Sheila hudson cross stitch designs

Chapter 2.6 The Tradition of Craft

PART 2

MEDIA AND PROCESSES

Copyright © 2015 Thames & Hudson

Introduction

During the Renaissance, a distinction came to be made between art and craft

Unique to Western culture

Crafts came to mean hand-made items meant to be used rather than simply looked at

PART 2

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Chapter 2.6 The Tradition of Craft

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Certain media, notably painting and sculpture, came to be considered as art, while ceramics, weaving, and embroidery were termed crafts

Some handcrafted objects, because of their ingenuity and refinement, stand out as artworks that transcend mere utility

The distinction has now broken down in the twentieth and twenty-first centuries

Ask yourself whether you think the objects discussed can be considered art or craft

At the same time, think about whether the makers of the objects, and the people they made them for, could tell the difference either

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Artwork: Hyo-In Kim, To Be Modern #2

2.6.1 Hyo-In Kim, To Be Modern #2, 2004. Metal screen, wire, porcelain, acrylic paint, and found objects, slightly over lifesize

2.6.2 Hyo-In Kim

Hyo-In Kim, Art or Craft: What's the Difference?

A hanbok is a traditional Korean dress worn by women of upper classes

Kim has subtly transformed the materials of the dress and its display

She wants us to see that traditional cultural values are fading away

Perspectives on Art:

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Chapter 2.6 The Tradition of Craft

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Dress is made out of silver-colored wire mesh (instead of cloth)

Upon close-up inspection, the decoration turns out to be tiny versions of fashionable Western clothing: jeans, skirts, shoes, purses

She decided to suspend it with its sleeves outstretched so that its transparency and weightlessness would be emphasized

What Kim wants us to see and appreciate, both literally and figuratively, is that those traditional cultural values that give structure and form to people’s lives, including our own, are fading away and disappearing as globalization spreads

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Ceramics

Ceramic comes from the Greek word meaning “pottery,” keramos

Manufacture requires the shaping of clay, a natural material dug from the earth, which is then baked at high temperatures to make it hard

Basic technique date back thousands of years

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Pinch Method

This technique is one of the most basic ways of working with clay

Process of squeezing clay between the fingers to push and pull it into the desired shape

A spontaneous and effective way to create a clay object

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Artwork: The Mother Goddess Men Brajut (Hariti)

2.6.3 The Mother Goddess

Men Brajut (Hariti), Indonesian, c. 14th–15th century. Terra-cotta, 18⅞ × 8½ × 8", Metropolitan Museum of Art, New York

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The Mother Goddess Men Brajut (Hariti)

Uses the Pinch method of clay construction

Work created to honor Hindu gods and goddesses

Originally created as a pillar ornament

Hariti is “protector of children”

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Created during the Majapahit period in Indonesia (1293-1520)

Represents one of the manifested goddesses of Hinduism

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Ceramics

Video:

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Chapter 2.6 The Tradition of Craft

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Coil Method

This method has been in common usage since ancient times

A coil is created by rolling the clay on a flat surface so that it extends into a long rope-like shape

The coil is wrapped around itself and then fused together by smoothing

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Artwork: Seated Figure

2.6.4 Seated Figure, Oaxaca, Mexico, Zapotec style, 300 BCE–700 CE. Ceramic,12⅝ × 7 × 7⅜". Cleveland Museum of Art, Ohio

Seated Figure, Oaxaca, Mexico

This work is from the Zapotec culture of Mexico

Handcrafted using the coil method

Buried in the tomb of a Zapotec ruler

May portray a god or possibly a companion for the deceased

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On its headdress and chest the artist has carved two calendar dates in Zapotec writing.

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Throwing

A potter’s wheel consists of a round disk that revolves while the ceramist shapes his or her object

In use by the Chinese since 3000 BCE

The process of making pottery on a wheel is known as throwing

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Artwork: Porcelain flask with decoration in blue underglaze

2.6.5 Porcelain flask with decoration in blue underglaze, Ming Dynasty, 1425–35. Palace Museum, Beijing, China

Porcelain Flask with decoration in blue underglaze

The Chinese invented porcelain

Produced on a potter’s wheel during the Ming Dynasty

Multiple glaze layers: first, a blue glaze and then a clear one to provide a luxurious glossy finish

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The Ming Dynasty was almost 600 years ago

Their wares were so fine that the users of Ming Dynasty porcelain included the emperor of China himself

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Maria Martinez

2.6.6 Maria Martinez, San Ildefonso Pueblo, New Mexico, c. 1930–40

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Julian Martinez

2.6.7 Julian Martinez, San Ildefonso Pueblo, New Mexico, c. 1925–45

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Artwork: Bowl with plumed serpent

2.6.8 Maria Martinez and Julian Martinez, bowl with plumed serpent, c.1925.

Coiled and burnished earthenware, 6" × 9½". Newark Museum, New Jersey

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San Ildefonso-Style Pottery

Native American pottery is made using hand-building methods

The Martinez family revived the pottery traditions of their ancestors

Famous for their distinctive style

A favorite motif is the avanyu, a water guardian serpent god

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Chapter 2.6 The Tradition of Craft

Dr. Edgar Lee Hewett discovered sherds of pottery near San Ildefonso Pueblo in New Mexico and asked a local potter to produce replicas of the originals

That potter, Maria Martinez (1887–1980), whose Tewa name was Po’ve’ka (“Pond Lily”), and her husband Julian (1879–1943) re-created ceramic objects that their distant ancestors had made

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Slab Method

In this technique clay is rolled into a flat sheet and cut into shapes

The corners of the different shapes are carefully joined

Lends itself to making boxes and other forms that have large flat sides

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Chapter 2.6 The Tradition of Craft

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Artwork: Peter Voulkos, Gallas Rock

2.6.9 Peter Voulkos, Gallas Rock, 1960. Stoneware with slip and glaze, 84 × 37 × 26¾". University of California at Los Angeles, Franklin D. Murphy Sculpture Garden

Peter Voulkos, Gallas Rock

Voulkos is known for using clay’s naturalness–its tendency to take on organic forms–and plasticity

Slab construction is evident in the flat planes

Organic and Expressionistic

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Chapter 2.6 The Tradition of Craft

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American sculptor Peter Voulkos (1924–2002) created this eight-foot-tall sculptural object.

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Glass

Glass is produced by melting silica (sand) with lead at intense heat

Probably first used in ancient Mesopotamia and Egypt (3500 bce)

To create a vessel by forcing air into molten glass is called glassblowing

Used by Syrians in the first century BCE and later perfected by Romans

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Chapter 2.6 The Tradition of Craft

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Forcing air into molten glass is usually achieved by blowing through a tube.

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Glass

Video:

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MEDIA AND PROCESSES

Chapter 2.6 The Tradition of Craft

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Artwork: Portland Vase

2.6.10 Portland Vase, Roman c. 1–25 CE. British Museum, London, England

Portland Vase

This vase was created in the Roman Empire during first century CE

Made using the dip-overlay method

The blue glass forms the background to the figures in white

Amazing degree of detail

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An elongated bubble of blue glass was partially dipped into a crucible of white glass, before the two were blown together

After cooling, the white layer was cut away to form the design

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Artwork: Rose window and lancets, Chartres Cathedral

2.6.11 Rose window and lancets, north transept, 13th century. Chartres Cathedral, France

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Rose window and lancets, Chartres Cathedral

Fine example of Gothic stained glass

Bath the cathedral in colored light

The brilliant blue color is one of the most extraordinary artistic achievements of the early thirteenth century

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The large decorative window is 43 feet in diameter

They are so valued that to prevent them from being damaged during World War II, they were removed and placed in storage until after the war

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Artwork: Dale Chihuly, Fiori di Como

2.6.12 Dale Chihuly, Fiori di Como, 1998. Hand-blown glass and steel, 70 × 30 × 12'.

Bellagio Hotel, Las Vegas, Nevada

Dale Chihuly, Fiori di Como

This ceiling was created by the American glass artist Dale Chihuly

2,000 individually blown glass flowers

Strong color enlivens and invigorates the reception area at the Bellagio Hotel in Las Vegas

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Metalwork

Metalwork was especially important in the Bronze and Iron Ages

Metal can be heated to a liquid state and poured into molds

It can also be hammered into shape or bent to fit the needs of the artist

Important medium for utilitarian purposes

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Some metals, such as iron or copper, are natural materials

Others are alloys, combinations of two or more naturally occurring metals

Tin mixed with copper produces bronze

Most metals are strong but malleable

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Metalwork and Jewelry

Video:

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Chapter 2.6 The Tradition of Craft

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Death mask from Mycenae

2.6.13 Death mask from Shaft Grave V, Grave Circle A, Mycenae. Also known as Mask of Agamemnon, c. 1550–1500 BCE. Gold, height 12". National Archaeological Museum, Athens, Greece

Death mask from Mycenae

This mask was created by laying a thin sheet of gold over an object carved to resemble a human face

The artist then hammered the surface until the shape and texture of the design was imprinted in the metal

Process is called chasing

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Chapter 2.6 The Tradition of Craft

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Artwork: Chalice with Apostles Venerating the Cross

2.6.14 Chalice with

Apostles Venerating

the Cross, c. 600 CE,

Syria (Byzantine). Silver repoussé, partial gilt, 6⅝ × 5½" diameter at rim. Walters Art Museum, Baltimore

Chalice with Apostles Venerating the Cross

To achieve this relief design the artist hammered a blunt tool against the back of the image

The opposite side was pushed out to form the images

Technique is called repoussé

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Artwork: Benvenuto Cellini, Salt Cellar of Francis I

2.6.15 Benvenuto Cellini, Salt Cellar of Francis I, 1540–43. Gold, enamel, ebony, ivory, 11¼ × 8½ × 10⅜".

Kunsthistorisches Museum, Vienna, Austria

Benvenuto Cellini, Salt Cellar of Francis I

The Italian goldsmith Cellini created this piece for the king of France

Complex process where molten gold was poured into a mold

Salt was held next to Neptune (god of the sea) and pepper next to the symbolic image of Mother Earth

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Magnificent example of Renaissance metalwork

It took Benvenuto Cellini (1500–1571) more than two years to make it

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Portal Artwork: Riace Warrior A

2.4.12 Riace Warrior A, c. 460 BCE. Bronze with copper, silver, and ivory, height 6'6”. Museo Nazionale della Magna Grecia, Reggio di Calabria, Italy

More information about the process of metal casting can be found in chapter 2.4: see 2.4.12, p.250.

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Fiber

Fibers are threads made from animal or vegetable materials (fur, wool, silk, cotton, flax, or linen) or synthetic materials (nylon, polyester)

Can be spun into yarn, string, or thread, then woven or knitted into textiles

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Fiber Art

Video:

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Artwork: Mary Linwood, detail from Hanging Partridge

2.6.16 Mary Linwood,

detail from Hanging

Partridge, late 18th century. Crewelwork embroidery, approximately 24½ × 28". Private collection

Mary Linwood, detail from Hanging Partridge

To create this work Linwood used crewel embroidery: a process that uses free-form, fine wool-thread stitching on a drawn design

Like “painting with thread”

Intricate and slow; artist shows great patience and skill

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Embroidery is the process of stitching an image into a fabric surface using a needle and thread (or yarn)

British artist Mary Linwood (1755–1845) was held in high esteem, and was popular with royalty in England and Russia

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2.1.21 Hishikawa Moronobu, Papermaking in Japan, showing the vatman and the paper-drier, 1681. Woodblock print from the four-volume Wakoku Shōshoku Edzukushi, 1681

Portal Artwork: Hishikawa Moronobu, Papermaking in Japan

A diverse range of materials can be used in the creation of fiber art, including paper.

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Artwork: Faith Ringgold, Tar Beach

2.6.17 Faith Ringgold, Tar Beach, 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pierced cloth, 6'2⅝" × 5'8½". Solomon R. Guggenheim Museum, New York

Faith Ringgold, Tar Beach

Tells the story of a girl named Cassie

Ringgold relates the African-American experience through memories of her own childhood in New York

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Chapter 2.6 The Tradition of Craft

Made in collaboration with her mother: she painted the scene and her mother sewed the quilted border.

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Artwork: Tlingit Chilkat dancing blanket

2.6.18 Tlingit Chilkat dancing blanket, 19th century

Tlingit Chilkat dancing blanket

Woven entirely by hand from goat wool and cedar bark

Traditional Chilkat style: a weaving intended to be a two-dimensional portrayal of totem carving

Worn on ceremonial occasions by high-ranking Tlingit tribe members

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The Tlingit people live on the western coast of Canada and Alaska

These blankets are highly prized and very expensive

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2.6.19 Sheila Hicks, The Silk Rainforest, c. 1975. Silk, linen, and cotton, 96 × 270 × 3",

Smithsonian American Art Museum, Renwick Gallery, Washington, D.C.

Artwork: Sheila Hicks, The Silk Rainforest

Sheila Hicks, The Silk Rainforest

This work by Hicks is a large-scale installation

Fiber is raw and irregular

Originally installed at the AT&T Headquarters in New Jersey

Conjures physical sense of touch paired with visual experience

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American born Sheila Hicks (b. 1934) is considered a modern master of fiber art.

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Artwork: MacAdam, Knitted Wonder Space II

2.6.20 Toshiko Horiuchi MacAdam, Knitted Wonder Space II, 2009. Braided nylon 6–6; hand crochet, 49'2" × 29'6" × 21'3". Woods of Net Pavilion, Hakone Open Air Museum, Hakone, Japan

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MacAdam, Knitted Wonder Space II

Toshiko Horiuchi MacAdam knits large-scale interactive environments, such as children's playgrounds

Viewers are invited to touch the artwork

Challenges preconceived ideas of what fiber art can be

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Knitting is a process of creating a fabric using loops and stitching

Japanese artist Toshiko Horiuchi MacAdam (b. 1940) builds these large-scale fiber constructions in her studio in Canada

Installs them in many countries

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Wood

This material deteriorates over time, so few ancient examples exist

Trees provide different woods that vary in color and hardness

Innate beauty can be brought out by cutting, carving, sanding, and polishing

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Artwork: Detail of studiolo, Ducal Palace

2.6.21 Detail of studiolo from the Ducal Palace in Gubbio, Italy, by Giuliano da Maiano, after a design by Francesco di Giorgio Martini, c. 1480. Walnut, beech, rosewood, oak, and fruit woods in walnut base, 15'11" × 16'11" × 12'7¼". Metropolitan Museum of Art, New York

Detail of studiolo, Ducal Palace

To create this work the artist used the technique of intarsia, a kind of mosaic using woods of different colors

Creates an illusion of depth

Symbols are included to reflect the Duke of Urbino's achievements as a ruler, military commander, collector of books, and patron of the arts

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The Italian artist Francesco di Giorgio Martini (1439–1501) used intarsia in the design of this studiolo (a private room, often a library or study), which he created in c. 1480

Guiliano da Maiano executed the work with such skill, it is not clear where reality ends and illusion begins

Federico da Montefeltro, the Duke of Urbino, commissioned Martini to create this work

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Artwork: Captain Richard Carpenter, bent-corner chest

2.6.22 Captain Richard Carpenter, bent-corner chest, c. 1860. Yellow cedar, red cedar, and paint, 21¼ × 35¾ × 20½". Seattle Art Museum, Washington

Captain Richard Carpenter, bent-corner chest

Created by a Native American of the Heiltsuk tribe

The wood was made flexible by steam, bent at the notches (kerfs), and joined

After that, the chest was carved and painted with an elaborate design

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Notches (kerfs) were cut at three corners of a smooth plank of cedar

A separate base and top were then fitted to the whole

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Artwork: Andrew Early, turned bowl

2.6.23 Andrew Early, turned bowl, 2010. Indian mahogany, 13¾ × 29½"

Andrew Early, turned bowl

Turning is the fashioning of a wooden object using a lathe (a power-driven spinning support)

Wood is prepared by seasoning (careful aging and drying)

Early leaves irregularities to preserve the innate “personality” of the wood

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Chapter 2.6 The Tradition of Craft

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Andrew Early, a South African wood turner (b. 1970), who learned the craft from his father, John, has become one of today’s most collected and exhibited wood turners.

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Chapter 2.6 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.6

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Copyright © 2015 Thames & Hudson

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Picture Credits for Chapter 2.6

2.6.1 Courtesy Trudy Labell Fine Art, Florida. © the artist

2.6.2 Photo Trudy Labell

2.6.3 Metropolitan Museum of Art, New York, Gift of Jaap Polak, 2009, 2009.321

2.6.4 Cleveland Museum of Art, Gift of the Hanna Fund, 1954.857

2.6.5 Palace Museum, Beijing

2.6.6 Photo Tyler Dingee. Courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. No. 073453

2.6.7 Photo T. Harmon Parkhurst. Courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. No. 055204

2.6.8 Newark Museum, Gift of Amelia Elizabeth White, 1937. 37.236 © 2014. Photo The Newark Museum/Art Resource/Scala, Florence

2.6.9 Courtesy the Voulkos & Co. Catalogue Project, www.voulkos.com

2.6.10 British Museum, London

2.6.11 © Angelo Hornak/Corbis

2.6.12 Photo Teresa Nouri Rishel © Dale Chihuly

2.6.13 National Archaeological Museum, Athens

2.6.14 The Walters Art Museum, Baltimore. Acquired by Henry Walters, 1929

2.6.15 Kunsthistorisches Museum, Vienna

2.6.16 Private Collection

2.6.17 The Solomon R. Guggenheim Foundation, New York, 88.3620. Faith Ringgold © 1988

2.6.18 © Christie’s Images/Corbis

2.6.19 Photo Smithsonian American Art Museum/Art Resource/Scala, Florence. © Sheila Hicks

2.6.20 Collaborators: Charles MacAdam with Interplay Design & Manufacturing, Inc, Nova Scotia, Canada (design & production); Norihide Imagawa with T.I.S. & Partners., Co. Ltd, Tokyo (structural design). Photo Masaki Koizumi. Courtesy the artist

2.6.21 Metropolitan Museum of Art, Rogers Fund, 1939, 39.153. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

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Picture Credits for Chapter 2.6 (contd.)

2.6.22 Seattle Art Museum, Gift of John H. Hauberg and John and Grace Putnam, 86.278. Photo Paul Macapia

2.6.23 Photo courtesy Andrew Early

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