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.
- 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.
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:
- Could completely loosing guidelines cause chaos?
- Do we need to use our past to push forward?
- 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:
- Which form of art was considered higher during the Renaissance? Painting or Sculpture?
- Are artists beginning to see their own inner soul and expressing it in their work?
- Can literally anything become a sculpture?
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