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.
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?
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.
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