Thursday, December 9, 2010

Chapter 22 Summary

 Thomas McEvilley describes an artist who takes philosophy to another level in “Sculpture in the Age of Doubt,” published 1999. Artist and philosopher Frances Torres takes the human experience to a different stage by the way he portrays time in his work. For example his piece Fifty Rains, 1991, depicts a beginning, middle, and future timeline by the choice of subjects. His theme was to display three defining moments in spanish history. The Post-Civil war era of Fascism in Spain, the death of Franco's successor, Luis Carrero Blanco in 1973, this caused the pause of Fascism, and finally, the unification of Spain and the rest of Europe in 1993. This work was contained in a room with damaged found objects that expressed the devastation and rise of the Spanish. This piece became post-ideological because of the suggested ideals about history itself.
Another topic that Torres chooses to express is the separation of the brain into three sections. Neurologist Paul McLean says that the brain functions in three different forces that work separately to revolutionize the system of the inner psyche; the brain stem, cerebral cortex, and the intermediary system. These sections of human mentality store past perceptions of social activity and continues to build upon it with time, thus Torres believes that we take from old stages of the brain and is perhaps, ruled by our animalistic nature subconsciously. His work Head of the dragon, 1981, explains the disastrous possibility of these separate parts conflicting with one another, the dragon fighting itself. Which brings the idea of creating a biological sense of entrapment. Although, only “self-willed” humanity can break such bondage. Another piece that expresses the human bondage is his Field of Action, 1982, which consists of a jeep resting on four TVs instead of wheels. The car represents transportation through the body and as humans having vehicles it shows how we can go out into the world to find, take, and gain new experiences. The TV symbolizes the mind while suggesting the reviewal of past historical elements. Torres seems to show humanity as it works its way through history to strive to accept social responsibility and past aggression to break the past mold of the human chamber called the brain.
  1. Could we live without tuning back to our animalistic nature?
  2. How can we move forward in our social ideals to create freedom?
  3. Should the present state of mind be the only time frame accounted for?   

Chapter 20 Summary

Thomas McEvilley writes in his book “Sculpture in the Age of Doubt,” published 1999, about an artist who portrays more then just the physical presence of her work. Jana Sterbak is a Czech artist who uses the identity of her materials to express a meaning greater then what appears. She strives to establish the connection humanity has with its physical being and where exactly the soul stand within this chamber. To explore the restraints that society plays on how human should act, dress, talk, and just be, is a main theme throughout Sterbak's work. She captures the bondage of femininity and how suppressive the role of gender is by being clearly segregated. Another important message conveyed by Sterbak is the thought of the body as a prison with a spirit trapped inside, yet by acknowledgement of such a force brings the theory of breaking free.
In her piece Vanitas: Flesh Dress for an Albino Anorectic, 1987, she expresses the thought of her soul being bound by decaying flesh. When this piece is displayed without a human wearing the dress, it leaves a presence of absence, the soul has flown free from its cage only leaving the rotting meat behind. Another work by Sterbak that expresses the soul breaking from its entrappment is her Artist as Combustible 1986. Here she displays a woman standing naked with a flame bursting from her skull as if it were releasing the spiritual energy of her inner core. In the yogic tradition this would be an expression of freeing the soul. The flame being representational of her spirit, it sparks to recognize its prison and eventually allow the transformation of the soul, leaving its physicality behind. Although she accepts the realization of entrapment of our inner being, another third chamber of bondage becomes the classification of social norms, especially gender discrimination.
In her piece, I Want You to Feel the Way I Do (the Dress) 1985, she displays an electrified dress of metal mesh depicting the female role as a sex object. With the dress having “easy access” areas, it brings the thought of suppression and being chained to a tortuous game of how a woman should be. In her work Hairshirt, 1992, she shows a sleeveless shirt with male chest hair sown into the fabric, it is worn by a woman exposing her breasts through the hair. This points to how a woman is held in confinement by the male expectations of femininity. She declares the freedom of such restrained aspects of society by the realization of such discrimination as well as the physical limit placed on the body.
  1. Could art become something more then a physical presence?
  2. How can we change the treatment of our physical selves to a more spiritual level?
  3. Can society separate itself from the expectations of a human being?   

Chapter 19 Summary

In chapter 19 in Thomas McEvilley's “Sculpture in the Age of Doubt,” published 1999, he discusses the role of found objects becoming the new post-modernist ideal. One artist who grasps the idea of organic objects being considered art is Ed Kienholz, who is widely known for his interpretations of social scenarios. Although Kienholz began as a painter, his transition to sculpture consisted of the way he progressed in portraying reality. He created life-size environments in which the viewer could physically be placed in the scene, allowing for a more incisive approach to creating realism. He begins to relate the used, or found, objects to be symbolic of societal progression through a recycled view. Kienholz used his previously worn objects to expose the process of renewal as a spiritual development. He wanted the exposure of past elements to still exist within its current use. For example his work Roxy's (1961-1962) a theme, or style, is portrayed involving the environment as the piece itself creating a social reaction and familiarity of found objects. It strives to explore a symbolic narrative, not so much like particular arrangement but rather like a hint of a larger commentary towards idealistic society. From this point of view he further pushes the limit of the literal in following works.
Kienholz begins the formation of a less abstracted idea to create direct clarity of the subject. For example in his work Sollie 17 (1979-1980) a character is formed depicting a scenario of the affects of “failing” the occupational pursuit. This clearly gives a statement regarding societal norms and the aftermath of devastation. When creating these situations, Kienholz strives to enclose the environment to be like a contained emotional pause of particular situations.
Overall it is difficult to distinguish the identity of Kienholz in the sense of categorizing which movement he belongs to. The Modernist belief goes back to the Enlightenment ideals and the thought of society as naturally inclined to progress with time. Post-modernists explore the Enlightenment generation, yet they do not see history as trust-worthy nor that society is a progressing force. Lastly, Pre-modernist seek a different path, to establish a new spiritual connection with the core of artistic beliefs before it was tainted by the theory of Enlightenment. Although Kienholz relates mostly to the post-modernist beliefs, he still portrays characteristics of each movement generating a freely conceived portrayal of humanity in itself.

  1. Is it necessary to develop a specific theme in your work?
  2. How can sculpture be further pushed to relay the message of self-exploration?
  3. Is any particular movement important to the progress of todays upcoming artists? Or should we disregard past artistic elements to create a new sense of raw emotion?   

Chapter 7 Summary

Thomas McEvilley writes in his book “Sculpture in the Age of Doubt,” published 1999, about a particular artist who has helped shape the world of sculpture in a more personal sense. Artist Lucas Samaras was raised in Greece during WWII as well as the Greek civil war. Being raised in such an environment, he began to turn to art at a young age by creating his own toys out of anything he could find. When he was eleven his family moved to The United States where he stayed until going to Rutgers University to pursue his artistic career. It wasn't until 1964 that he began to separate from his family and begin his own self-exploration through his work.
Samaras aimed to reveal himself in his pieces yet keeping the viewers at a distance. To become completely open with expressing his life as art itself seemed to be his goal. Presenting a work called Room #1, he exposed items of familiarity that helped shape and build his being and transformation into maturity. This room displayed items that combined his living space as well as his studio, representing his transition to adulthood and exploration of past developments concerning his artistic achievements as well as growth. Another work that played with the idea of the artist's external identity was Book 4, which had an alluring affect yet the nails and sharp objects surrounding the book holds the viewer back from access of the information (or identity) contained inside. This exhibits the idea of wanting to allow an open self yet still suppressed by a wall of distance. When taking another approach to art, Samaras experimented with auto-polaroids, in which he completely divulged his soul by baring his body. His naked self suggests being completely defenseless without previous shields to hold back his true identity. His work has marked a new point that has personal life become the main element of artistic expression.
  1. Should there be a limit to how open an artist can be?
  2. Shouldn't an artist create work that develops their own being?
  3. Is the point of art just for the admiration of others?

Project #5: Found Objects

“A Dream with the Realization of a Nightmare”

This project was a personal exploration of my emotional state. I visited experiences that have helped shape my artistic nature throughout this semester. The process began by my choice of wood as the main material, which I used tools that I had little experience with, so to improve those skills I wanted to become familiar with such methods.
I looked for items that had personal significance to my past and to portray an image of beauty and destruction, the swirling colors mixed with splattered soil, the earth's blood in my opinion. It expresses a statement of transformation from the awareness of past perceptions to evolve into a new form, hence the "Fuck the Past" quote. Although, it is still uncertain if this progression is for better.... or worse. 







25 Sculptures: Assemblage

Susan Danis, “Bed,” Not dated
This piece gives a collective sense by the diverse variety of shoes. Every style possible seems to be piled together on this plain metal bed.

Lucy Harvey, “Assemblage Sculpture,” 2010
The variety of patterns on these organic shapes keeps the eye moving in and around the sculpture.

Janet Fullmer Bajorek, “Horizon,” 2010
The way the shapes are place on top of one another gives depth and space within the structure.

Michel Tuffery, “Corned Beef 2000,” 1994
Having the bull made out of corned beef tins provokes humor and irony in the piece.

Robert Rauschenberg, “Riding Bikes,” 1960
The neon lights create an energetic atmosphere giving the piece movement and balance.

Margaret Mellis, “F,” 1997
The unique choice of materials gives the structure an interesting flow from the faded colors to the shapes of each item.

Will Wagenaar, “The Lovingcup Family,” June 2009
Each character has its own individual uniqueness that separates them from one another, although they are made from the same objects.

Javier Astorga, “Dream of the Architect,” 2003
I like how the lines move around the face giving energy to the structure and capturing the strong presence that the facial expression captures.

Javier Astorga, “Little Fox Hidden in a Tree,” 2003
At first glance you notice the static flow of the net-like structure surrounding this creature, while reading the title you gain a story that provokes more thought on the interaction going on.

Wolfgang Ritschel, “The Double Helix: Key to Life,” Not Dated
The approach on the subject matter gives a lively feeling towards the chosen colors as well as the vivid patterns.
Javier Astorga, “Metamorphosis of a Dream,” 2003
I like how this expressive face is being held up by organic strands of metal giving tension to the work.

Joe Pogan, “Fish,” October 2006
The fish gives off a smooth movement because of how the materials are compiled together. They appear as though the objects were made for each spot of the creature.

Wayne Viens, “New Journey,” 2006
The texture of the faces gives off a rough vibe that moves the focus to the black glaring eyes.

Peter Thibeault, “Untitled,” 2006
I like how the pieces move together in a circular pattern to create a direct point of focus.

[dASAb], “data ECOsystems .HybridEntertainmentMatrix,” 2007
The piece is constantly going in various directions creating a static energy that gives the work an elaborate structure.

Colleen VanWyngarden, “Tender,” 2010
The texture of the skin is rough and gives a original surface adding to the theme of “Tender.”

William Shepherd, “Assemblage Sculpture,” Not Dated
The variety of toys gives a playful yet dark theme surrounding the crucified jesus in the center.

Evan Robart, Untitled, May 2007
I like the distance between each object, it gives space and allows the viewer to interact with the work.

James Robart Ford, “General Carbuncle,” 2007
The car is carefully covered in toy cars that create patterns by the colors.

Jeremy Mayor, Untitled, 2008
I like the diverse set of mechanical materials used to create this female figure.

Keith Parkenson, “Sunken,” 2009
With this structure you really can grasp the title by the expressive marks to the flow of the shapes.

Rosemary Pierce-Lackey, “Colorful Blocks – 2,” July 30, 2008
I like how you can see the space in between each cube allowing for empty space to become apart of the work.

Dan Walker, “Nova,” 2007
The colors just burst out of the center origin with the color orange exploding into yellow, it is beautiful and suits the title.

Dan Walker, “Pool,” 2007
The way the colors work together to create a bright, almost too bright, of a center truly captivates the viewer as though you were swimming into a light.

Hideki Kuwajima, Untitled, 2010
This piece is brilliant from the choice of glass as the material to the way the structure is assembled, it shines from how the objects reflect off one another.








Thursday, December 2, 2010

Project #4: Wood

I love mysterious as well as exciting experiences. So, for this work I wanted something that would have interaction between the viewer and my piece. I decided to make a "Mystery Box" and have four objects that the audience would reach inside and feel around for. I will not, however, reveal the objects inside, each "mystery" will have a certain texture or shape that will resemble something... creepy, or sweet.  ;)


Project #3: Casting

When first approaching the idea of creating multiples of a certain shape I wanted to create little critters. I started out with a main piece (The tattooed "Devil") and decided to make her an army of about 60 little dudes.


Lucifer





Each Dude has his/her own personality, none are alike. 


Project #2: Metal

For this project I wanted to create a powerful image depicting a heart being jolted with energy. The title is "Some Souls Giving a Heart Some Life."



The Heart


Monday, November 22, 2010

Next Project Idea: Mystery Box

Each hole will contain a certain "thing" which the audience can feel around inside to figure out what it is exactly...

25 Wood Sculptures

Malcolm Tibbetts, “Untitled,” March 7, 2007
The way the pieces move into one another and curve around to form this interesting shape, creates a sort of entertaining sculpture that keeps moving the eye.


Scott Warris, “Untitled,” 2006
This image flows from the movement of the beard that follows the body down to the floor. The face
being shown through the book also adds a mysterious quality to the old man.


Scott Warris, “Untitled,” 2006
The woman gives off a cheerful expression as she holds this “brain” branching out from her hands and head and gives off almost a sense of meditation.

Mike Rea, “Untitled,” 2008
Every part of this structure is caked with detail that makes this piece intricate and interesting. I also love the fact that the artist can fit inside this model as though it is a working machine.

Livio De Marchi, “Ferrari F50 Boat,” 2009
The entire structure is smooth in its design and replicates a Ferrari F50 beautifully. It is a unique work that can actually function in water, which makes it just awesome.


Michael Ferris Jr., “Recycled Wood Project,” 2009
At first glance this piece is automatically interesting because of the patterns that caress the face as well as the hair, but after reading some information about the design I learned that the artist used these patterns to visually interpret the emotional state of each person.

Greg Napolitan, “Chain Saw Sculptures,” 2010
The different shapes give movement and rhythm that work together to form a smooth finish.

Ganeshas, Krishnas, Radha Krishna, Saraswati, Shiva Parvati, “Untitled,” 2010
The intricate detail creates a lavish structure that brings out a powerful image.
Matt Torrens, “Driftwood Bull,” 2008
I like how each part is pieced together to create the actual form of the bull. It adds depth and curiosity to the identity of the creature.
John Northington, “Chain-saw Paintings Wall,” February 1, 2009
Each section of the work adds to one another and creates a static-like motion that builds up the piece as a whole.

Gehard Demetz, “Futuristic Wood Sculptures,” 2009
I like how it is not just a smooth finish on the wood but rather parts that either disappear or sectioned off. It gives the characters more emotional value.

Gehard Demetz, “Futuristic Wood Sculptures,” 2009
The girl's face is so strong as you gaze into her eyes, it truly captures a deep stare that brings in the viewer.

Willy Verginer, untitled, 2010
The stances of each girl reflect off one another and create a tension as the color stops only half way on the figures. They seem closely bonded, yet distant.

Bartolucci Sisters, untitled, 2010
Each curve sways through one another and forms a “water-like” flow that gives texture and balance throughout the image.

Michael T. Rea, Untitled, 2008
Every inch of this structure is filled with detail that creates realism, as though you could drive the tank around.

Krishna Khalsa, untitled, Oct. 2007
The way the sculpture builds up the wall in pieces gives the work a textured look that moves like a tornado.

Ashraf Gafer, “the Kiss,” 2008
The embrace is not clear although you can feel the presence of two figures touching one another. I like how there is only a hint of human figures connected in this moment.

Sam Hernandez, “Bini,” 2005
The structure seems completely organic in shape and texture except for the two cut out rectangles that seem to place a balance within the piece.

El Studio Granados, “Bear Spirit Shaman,” 2010
The figure is very spiritual because of the tall stance and mystical presence of a sort of higher being making its statement.

Andrew Frost, “Alice in Wonderland,” Not Dated
I love how big this sculpture is because it makes it seem as though it is a real place frozen in time. It brings mystery and wonder.

Geoffrey Gorman, untitled, May 30, 2009
This piece is affective by how the stance of the deer is like a natural position, as well as the figure being covered in a sort of line pattern that keeps the piece interesting.

Kerry Vesper, Untited, 2008
The curves in this piece are beautifully executed with a smooth flow from top to bottom.

Kerry Vesper, untitled, 2008
By the sculpture being completely formed by swerves and lines that follow around the shape it allows the eye to move along the edges to create a unique rhythm.

Ben Butler, untitled, 2010
The way the wood builds on layers gives the structure a nice shape that is almost illusionistic in design.

Paul Baden, Untitled, 2007
I like how the circular pattern echoes the shape of the figure and creates a balance throughout.  

Friday, October 15, 2010

Casting Designs

For the casting project, I wanted to create a clown with the mold. Either to paint one clown with detail or to make three and have the theme of "see no evil, hear no evil, and speak no evil."

Tuesday, October 12, 2010

Video Summary: Rachel Whiteread


Rachel Whiteread explains her fascinating sculpture, “Ghost.” She describes how the feeling to create such a piece came about. After her college years she had to live in a small space because of financial issues. This inspired her to re-create the feeling of living in such an environment and allow the viewers to experience the same sort of “claustrophobia.”
The sculpture was to be cast with plaster, which Whiteread constructed herself building up the plaster on the walls, with metal frame, and flicking the material to create texture and feel to the inside walls. The block was to resemble a room and contain a fireplace, window, “Mantle,” “Torso,” “Closet,” and “Shallow Breath.” The key elements to the piece are the objects that project an actual presence of a real living space. Although while preparing for this work, Whiteread says how she spent a good amount of time creating drawings that fit the composition she was searching for and making the perspective properly. Later, when beginning the process of strengthening the walls, she encountered problems with the dry walls flaking or breaking, which she had to keep repairing. The outcome of the piece is mysterious yet captivating by it's haunting presence and familiar objects contained within the structure. Whiteread certainly presented the idea she had in mind with clarity and formed an essence within the room that expressed her experiences from the past.  

“Sculpture in the Age of Doubt” By Thomas McEvilley 1999. Chapter 3 Summary:



During a time where there was a base for how art should be approached, one artist dared to go beyond the norm and take his work to another level. This man was Marcel Duchamp, the “artist of the century.” Duchamp began the change in the period of Modernism between 1911-1913, when he made a drastic change in his thought process. He rearranged his mind to think freely with no distinct base to guide him through his work. It started when he had his mental breakdown from the traumatic rejection that caused him to turn to a philosopher, who he thought knew how to live.
Duchamp lived a very dysfunctional life that caused him to have severe mental issues that changed his way of thinking. For a long period of time he fell in love with his sister, Suzanne. When she was married Duchamp finally snapped and completely broke everything he stood for as an artist. He gave up painting for a while and went into solitude with books about different philosophers, with one in particular who gave him a whole new outlook on life.
The philosopher Pyrrho of Elis influenced Duchamp by giving him a new approach to live life. His theory was to have no basis or certain structure that should tame natural freedom within the physical world. Pyrrho states that nothing truly exists, the world is an ever-changing essence, therefore came the question of uncertainty.
After Duchamp took in all he had learned, he became emotionally “numb.” He chose to feel nothing and wanted to prove that he could be an artist although he had no real emotions of his own. He created the “Readymade” pieces that were to simply be the object. He wanted to fool the audience as they discuss the aesthetic beauty of his pieces, when this is the opposite of what he wanted. He brought in the attitude of indifference, and did not believe in anything at all. These objects give the thought that they, perhaps, are the non-changing forms of reality. Although, when trying to reason with Duchamp he simply answers that he is indifferent and does not have a specific belief.
Duchamp has marked the beginning of the true Postmodernism era. As time progresses other artists have tried to recreate    Duchamp's work but only produce aesthetically pleasing pieces, they do not grasp the real concept behind his theory. Although they have been the only ones who have taken the closet approach to matching Duchamp, who wants rejection of style.

  1. What is sculpture today?
  2. Should style be something more then what appears?
  3. To be indifferent, should that mean loss of all emotion?   

Sunday, October 10, 2010

25 Sculptures Using Casting


Shelley Curtiss, untitled, 2006
This piece flows by how the lines and curves move around the figure, as well as the base which bends with the movement of the rabbit.


Austin Barton, “Crescendo,” 2006
The horses are interesting by how they each create a certain rhythm or movement in the herd, their heads moving in different directions gives a natural and realistic feel.


William Harris, “Quicksand,” 1983-90
The surface of the figure is rough and gives texture to the piece, which adds to its “quicksand” theme.


Mark Andrew, “Double Fish,” not dated
The way the waves curve and move under the fish gives the work a unique structure.


Jullien Design, “Cast Bronze Relief with Patina,” 2001
When first looking at this cast, the eyes of the figure stand out because of the depth of the structure, it picks up shadows and intensifies the face.


Musee Rodin, “Eve,” 1968
This work is beautiful in the way the arms wrap around the torso and creates an emotional presence.


Brian Rust, untitled, not dated
Its unique how the face is raw in its design and shows the cracks and bumps to indicate the process behind the work.


Brian Rust, “Casting III,” not dated
The expression is almost haunting as its weighed down around the mouth and eyes.


Ursi Eso, “Radha with Krishna Playing the Flute,” 2008
Having the snakes appear like a ray behind the two figures gives off a powerful feel and adds to the god-like forms.


Fine Architectural Metalsmiths, “Bronze Sharp Shinned Hawk,” 2008
From the gazing stare of the eyes to the detailed texture of the feathers, this piece keeps to its realistic qualities.


Casa Del Ocaso Designs, “Ring-14k-Agate,” 2009-2010
By this piece originally being jewelry, it already gives the structure a unique vibe because of the motion of the material and how it brings a melting feel to the swerves.


Olivier Duhamel, Untitled, 2010
The body moves elegantly from head to toe, from the way the arms spread out to the stance of the woman.


Rolf Harris, “Intuition,” 2010
I like how the hands move in a sort of awkward pattern, almost as if they are unsure of which direction to point to.


Stuart Fink, Untitled, not dated
In the way the curl is tightly handled it gives a condensed form that takes away from the little pieces throughout the structure.


Mark Rehkopf, Untitled, 2007
The realism in this piece is fascinating by how it captures every little detail of the skin and variations of the scales in size.


Keith Simerson,“Grizzly Bear,” December 2009
The bear does not really have any qualities that allows the viewer to look closely and study the piece, it is smooth and almost blob-like by how there are no real defining lines.


Aries Lee, “Convention,” 1989
The shape of the piece is awkward and does not seem to have any rhythm or unique textures to make the form interesting.


Helle Rask Crawford, Untitled, 2010
the size of the cast allows intimacy and a delicate feel that adds to the playfulness of the figures.


Seward Johnson, “Whispering Close,” 2010
I like how the figures are painted with life-like tones and the movement in the dress.


Bryan Beurskens, “Protection,” Not dated
The shape of the dagger seems lumpy and not strong enough for the topic of the work.


Bryan Beurskens, “001 Shell and Seed 02,” Not dated
The deep impressions in the curves give a sinking quality to the seed, as if it is slowly being engulfed by it's shell.


Marc Leviton, “Chicken Hawk War Memorial,” 2009
The use of material with the subject creates almost a grotesque feel because of how closely it symbolizes real skin, it really adds an interesting quality.


Keith Turman, “Horses,” Not dated
By each horse varying in size it moves the eye upwards and around the hair, hugging each part closely together.


Davis Gailitis, “Davis,” Not dated
The unique characteristics of the surface adds to the emotional expression in the face.


Steven Ainsworth, “Double Casting,” 2007
The way the shadow reflects the sculpture is tranquil and becomes a work in itself.  

Wednesday, September 29, 2010

"Sculpture in the Age of Doubt" Chapter 1+2 Summaries


Chapter 1:
Throughout time artists have been going through particular changes that influence each progressing era. Before the Enlightenment period there was not a clarity in the world that people could follow, only religion was the base of knowledge. As time evolved artists explored ideas and decided to turn to science to solve inquires and give explanations rather than having the main focus on religion. The nature of the soul and the “sublime” elements that tend to base the mind were the thoughts in question. The age of Enlightenment seemed to be the new age of expression that gave insight and clear thinking, that the sublime was the core expression, which then changed to the terror in the sublime. Artists like William Blake show the power of this dark period with images of the “end all” and fearsome interactions with the devil. For a time this period seemed to have humanity in its grasp as though it understood how things work and set a path for thinkers in the new age of doubt.
As the human race continues to push forward, the past becomes questionable. Artists begin to state things as unidentifiable and how one must question everything. Modernism was born to reject ideas from the past and strive to form new ways of creation. It was a new age that changed the way of thinking and even further pushed the limits of the mind. It was because of these new ideas that created the Post-Modernism era, which literally seeks to break down all boundaries.
The mind was to search for complete freedom and allow itself to exist with no limitations. This current period wants to deconstruct past elements and bring in enlightenment through liberating the soul of mental boxes that the previous times have built to form an identity for the human existence. It wants change and new fresh thinking that is different and not completely limited to people's vanities and what appears in reality. This era is searching for sublation.

Questions:
  1. Could completely loosing guidelines cause chaos?
  2. Do we need to use our past to push forward?
  3. Should we accept this new age of thinking as a chance to truly reach freedom of the mind?



Chapter 2:
Postmodernism defines the era after World War II. It shows the depth of the changes that have occurred in cultural attitudes mostly in the Western world. There have been more changes in practice and theory in the arts between 1947 to 1976 than any other historically documented period for tens of thousands of years. This time provokes free thinking and expansion of what exactly can be considered art, which leads us to the end of the age of certainty and the new era of doubt.
In the past art could be classified as having two main bases, the visual or the internal root. Now, where the visual was dominant in the past, it has now been reversed. This new age has now become more open to subject matter that was once condemned and avoided by the previous evolutionists. Gradually as the free-expression progressed it began to incorporate the “everyday world” within the art world, because now anything can become art.
In sculpture, postmodernist artists have portrayed “soulless” or everyday objects into their pieces, showing the true realism of life expression and what is in the physical world rather then what exists in the mental conscience. This allows the ultimate freedom because of the limitless possibilities that can be created with sculpture.
The Renaissance period regarded painting as a higher form of art because of the manual labor involved with sculpture, it was considered equal to “slave” work. Although it was not seen as the same level of class as painting. Both outlets share a special connection that bonds one another through a “universal vision”. They see the human as a deity, the soul trapped within its chamber, the body. For thousands of years artists have been focusing on the inner spirit and revealing its prison, not the soul itself. Sculpture brings in that true realism by creating the physical presence. It is considered the way out of the old era and into the new.
Painting has limitations because of how it can only express an essence rather than physicality, which is why sculpture may lead into the next generation of art. It becomes the new because it exists in the real world rather than inside the vast mind.
Questions:
  1. Which form of art was considered higher during the Renaissance? Painting or Sculpture?
  2. Are artists beginning to see their own inner soul and expressing it in their work?
  3. Can literally anything become a sculpture?    

Tuesday, August 31, 2010

25 Sculptures with metal as the main element

My thoughts on each piece:



Nol Putnam, Untitled, Not Dated
The circular motion of the spirals move the eye around the piece which makes it interesting and creates a wave-like flow.


Drew Flaherty, “Gargoyle Metal Sculpture,” Not Dated
This piece keeps interest because of the complexity of the structure. It is built from several different parts jumbled together to create this fierce creature.


Johan Jonsson, Untitled, Not Dated
The characters are unique in design because of their fragile build, yet express a sense of connection from each figure to the other.


Gabriel Dishaw, No title given, Not Dated
The shoe gives off a raw presence because of its random assortment of materials and the representation of a Nike shoe.


Maker Faire, “12 Metal Sculpture,” May 2008
The stance of the figure is powerful with emotion and because of the design and material, its as though you can feel the layers in the body and really see the structure throughout.


Holly Fisher, “Job,” 2008
The simplicity of the statue allows you to clearly make out a design that moves around the figure nicely and balances out with the solid hooves and head.


Theodore Roszak, “Kopernicus,” 1959
The sculpture references to the famous astronomer, who created the first heliocentric theory of the solar system in 1500s, as well as the space race during this time period. It has a sense of wonder that captivates imagination and brings the familiarity of space to the viewer.


Bruce Gray, Suspended Metal Sculpture, March 8, 2007
This piece uses magnets to suspend the wires around the metal circle, this creates an interesting tension point that is a unique concept and use of material.


John Searles, “Mobius,” Not Dated
The texture and coloring of the sculpture gives the curving movement a sense of serenity and gives off a peaceful expression.


Located in the Jill Underhill Gallery, “Big Hug,” Not dated
The figure is playful and depicts a warm joyful atmosphere that makes the piece larger then it actually is.


Stephen Fitz-Gerald, “Figurative-Sculpture-Arch-of-Triumph-1,” Not Dated
From the use of materials there is a smooth texture that surrounds the body and shapes a pattern that molds the build of the sculpture.


Stephen Fitz-Gerald, “Figurative-Sculpture-Asia-Face-Detail,” Not Dated
There is a weightless vibe because of the head being held up from the “hair,” this forms a strong yet peaceful quality to the character. Also, the waves in the hair complement the face by its texture and flow around the head.


Bruce Beasley, “Titiopoli's Lighthouse,” 1970
The image is breathtaking because of the reflections throughout the sculpture, it captures the outside world and places it inside this “mirror” as it lights up the piece.


Leigh Dyer, “Run The Denmark Hill Wolf,” March 14, 2009
The detailing is incredible, it looks as if the sheep have soft fur and the horns are rigid and hard. The artist sticks to realism and portrays the value with intense life-like qualities.


Alex Zivanovic, “Metal Sculpture 2,” February 3, 2009
This piece is not very stimulating because it does not have a smooth flow in its structure, nor does it have any appealing qualities. The fact that it was beaten into its shape gives wrinkles and folds that are not particularly satisfying.


Bruce Gray, Metal Sculpture, 2007
The use of materials suits the subject and projects a grunge look that gives the bike an edge, as well as the sharp wheels.


Anthony Holand, “Super Bowl XLIII Metal Sculpture,” 2009
The image presents the action of the ball flying through the air with flames, and shows this by having a smooth surface for the ball and the flames apart of the object pointing upwards. This creates movement and personality to the structure.


Kristen Hoard, “Release,” Not Dated
The illuminating light creates a mysterious aspect to the piece and brings out color in the metal.


Richard Walker, “Metallic Red Flame Fire Design,” Not Dated
The flames stand out in front of a plain red background and makes the structure glow.


Osian Batyka-Williams, “Metal Tube Chair,” Not Dated
There is a unique use of material, the circular tubes, that gives the chair fun characteristics and style.



Ashley Baldwin-Smith, “Scale of Balance,”
The placement of the triangular pieces really define its title and gives this work a simple yet satisfying display.


Tracey Nelson, Untitled, May 25, 2009
I absolutely love this sculpture because of its brilliant colors that pop out with each shape and create a beautiful mix of curves and lines pleasing to the eye.


Michael Pollard, “Corazon,” Not Dated
I like this piece because it resembles the human heart, hence its name “Corazon,” which is spanish for love. It is not like a Valentine's Day heart but rather a real organ, this is what gives it a beautiful shape filed with curls and knots that are truly unique.


Susan Seeger, “Moon,” Not Dated
The rounded shape complements the jagged edges on the upper portion, and the coloring makes it seem as though the viewer is gazing at the stars.


Rachel Denny, “Ewe,” 2009
The mix of fabric and metal is nicely depicted here by the sheep being covered with strips of various colors that gives it a “cool” look.  

Digital Sculptures From WIngs 3D Program


Practice Digital Sculptures: 













Sunday, August 29, 2010

Digital Sculptures



maya7signatureimage.jpg
Meats Meier, “Optic- Maya 7 Design” August 5, 2005
I find this piece interesting because of all the intricate detail as well as the web-like structure of the figure.  




1417.jpg
Scott Eaton, “Prometheus” August 5, 2007
I like how the expression of the figure is powerful because of the way it captures the weight of the chain pulling the body down.




mother_BW.jpg
 Meats Meier, “Animation Mother” (Black and white) 2008.
This piece is interesting because of the patterning in the figure and the layers of swirls that seem to resemble hair.






102w017.jpg
Lee Aries, “Birth,” 2003
I like what this sculpture represents and the serenity of the scene.

The reflection in the metal is very nicely done, there is an image clearly shown that makes you wonder about the environment.







female_figure_study_1_tn.jpg
Scott Eaton, “Female Figure,” April 26, 2008
The amount of detail is amazing, it appears as though every creese and indent is visible on the skin.







hero1.jpg
Charlot Dickinson, “Sculpture For Relay For Life,” July 14, 2008
This piece is not very appealing to me because of the clash of colors, a weak background, as well as the figure being in an awkward stance.







infront.BMP
Sean Dabbs, untitled, May, 27 2010
I like the playful aspect of this sculpture and how it keeps that realistic quality to the characters.

kar.jpg






JayKrushna Rawool, “King Kong,” Dec 26 2009
The features in the face are nicely defined giving the gorilla a fierce expression, although the skin around the shoulders and the top of the head could have more texture.







1504111268_f47c8f6933.jpg
Faith Maxwell, "Beyond Aqua," March 29, 2010
The texture and patterning of the fish is interesting and creates a unique design that adds to the shape of the creature.








359520_173428_Balek_Zahradnik_kolaz.jpg
Photomontage of Jiri Zahradnik with motives, by Frantisek Balek, 2005 
Everything in this piece is illuminating from a mysterious theme that creates a certain curiosity for the "joker-like" figure, as well as the faded doorway in the background.  







450_Devil.jpg
Meats Meier, "Devil," October 10, 2002 
The creature is captivating from the eyes that glare into the distance to the raveled layers of "wires" that shape the figure. 







shells-2-1616-300x300.jpg
Luca Paradisi, "Shells 2 1616," July 17, 2010 
The shells are unique in their formation and design, they have characteristics from their curves and jagged edges that make them elegant yet dangerous. 







KrobliFinalRender01.jpg
Art Bully Productions, "Krobli," 2009
The detail in the skin is very texturized and adds a sense of depth to the character. The figure itself stands out from its monstrous features, such as the creature appearing as part of the arm. 







AlexSBathing.jpg
Alex Stratulat, "Bathing," Not Dated (2003-2009) 
This piece creates a design that moves the eye around the curves and swerves from top to bottom. 







AlexSAnt01.jpg
Alex Stratulat, "Ant," Not Dated (2003-2009) 
The ant is so realistic that its almost completely believable, even the ground material appears to be natural. 







ib_p051_0_1.jpg
Francesco Mai, untitled, from the 2009 collection part 5 
The sculptures are intricate and layered with reflections from the background sky that really creates a complex tone. 







ib_p058_0_4.jpg
Francesco Mai, untitled, From the 2009 collection part 6 
The vibrant burst of orange and yellow makes the sculptures pop out and allows the viewer to clearly see the complexity throughout the structures. The water also creates a calm spiritual aspect to the image. 







glossy_sculpture.jpeg
Robert Bridson, "CS3448B Final Project," Not dated. 
The sculpture is not very visually appealing because the reflextions are not very clear and it almost resembles a "blob-like" structure, also the way it was placed in the background gives it a fake look. 







0100creation.jpg
Meats Meier, Untitled, 2002 
The expressive quality in the facial features as well as the figures being imbedded in the base and the figures free on the top, presents a dramatic tone that gives the piece a underlying theme of repression. 







laser01.jpg
Andrew F. Scott, Untitled, November 25, 2008 
The layering is truly incredible because of how it captures the facial features like a wave of steps surrounding the figure. 







3dscanning_horse_03.jpg
Third Plane, Untitled, Not Dated (Business established in 2007)
The flowing tribe of horses creates a nice repetitive form as it curls around, the size fluctuation is also an interesting quality that adds a sense of distance. 











disabled-motion-home.jpg
Simon Mckeown, "Motion Disabled," 2009
The positioning of the figures in a cluster creates a sense of force that is pulling on both sides and gives the piece tension. 







scott-eaton06.jpg
Scott Eaton, "Death of the Centaur," November 18, 2009
The body of the figure is extremely powerful because of the intensity of the muscles and the action the artist chose to represent, the moment of the beast's death. 







funnel-web_nathan_jones.jpg
Nw Jones, "Funnel-web Spider," 2007
The spider shows an extreme amount of detail from the tiny hairs on the legs to the bumps and rough surfaces of the creature.