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.
- What is sculpture today?
- Should style be something more then what appears?
- 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.
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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.
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