 12-21]
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Mixed Media (2 of 3)
12.4 Explain the parameters and components of mixed media sculpture.
Lara Schnitger
Fabric over wooden armatures creating sculpture and hollow interiors
Elements of fashion design
“Dressmaking” a feminist message
Grim Boy
6 feet tall, like a gangly teen
Tense, lurking, and birdlike stare
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Lara Schnitger. Grim Boy. 2005. Wood, fabric, and mixed media. 71” × 59” × 20”. Anton Kern Gallery, New York. [Fig. 12-22]
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Mixed Media (3 of 3)
12.4 Explain the parameters and components of mixed media sculpture.
Nick Cave
Uses extremely wide variety of media
Sculpture
Antique couch, a ceramic dog, metal flowers, light fixture, and more
Strong element of fantasy
Creates sculpture that juxtaposes recognizable things
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Nick Cave. Sculpture. 2013. Mixed media, including ceramic birds, metal flowers, ceramic Doberman, vintage settee, and light fixture. 88” × 72” × 44”.
Photograph by James Prinz Photography. Courtesy of the artist and Jack Shainman Gallery, New York. [Fig. 12-23]
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Installation and Site-Specific Art (1 of 3)
12.5 Discuss artists’ use of installation and site-specific art to transform their surroundings.
Installation
Artist treats an entire space as an artwork and transforms it
Rafael Lozano-Hemmer, Airborne
Projected news stories onto walls
Viewers’ shadows blocked the texts
New way for viewers to interact with news of the day
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Rafael Lozano-Hemmer. Airborne. 2013.
Installation. As installed in the Museo de Arte Contemporáneo, Mexico City, 2015. Photograph: Oliver Santana. [Fig. 12-24]
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Installation and Site-Specific Art (2 of 3)
12.5 Discuss artists’ use of installation and site-specific art to transform their surroundings.
Site-specific
Works intended only for particular locations
Best known is Richard Serra’s Tilted Arc
Steel blade 12 feet high
Blocked view, collected graffiti, became a homeless shelter in the middle of a federal office plaza
Artist sued when city wanted to relocate work
Claimed it was meant for that spot
Court ruled that government, as owner of the work, could dispose of it
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Richard Serra. Tilted Arc. 1981. Steel. Height 12’ × 120'. AP Photo/Mario Cabrera. © 2018 Richard Serra/Artists Rights Society (ARS), New York. [Fig. 12-25]
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Installation and Site-Specific Art (3 of 3)
12.5 Discuss artists’ use of installation and site-specific art to transform their surroundings.
Site-specific
Olafur Eliasson, Waterfall
Gardens of Versailles
Huge cascade appears to emerge out of nowhere
Extreme version of waterfalls and foundations on the grounds
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Olafur Eliasson. Waterfall. 2016.
Crane, water, stainless steel, pump system, hose, ballast. Palace of Versailles.
Photograph: L Anders Sune Berg. Courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York. © Olafur Eliasson. [Fig. 12-26]
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Copyright
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