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Fashioning Archaeology into Art: Greek Sculpture, Dress Reform and Health in the 1880s
Gillian Clarke has argued that classical drapery is so prevalent in European art that “classicists tend to think of it not as clothing but as an example of Greek and Roman art” (105). Drapery has long been an ‘artistic conceit’, a device showing artistic flair and rendering. This is brought to an apogee in the large paintings by the contemporary artist Alison Watt. The contours of flesh hidden by the folds of cloth are searched for in vain as there is no body hidden. Alison Watt’s work is a study of cloth, of folds, of voids, of form for...
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Chapungu Cultural Arts Centre at Centerra
Drapery in sculpture and art has a function. It acts as clothing: as a way of both seeing and yet obscuring the figure. It draws attention to the body while covering it. It often lies next to a nude as fallen clothing. It plays a part in the narratives of sculpted story telling. It indicates how the female form should be seen and what parts of the body should be made visible through the draped veiling. Drapery has been an influential artistic conceit in the Western world since early antiquity and artists have revisited the form and function of drapery...
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CIVIL RIGHTS MOVEMENT: CIVIL RIGHTS MEMORIAL
Like every artistic process, virtual sculpture (see figure 1 for example), requires a strong interaction between the artist and his artwork. Feeling the material being modeled enforces the metaphor of sculpting and the immersion of the user, making the creative activity easier. The need for haptic feedback is even stronger when the user visualizes his 3D sculpture on a standard screen: without force feedback, correctly positioning an editing tool with respect to the sculpture is difficult, since it may require changing the viewpoint several times to check the tool’s position....
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WORCESTER ART MUSEUM ANNUAL '-- VOLUME 1
Fortunately, the incorporation of force feedback in a virtual sculpture system does not need to follow the same strict constraints of a physical or surgical simulator. Indeed, there is no strong need for tactile realism in virtual sculpture, since the aim is rather to enhance the artist’s ability to be creative. This freedom allows the use of new techniques, offering a more expressive haptic rendering, similar to the way non-photo-realistic rendering [11] enhances certain aspects of the models being displayed. This paper proposes an effective solution to the incorporation of expressive haptic feed- back in a volumetric sculpting system, together with a simple solution for reducing the instability...
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Ceramic Figure Sculpture
There is always a danger of taking any image or model too literally [5]. Using images in science or philosophy to illustrate states of affair is generally a two-edged sword because it is essential that the audience knows the limits of a picture and uses it with discrimination and intelligence. With that caution, I believe that art, having shed the requirement to visually represent reality accurately, is uniquely capable of instilling an intuition for the deeper aspects of reality that are hidden to the...
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French Sculpture Daumier, Carpeaux, Rodin...
For my graduate research in Anton Zeilinger’s experimental physics group [7] in Vienna I participated in an experiment that successfully demonstrated quantum behavior for the heaviest particles ever, by sending them – as quantum mechanical matter waves – through a double-slit experiment [8]. The particles were C60 buckminsterfullerenes (or buckyballs for short), named after their resemblance to architect Buckminster Fuller’s geodesic domes [9]. Consisting of sixty carbon atoms, buckyballs have the shape of a truncated...
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Circular abstract in walnut 40 cm high
The reason that such a basic shape succeeds as a piece of art is its placement within nature. Despite its considerable size, the buckyball’s visual impact is quite subtle due to the relatively thin 2” (5 cm) tubing and the natural color of the corroding steel. The trees intersecting the buckyball dissolve the mathematical shape, symbolizing quantum physics’ revelation that matter has no clear-cut boundary. On a more...
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Gsa finearts sculpture
The plate paintings continue to examine painting’s objectness and its relationship to the image drawn on it. The plates break up the image but at the same time have a unifying effect on the painting as a whole. They provide a skeleton on which the paint can be applied like flesh. These paintings, such as The Patients and the Doctors, 1978, and Circumnavigating the Sea of Shit, 1979, have a surface which is rough because of the plates and a three dimensional support which is thicker than regular paintings. The paintings have a pronounced plasticity....
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Computer Generation of Ribbed Sculptures
The antler paintings form a small but significant group which was painted directly after the earliest plate paintings. Schnabel was attracted to the antlers because of their thorn and veinlike shape, the beautiful material and the memory of death that hovers around them. These paintings, particularly Exile, 1980, and Prehistory: Glory, Honor, Privilege and Poverty, 1981, use the antlers not to disjoin the surface of the painting as the plates do but to add another distinct element of drawing to the composition. If cubism can be understood as the attempt to capture three-dimensional space on a two-dimensional surface, then Schnabel’s paintings seek to reverse that process....
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Huntington’s Borghese Style Urn as a Study of Two-Dimensional Art & The Production of a Piece of Two-Dimensional Art
Confronted with painting as a predetermined discipline, the artist escapes its dictates by adding physical depth, in the same way that Donald Judd abandoned his early painting in favour of creating works of art which were more tangible and concrete. Judd creates a situation where colour is isolated from its objectness by the reflective and refractive nature of the materials chosen, while Schnabel seeks to harness the physical qualities of the available materials in his work.
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PRESCOTT SCULPTURE THAT MOVE IN THE WIND
The increasing three-dimensionality of Schnabel’s work was shown to the public in an exhibition at the Mary Boone Gallery in 1982 which included paintings with even more clearly defined sculptural elements, for example Rest, 1982. Two other works included in that exhibition, however, represent the first steps into the realm of bronze sculpture: The Mud in Mudanza, 1982, which has a cast bronze cross and cast antlers in its centre, and The Raft, 1982, featuring a bronze tree struck boldly through its surface.2 It is at this stage, with the necessity of casting in bronze, that the sculptures or “objects”, as the artist first referred to them, were...
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Sculpture in the Expanded Field
“The pictoriality of drawing on sculpture is the same as drawing in painting, with one difference. In the paintings pictoriality can create an inside. In sculpture it always remains on the outside”. There are relatively few instances of drawing or writing in Schnabel’s sculpture, such as the triple helix in 2804, 1983, and the letters written on Freud, 1986. Only when a sculpture is recycled, as in the case of Head on a Ramp, 1983-89, which is the same form as CVJ, 1983, does writing and drawing on the surface become a distinguishing characteristic of the work. Schnabel’s use of patina is also important. In many cases the...
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Math, Science, and Technology in Contemporary Sculpture
The “tarp” paintings, made between 1986 and 1988, use tarpaulins for supports that previously covered army trucks. They are stretched and then painted or treated in some way by the artist. The random nature of the patterning caused by the wear to the tarpaulin provides the artist with a point of departure. It avoids the conscious or unconscious decision of where to put the holes, plates or antlers and how to manipulate the shape of the underlying support, because the tarpaulin has already been used. Sometimes Schnabel fixes them behind a car and drags them over asphalt, marking the surface on which he then paints. The rich surface...
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BOOKS ON MODERN AND CONTEMPORARY BRITISH SCULPTURE
At the beginning of the nineties, Schnabel throws tablecloths soaked with paint on canvases and uses resin which covers the painting in a free and unpredictable way to introduce elements of chance into the artistic process. Sometimes the result looks like it was made by body fluid more than by paint. Towards the mid nineties hand painting becomes his preferred method of expression, starting in the La Voz de Antonio Molina, 1992, and Des and Gina, 1994, paintings. After 1991 there are no new sculptures, although casting continues to the present day, and the artist is planning to make more sculptures. It is therefore not surprising to find sculptural...
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Math Challenges in the Minneapolis Sculpture Garden
in the early paintings is articulated in Schnabel’s later writing, which, true to his general approach, is autobiographical. The book C.V.J 5 is not only a Rake’s Progress, but has a verbally articulated sense of purpose it is a collection of on-the-job training notes. Barnett Newman’s famous dictum comes to mind: “An artist paints so that he will have something to look at; at times, he must write so that he will also have something to read”.6 Schnabel is attracted by films. Rest, for instance, is inspired by an image in Ben Hur. The artist will usually only leave home for a trip armed with several video cassettes, including...
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New sculpture dedicated yesterday
Basquiat allows him to retell some of the C.V.J story in colour, with movement, and in pictorial terms impossible to achieve in print. The book provides a structural plan for the film which is then fleshed out with the detail which we see on the screen. We perceive an accumulation of vignettes which explain why the film has a formal physicality, the presence of an object which a simple narrative would not have. The film, like Schnabel called painting, is a bouquet of mistakes. His second film, When Night Falls, which came out in 2001, is the story of a gay Cuban poet who becomes a victim of...
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TEN YEARS OF SCULPTURE AND MONUMENT CONSERVATION ON THE MINNESOTA STATE CAPITOL MALL
The first bronze, Marie, 1982, was made by wrapping plaster soaked burlap around itself to form an elongated, cigar-shaped mass. There are no preparatory sketches or models which are then enlarged. Since scale and spontaneity are of central importance a model can have no place in the creation of the sculptures. “I make things the size the are”. The methodology of the first sculptures is a direct extension of Schnabel’s wish to produce a shape as the result of a process rather than as the rendering of a precise vision in his head....
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SAM OLYMPIC SCULPTURE PARK MAP & GUIDE
There are many iconographic antecedents to Marie’s shape. The cypress trees in Pisa 1976-77, inverted, or the cone casting a shadow in The Patients and the Doctors, 1978, are good examples. A bandaged figure not dissimilar to Marie’s shape and drawn as if blue- print for the method used for creating her can be found in the Madrid Notebooks, l978.7 Apart from simply being a shape of interest to the artist, it has been variously interpreted to represent a mummy, a stone-age artifact, a botanical study, a pine cone, a cocoon, or just a carrot. This basic shape dominates the first set of sculptures. Marie, named after Quasimodo’s favourite...
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From painting to sculpture and back again
The surface texture of the wax paintings and the mummy sculptures is similar. The gauze only becomes visible intermittently, the plaster on top of it having much the same appearance as wax. The various patinating agents, brown, green, red, white and black mix together to form an undulating surface, something like the bark of a tree which invites the onlooker to touch. Marie, Vito and Balzac are the foundation that many of the later sculptures are built on. The subsequent sculptures can be understood as a documentation of the working process, as a revolving creative system in which the foregoing sculptures provide feedback and input for the next. “I...
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FROM PUBLIC FIGURES TO PUBLIC SCULPTURE
The family tree on the foldout pages will show the interconnection of the sculptures diagrammatically. The three mummy pieces from 1982 are linked by the method of their creation. 2804, 1983, is the Vito shape reused, but with a base and painted with a number and a sign. The number is the identifier the cast for Vito was given at the foundry. A horizontal double helix is the sign for infinity. “The triple helix means beyond infinity to me”. Joe, 1983, is the next manifestation of the mummy shape, this time with the addition of foundry ladles that function like arms, making a cross. The sculpture was named after...
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Quantum Sculpture: Art Inspired by the Deeper Nature of Reality
Helen of Troy I and II, 1983, were both made out of the broken parts of Balzae. In the Greek myth, Helen was captured by the Trojans. She was said to be the most beautiful woman who ever lived, and a flotilla of 1,000 ships was launched to save her. Helen of Troy I will presumably be the first sculpture that launches a thousand ships. Helen of Troy II, while still the same shape, is painted partly white and raised on a pyramid type base. It is almost as if in this second version we are allowed to peek under her skirt. Troy finally fell after a horse...
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Non-Realistic Haptic Feedback for Virtual Sculpture
The sense of feeling can effectively be used to enforce virtual artistic activities like virtual sculpting or modeling. In this paper, we describe how a virtual sculpture system has been extended with haptical feedback. In practice, we use the scalar field defining the implicit surface being modeled to efficiently compute several type of force feedback. We present a method for combining these forces differently depending whether the user is just touching his artwork or editing it by adding virtual matter. This technique enforces the in- teractivity of the task and leads to an enhanced non-tactorealistic feedback that increases the usability of the sculpture tool. The well-known problem...
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Intermediate Sand Sculpture
Two major influences underpin Michael Shaw’s work, the first is Minimalist sculpture and the theories of Donald Judd; the second is Piero della Francesca and his: book on the Five Regular Solids (Libellus de Quinque Corporibus Regularibus) which describes innovative interpretations of solid geometry. The influence of minimalist sculpture focuses on Judd’s concept of ‘specific objects’ where, as Judd writes ‘the shape, image, colour and surface are single’. Through his practice as a sculptor Michael has subjected this concept of singularity of form to extensive examination and extension, so that perhaps his work is less ambiguous and therefore more faithful...
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Student Work from the Final Review
The ambiguity in Judd’s sculpture relates to most of his sculptures conforming to box like constructions that rely on the precision of the right angle, the consequence of this is that just as square boxes have four sides, so do his sculptures, and in having four sides they can be said to be made up of parts, no matter how pervasive the quality of the orthogonal and the square are. Further to this, the repetition of squareness without variation can result in a work having little or no aesthetic significance, what is required therefore is the addition of a ‘different’...
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Student Work from the Midterm
There is, for instance, his Untitled of 1964 that also has the colloquial title of ‘Swimming Pool’. This sculpture is of a square configuration resting on the floor. Consistent with its square configuration it has straight sides, but the corners do not intersect at right angles, instead they are round. Inevitably this gives rise to the contrast between straight and round, as in the sides and corners respectively. Meanwhile his wall relief constructions consist of parts, that in their horizontal orientation relate to one another through a positioning often based on the Fibonacci series, some of these later pieces even...
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Instruction Manual for the MoreBeer! BrewSculptures
A method of shape generation using shape grammars which take shape as primi tive and have shape specific rules is presented. A formalism for the complete, generative specification of a class of non-representational, geometric paintings or sculptures is defined, which has shape grammars as its primary structural com ponent. Paintings are material representations of two-dimensional shapes gener ated by shape grammars, sculptures of three-dimensional shapes. Implications for aesthetics and design theory in the visual arts are discussed. Aesthetics is considered in terms of specificational simplicity and visual complexity. In design based on generative specifications, the artist chooses structural and material relationships and then...
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MODERN AND CONTEMPORARY SCULPTURE
If the conservator is inexperienced, uses inappropriate materials, or cuts corners to reduce costs or save time, the damage can be devastating and often irreparable. When the conserva- tor is highly qualified, sensitive to aesthetic and art historical concerns, and knowledgeable about materials and methods, the results can bring new life to the sculpture. To the novice project manager, the highly specialized field of conservation can be confus- ing. But many novices have established successful working relationships with conservators and, in the process, gained confidence in their ability to understand the complexities of conservation....
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Sculpture in the Reduced Field: Robert Morris and Minimalism Beyond Phenomenology
This handbook is written for owners of public sculpture and other community leaders who want to save this valuable heritage for future generations. The key to responsible action is information. When you know what your needs are, seek sound professional advice, and evaluate prospective conservators’ qualifications thoroughly, you are better equipped to make wise and prudent decisions about conservation. Use this handbook to prepare for the selec- tion and contracting process and as a guide to contracting options. Remember that, ulti- mately, the success of a conservation project—and the future well-being of your community’s sculpture—depend on the qualifications and skills of the conservator you choose....
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Sculpture in the Wild-Spring 2008
Clear objectives will help you match the right conservator to your project and help the conservator provide the information and services you need. A brief but thorough education in the issues, language, and methods of outdoor sculpture conservation is also essential. Learn about the materials, fabrication methods, and deteriora- tion mechanisms of various types of outdoor sculpture as well as the ethical and aesthetic issues involved. (A good resource is Guide to the Maintenance of Outdoor Sculpture.) When you are equipped with a basic working vocabulary, you will be able to ask prospective conser- vators thoughtful questions and evaluate their responses. Having an overview of the most commonly...
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SCULPTURE TRAIL Bradford’s A self guided walk around some of Bradford’s sculptures
Conservators have many specializations, from paintings to works of art on paper to photography, and more. Those who specialize in outdoor sculpture also have subspecialties (bronze, stone, wood, and so forth). Begin by locating several people whose skills and experience are comparable and appear to match your needs. Professional qualifications are always the most important criterion. Geographic proximity is helpful but not necessary. A board or committee member from your organization who is a conservator will be a valuable resource throughout the process, and especially as you define needs and identify and evaluate possible conservators. Community adopt-a-sculpture programs are also good sources of advice, as are museums, corporations,...
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