{"id":138,"date":"2015-04-10T20:46:43","date_gmt":"2015-04-10T20:46:43","guid":{"rendered":"https:\/\/courses.candelalearning.com\/masteryart1x6xmaster\/?post_type=chapter&p=138"},"modified":"2018-10-12T20:14:49","modified_gmt":"2018-10-12T20:14:49","slug":"oer-1-24","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/mcc-artappreciation\/chapter\/oer-1-24\/","title":{"raw":"Reading: Methods","rendered":"Reading: Methods"},"content":{"raw":"1. Carving\u00a0<\/em><\/strong>uses the subtractive process to cut away areas from a larger mass, and is the oldest method used for three-dimensional work. Traditionally stone and wood were the most common materials because they were readily available and extremely durable. Contemporary materials include foam, plastics and glass. Using chisels and other sharp tools, artists carve away material until the ultimate form of the work is achieved.\r\n\r\nA beautiful example of the carving process is seen in the\u00a0Water and Moon<\/em>\u00a0Bodhisattva<\/a>\u00a0from tenth-century China. The Bodhisattva, a Buddhist figure who has attained\u00a0enlightenment<\/a>\u00a0but decides to stay on earth to teach others, is exquisitely carved and painted. The figure is almost eight feet high, seated in an elegant pose on a lotus bloom, relaxed, staring straight ahead with a calm, benevolent look. The extended right arm and raised knee create a stable triangular composition. The sculptor carves the left arm to simulate muscle tension inherent when it supports the weight of the body.\r\n\r\nIn another example, you can see the high degree of relief carved from an original cedar wood block in the\u00a0Earthquake Mask<\/em>\u00a0<\/em><\/strong>from the Pacific Northwest Coast Kwakwaka\u2019 wakw culture. It\u2019s extraordinary for masks to personify a natural event. This and other mythic figure masks are used in ritual and ceremony dances. The broad areas of paint give a heightened sense of character to this mask.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"360\"]\"Earthquake Earthquake Mask, 9\u201d x 7\u201d, early twentieth\u00a0century. Kwakwaka\u2019 wakw culture, North American Pacific Coast. Burke Museum, University of Washington, Seattle. Used by permission.[\/caption]\r\n\r\nWood sculptures by contemporary artist\u00a0Ursula von Rydingsvard<\/a>\u00a0are carved, glued and even burned. Many are massive, rough vessel forms that carry the visual evidence of their creation.\r\n\r\nMichelangelo\u2019s masterpiece statue of\u00a0David\u00a0<\/em>from 1501 is carved and sanded to an idealized form that the artist releases from the massive block, a testament to human aesthetic brilliance.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"270\"]\"Michelangelo,\u00a0David,\u00a01501, Michelangelo,\u00a0David,\u00a01501, marble, 17 feet high.\u00a0Galleria dell\u2019Accademia, Florence.\u00a0Image in the public domain[\/caption]\r\n\r\n2. Casting:<\/strong>\u00a0The additive method of casting\u00a0has been in use for more than\u00a0five thousand years. It\u2019s a manufacturing\u00a0process by which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. One traditional method of bronze casting frequently used today is the\u00a0lost wax process<\/a>.\u00a0Casting materials are usually metals but can be various\u00a0cold-setting\u00a0materials that cure\u00a0after mixing two or more components together; examples are\u00a0epoxy<\/a>,\u00a0concrete<\/a>,\u00a0plaster<\/a>,\u00a0and\u00a0clay<\/a>. Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. It\u2019s a labor-intensive process that allows for the creation of multiples from an original object (similar to the medium of printmaking), each of which is extremely durable and exactly like its predecessor. A mold is usually destroyed after the desired number of castings has been made. Traditionally, bronze statues were placed atop pedestals to signify the importance of the figure depicted. A statue of William Seward (below), the U. S. Secretary of State under Abraham Lincoln and who negotiated the purchase of the Alaska territories, is set nearly eight feet high so viewers must look up at him. Standing next to the globe, he holds a roll of plans in his left hand.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"289\"]\"Richard Richard Brooks,\u00a0William Seward,\u00a0bronze on stone pedestal, c. 1909. Image by Christopher Gildow. Used with permission.[\/caption]\r\n\r\nMore contemporary bronze cast sculptures reflect their subjects through different cultural perspectives. The statue of rock guitarist Jimi Hendrix is set on the ground, his figure cast as if performing on stage. He\u2019s on both of his knees, head thrown back, eyes shut and mouth open in mid wail. His bell-bottom pants, frilly shirt unbuttoned halfway, necklace and headband give us a snapshot of 1960s rock culture but also engage us with the subject at our level.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"468\"]\"Daryl Daryl Smith,\u00a0Jimi Hendrix, 1996, bronze. Broadway and Pine, Seattle.\u00a0Image by Christopher Gildow. Used with permission.[\/caption]\r\n\r\nDoris Chase\u00a0was also a strong sculptor. Her large-scale abstract work\u00a0Changing Form\u00a0<\/em>from 1971\u00a0<\/em><\/strong>is cast in bronze and dominates the area around it. The title refers to the visual experience you get walking around the work, seeing the positive and negative shapes dissolve and recombine with each other.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"324\"]\"Doris Doris Chase,\u00a0Changing Form,\u00a01971. Bronze.\u00a0Image by Christopher Gildow. Used with permission.[\/caption]\r\n\r\n3. Modeling\u00a0<\/em><\/strong>is a method that can be both additive and subtractive. The artist uses modeling to build up form with clay, plaster or other soft material that can be pushed, pulled, pinched or poured into place. The material then hardens into the finished work. Larger sculptures created with this method make use of an\u00a0armature<\/strong>, an underlying structure of wire that sets the physical shape of the work. Although modeling is primarily an additive process, artists do remove material in the process. Modeling a form is often a preliminary step in the casting method. In 2010, Swiss artist Alberto Giacometti\u2019s\u00a0Walking Man<\/a>\u00a0(c. 1955), a bronze sculpture first modeled in clay, set a\u00a0record<\/a>\u00a0for the highest price ever paid for a work of art at auction.\r\n\r\n4. Construction, or Assemblage<\/strong>, uses found, manufactured or altered objects to build form. Artists weld, glue, bolt and wire individual pieces together. Sculptor Debra Butterfield transforms throw away objects into abstract sculptures of\u00a0horses<\/a>\u00a0with scrap metal, wood and other found objects. She often casts these constructions in bronze.\r\n\r\nLouise Nevelson<\/a>\u00a0used cut and shaped pieces of wood, gluing and nailing them together to form fantastic, complex compositions. Painted in a single tone, (usually black or white), her sculptures are graphic, textural fa\u00e7ades of shapes, patterns, and shadow.\r\n\r\nTraditional African masks often combine different materials. The elaborate\u00a0Kanaga Mask<\/a>\u00a0from Mali uses wood, fibers, animal hide and pigment to construct an other worldly visage that changes from human to animal and back again.\r\n\r\nSome modern and contemporary sculptures incorporate movement, light and sound.\u00a0Kinetic<\/strong>\u00a0sculptures use ambient air currents or motors allowing them to move, changing in form as the viewer stands in place. The artist Alexander Calder is famous for his\u00a0mobiles<\/a>, whimsical, abstract\u00a0<\/em><\/strong>works that are intricately balanced to move at the slightest wisp of air, while the sculptures of Jean Tinguely are contraption-like and, similar to Nevelson\u2019s and Butterfield\u2019s works, constructed of scraps often found in garbage dumps. His\u00a0motorized<\/a>\u00a0works exhibit a mechanical aesthetic as they whir, rock and generate noises. Tinguely\u2019s most famous work,\u00a0\u00a0Homage to New York<\/em><\/a>, ran in the sculpture garden at New York\u2019s Museum of Modern Art in 1960 as part of a performance by the artist. After several minutes, the work\u00a0exploded\u00a0and caught fire.\r\n\r\nThe idea of generating sound as part of three-dimensional works has been utilized for hundreds of years, traditionally in musical instruments that carry a\u00a0spiritual\u00a0reference. Contemporary artists use sound to heighten the effect of sculpture or to direct recorded narratives. The cast bronze fountain by George Tsutakawa (below) uses water flow to produce a soft rushing sound. In this instance the sculpture also attracts the viewer by the motion of the water: a clear, fluid addition to an otherwise hard abstract surface.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"362\"]\"George George Tsutakawa,\u00a0Fountain. Bronze, running water.\u00a0City of Seattle.\u00a0Image by Christopher Gildow. Used with permission.[\/caption]\r\n\r\nDoug Hollis\u2019s\u00a0A Sound Garden<\/a>\u00a0from 1982 creates sounds from hollow metal tubes atop gridlike structures rising above the ground. In weathervane fashion, the tubes swing into the wind and resonate to specific pitch. The sound extends the aesthetic value of the work to include the sense of hearing and, together with the metal construction, creates a mechanical and psychological basis for the work.\r\n\r\n ","rendered":"

1. Carving\u00a0<\/em><\/strong>uses the subtractive process to cut away areas from a larger mass, and is the oldest method used for three-dimensional work. Traditionally stone and wood were the most common materials because they were readily available and extremely durable. Contemporary materials include foam, plastics and glass. Using chisels and other sharp tools, artists carve away material until the ultimate form of the work is achieved.<\/p>\n

A beautiful example of the carving process is seen in the\u00a0Water and Moon<\/em>\u00a0Bodhisattva<\/a>\u00a0from tenth-century China. The Bodhisattva, a Buddhist figure who has attained\u00a0enlightenment<\/a>\u00a0but decides to stay on earth to teach others, is exquisitely carved and painted. The figure is almost eight feet high, seated in an elegant pose on a lotus bloom, relaxed, staring straight ahead with a calm, benevolent look. The extended right arm and raised knee create a stable triangular composition. The sculptor carves the left arm to simulate muscle tension inherent when it supports the weight of the body.<\/p>\n

In another example, you can see the high degree of relief carved from an original cedar wood block in the\u00a0Earthquake Mask<\/em>\u00a0<\/em><\/strong>from the Pacific Northwest Coast Kwakwaka\u2019 wakw culture. It\u2019s extraordinary for masks to personify a natural event. This and other mythic figure masks are used in ritual and ceremony dances. The broad areas of paint give a heightened sense of character to this mask.<\/p>\n

\"Earthquake<\/p>\n

Earthquake Mask, 9\u201d x 7\u201d, early twentieth\u00a0century. Kwakwaka\u2019 wakw culture, North American Pacific Coast. Burke Museum, University of Washington, Seattle. Used by permission.<\/p>\n<\/div>\n

Wood sculptures by contemporary artist\u00a0Ursula von Rydingsvard<\/a>\u00a0are carved, glued and even burned. Many are massive, rough vessel forms that carry the visual evidence of their creation.<\/p>\n

Michelangelo\u2019s masterpiece statue of\u00a0David\u00a0<\/em>from 1501 is carved and sanded to an idealized form that the artist releases from the massive block, a testament to human aesthetic brilliance.<\/p>\n

\"Michelangelo,\u00a0David,\u00a01501,<\/p>\n

Michelangelo,\u00a0David,\u00a01501, marble, 17 feet high.\u00a0Galleria dell\u2019Accademia, Florence.\u00a0Image in the public domain<\/p>\n<\/div>\n

2. Casting:<\/strong>\u00a0The additive method of casting\u00a0has been in use for more than\u00a0five thousand years. It\u2019s a manufacturing\u00a0process by which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. One traditional method of bronze casting frequently used today is the\u00a0lost wax process<\/a>.\u00a0Casting materials are usually metals but can be various\u00a0cold-setting\u00a0materials that cure\u00a0after mixing two or more components together; examples are\u00a0epoxy<\/a>,\u00a0concrete<\/a>,\u00a0plaster<\/a>,\u00a0and\u00a0clay<\/a>. Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. It\u2019s a labor-intensive process that allows for the creation of multiples from an original object (similar to the medium of printmaking), each of which is extremely durable and exactly like its predecessor. A mold is usually destroyed after the desired number of castings has been made. Traditionally, bronze statues were placed atop pedestals to signify the importance of the figure depicted. A statue of William Seward (below), the U. S. Secretary of State under Abraham Lincoln and who negotiated the purchase of the Alaska territories, is set nearly eight feet high so viewers must look up at him. Standing next to the globe, he holds a roll of plans in his left hand.<\/p>\n

\"Richard<\/p>\n

Richard Brooks,\u00a0William Seward,\u00a0bronze on stone pedestal, c. 1909. Image by Christopher Gildow. Used with permission.<\/p>\n<\/div>\n

More contemporary bronze cast sculptures reflect their subjects through different cultural perspectives. The statue of rock guitarist Jimi Hendrix is set on the ground, his figure cast as if performing on stage. He\u2019s on both of his knees, head thrown back, eyes shut and mouth open in mid wail. His bell-bottom pants, frilly shirt unbuttoned halfway, necklace and headband give us a snapshot of 1960s rock culture but also engage us with the subject at our level.<\/p>\n

\"Daryl<\/p>\n

Daryl Smith,\u00a0Jimi Hendrix, 1996, bronze. Broadway and Pine, Seattle.\u00a0Image by Christopher Gildow. Used with permission.<\/p>\n<\/div>\n

Doris Chase\u00a0was also a strong sculptor. Her large-scale abstract work\u00a0Changing Form\u00a0<\/em>from 1971\u00a0<\/em><\/strong>is cast in bronze and dominates the area around it. The title refers to the visual experience you get walking around the work, seeing the positive and negative shapes dissolve and recombine with each other.<\/p>\n

\"Doris<\/p>\n

Doris Chase,\u00a0Changing Form,\u00a01971. Bronze.\u00a0Image by Christopher Gildow. Used with permission.<\/p>\n<\/div>\n

3. Modeling\u00a0<\/em><\/strong>is a method that can be both additive and subtractive. The artist uses modeling to build up form with clay, plaster or other soft material that can be pushed, pulled, pinched or poured into place. The material then hardens into the finished work. Larger sculptures created with this method make use of an\u00a0armature<\/strong>, an underlying structure of wire that sets the physical shape of the work. Although modeling is primarily an additive process, artists do remove material in the process. Modeling a form is often a preliminary step in the casting method. In 2010, Swiss artist Alberto Giacometti\u2019s\u00a0Walking Man<\/a>\u00a0(c. 1955), a bronze sculpture first modeled in clay, set a\u00a0record<\/a>\u00a0for the highest price ever paid for a work of art at auction.<\/p>\n

4. Construction, or Assemblage<\/strong>, uses found, manufactured or altered objects to build form. Artists weld, glue, bolt and wire individual pieces together. Sculptor Debra Butterfield transforms throw away objects into abstract sculptures of\u00a0horses<\/a>\u00a0with scrap metal, wood and other found objects. She often casts these constructions in bronze.<\/p>\n

Louise Nevelson<\/a>\u00a0used cut and shaped pieces of wood, gluing and nailing them together to form fantastic, complex compositions. Painted in a single tone, (usually black or white), her sculptures are graphic, textural fa\u00e7ades of shapes, patterns, and shadow.<\/p>\n

Traditional African masks often combine different materials. The elaborate\u00a0Kanaga Mask<\/a>\u00a0from Mali uses wood, fibers, animal hide and pigment to construct an other worldly visage that changes from human to animal and back again.<\/p>\n

Some modern and contemporary sculptures incorporate movement, light and sound.\u00a0Kinetic<\/strong>\u00a0sculptures use ambient air currents or motors allowing them to move, changing in form as the viewer stands in place. The artist Alexander Calder is famous for his\u00a0mobiles<\/a>, whimsical, abstract\u00a0<\/em><\/strong>works that are intricately balanced to move at the slightest wisp of air, while the sculptures of Jean Tinguely are contraption-like and, similar to Nevelson\u2019s and Butterfield\u2019s works, constructed of scraps often found in garbage dumps. His\u00a0motorized<\/a>\u00a0works exhibit a mechanical aesthetic as they whir, rock and generate noises. Tinguely\u2019s most famous work,\u00a0\u00a0Homage to New York<\/em><\/a>, ran in the sculpture garden at New York\u2019s Museum of Modern Art in 1960 as part of a performance by the artist. After several minutes, the work\u00a0exploded\u00a0and caught fire.<\/p>\n

The idea of generating sound as part of three-dimensional works has been utilized for hundreds of years, traditionally in musical instruments that carry a\u00a0spiritual\u00a0reference. Contemporary artists use sound to heighten the effect of sculpture or to direct recorded narratives. The cast bronze fountain by George Tsutakawa (below) uses water flow to produce a soft rushing sound. In this instance the sculpture also attracts the viewer by the motion of the water: a clear, fluid addition to an otherwise hard abstract surface.<\/p>\n

\"George<\/p>\n

George Tsutakawa,\u00a0Fountain. Bronze, running water.\u00a0City of Seattle.\u00a0Image by Christopher Gildow. Used with permission.<\/p>\n<\/div>\n

Doug Hollis\u2019s\u00a0A Sound Garden<\/a>\u00a0from 1982 creates sounds from hollow metal tubes atop gridlike structures rising above the ground. In weathervane fashion, the tubes swing into the wind and resonate to specific pitch. The sound extends the aesthetic value of the work to include the sense of hearing and, together with the metal construction, creates a mechanical and psychological basis for the work.<\/p>\n

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Candela Citations<\/h3>\n\t\t\t\t\t
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