powerpoint 5a

the use of 3D spaceSAYRE CHAPTERS 13 - 15

the third dimension• three dimensional media

– three-dimensional artworks relate to the viewer through the space and time that viewer occupies

– three-dimensional works share space and time with the viewer and thus interact with the viewer much differently than two-dimensional works

– three-dimensional works invite the viewer into the space and gives the viewer choices concerning vantage points

– two-dimensional works force the viewer into the artist’s perspective, whereas three-dimensional works offer a physical presence (its matter, mass and volume) and a temporal dimension (the time it takes for a viewer to walk around it)

• relief, 2d + 3d – relief is a transition between two-dimensions and

three-dimensions – low relief consists of objects and figures which raise

from the flat surface – high relief consists of objects and figures which

project forward from the base chapter 13

the third dimension• sculpture defined

– in-the-round means that the sculpture occupies a space (an environment)

– installations (interior) and earthworks (exterior) are environments which viewers can enter

– contrapposto: dynamically posed; counter-balance

• types of sculpture – subtractive: removing material from

a base – additive: adding material or building

material up chapter 13

methods of sculpting

• carving (-) – chipped, gouged and hammered from a

block of material • modeling (+)

– the manipulation of pliable material by molding, rolling, beating, pulling etc.

• casting (-/+)– a positive model is used to make a negative

mold in which a molten material is poured and is left to harden

• assemblage (+)– process of bringing individual objects

together to form a new whole – found object: using objects made for a

purpose other than making art to create an assemblage

chapter 13

use of the environment

• installation – viewer enters a room or interior space

which is the art (not be confused with containing the art)

• earthworks – similar to an installation, but is an exterior

space and can become incredibly large • performance art

– an unconventional theatrical work in that that narrative is loose (if present at all) and works more or less as a living piece of artwork

– viewed like a sculpture or other artwork and not like a play production, yet has elements of both drama and three-dimensional art

chapter 13

the critical process• thinking about sculpture – the third dimension incorporates the viewer’s space with the

artwork’s space – this changes the viewer to an audience member, meaning the

viewer no longer simply “views” the artwork but experiences it – this is especially true in installation and performance pieces

• Zhang Huan, Berlin Buddha, 2007– being made of only compacted ash, it disintegrated – How does this artwork interact with time? How is time a factor in

viewing and participating in the artwork? – How does action and participation change art?– Why does a piece which will disappear over time change the way

it is experienced? chapter 13

useful artworks• handicrafts

– works made of clay, glass, fiber, metal and wood

– typically, functional objects but in the hands of an artist can be used to create aesthetically beautiful pieces

– also referred to as artisanry, arts & crafts, or the Arts & Crafts Movement

– consists of various practices, including, but not limited to: • assemblage • beadwork • carving, shaping and whittling • furniture making, cabinetry, woodturning and

woodworking • crochet, knitting, needlework and quilting • embossing, engraving and mosaic • pottery, basket-making and metalworking • clothing making, sewing and shoemaking

chapter 14

methods and materials

• ceramics– use of clay which is hardened, fired in a kiln,

and glazed – methods: slab, coiling, score & slip, pinch,

wheel-thrown and hand-building – types: earthenware, stoneware and

porcelain• glass

– formed from liquid, hot silica or sand– methods: glassblowing (free-blowing or

mold-blowing), shaping, stained-glass, and mosaic

– types: black glass, uranium glass, murrine (patterned), muff, rolled, flash, and crown

• wood– tree and plant material – methods: carving, turning, burning, sanding,

finishing and whittling – forms: furniture, sculpture, cabinetry, boat-

making, fetishes, mask-making and luthiery

• fiber– natural and man-made fibers:

• made from vegetable matter, animal silk or hair and wood

• made from carbon, polymer, cellulose and other synthetics

– methods: weaving and embroidery– forms: tapestry, baskets, rumals, rugs, wall-

hangings, collage and clothing • metal

– metals: bronze, copper, brass, silver, gold, platinum, tin and iron

– methods: repoussé, embossing, casting, grinding, welding, soldering and filing

– forms: utensils, weaponry, sculpture, busts, figurines, fetishes and other decorative purposes

• paper working– types: papyrus, cotton-paper, sugar-paper,

papier-mâché and laminar – methods: origami, papier-mâché building,

masking and molding

chapter 14

the critical process• thinking about crafts as fine art – sculptural methods and materials are more active than painting,

drawing or other two-dimensional media – crafts with artistic ends, as opposed to only utilitarian ones, offer

a sculptural experience • Martin Puryear, Ladder for Booker T.

Washington, 1996– How does Puryear challenge the functionality of the art-object,

typically used only for its utilitarian purposes?– How does Puryear create “artificial perspective” in this work? – How does the title of Puryear’s work relate to the subject

matter, the content and the meaning of the handicraft-sculpture?

chapter 14

living & working spaces

• architecture– the history of building structures in relation

to environment and technology available – architecture follows the principles of art

but also has its own set of rules • Marcus Vitruvius Pollio –

Roman architect, engineer & writer– author of the volumes entitled De

Architectura (“On Architecture”)– architecture is a mimicry of natural forms

such as the nests of bees and birds– fundamentals: order, arrangement,

eurhythmy, symmetry, propriety and economy

chapter15

technology & architecture

• structural systems – shell system: walls provide

structural support and the outside covering

– skeleton-and-skin system: basic interior frame supporting the more fragile covering

– tensile strength: the ability of a building material to span horizontal distances without buckling

– load-bearing: walls bear the weight of the roof; gravity creates the pressure which locks the walls, joists and beams into place

chapter15

technology & architecture

• architecture of ancient greece – post-and-lintel: horizontal beam

supported at each end by a vertical post or wall

– drums and fluting: columns made of pieces of stone which are stacked atop one another, and grooves carved the length of the entire column

– acropolis: temple atop an elevated site above the city

– colonnade: row of columns – capitals: the top part of a column which

can be categorized by style: doric, ionic or corinthian

– elevation: vertical design – order: the relationship of the platform,

column and entablature

• architecture of ancient rome– arch: replaces post-and-lintel and allows

for much larger structures – keystone: central stone that keeps an

arch stable by placing opposing pressure on the other stones

– amphitheater: two semicircular theaters are brought to face

– vaults: arches joined as barrel vaults (two arches) or groined vaults (multiple arches)

– dome: a hemisphere; a continuous arch rotated 360˚

– oculus: an opening in the dome which allows light in

– springing: the point where an arch or dome rises from its support

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technology & architecture

• architecture of churches – cruciform plan: cross-shaped consisting of

main hall crossed by a transept (side-wings) and headed by an apse

– apse: semicircular projection at the end – nave: the central aisle – pointed arch: straightened keystone to

form a peak – flying buttresses: a reinforcement of a wall

and an open gap forming the arch– cathedral: religious building of worship that

contains the seat of a bishop– gargoyle: a carved grotesque with a spout

to drain water from the roof– grotesque: a non-waterspout carving used

for ornamentation – ribbed vaults: the intersection of barrel

vaults creates a vault similar to a groin vault

chapter15

technology & architecture

• modern architecture – cast-iron construction: by adding carbon

to iron, cast-iron becomes more rigid and strong

– wood-frame: a true skeleton-and-skin structure made by support beams and trusses (a triangular framework)

– steel and reinforced concrete construction: steel cage connected by floors made of reinforced concrete (steel rebars strengthen the concrete)

– cantilever: a beam supported on one end, allowing for roofs to extend beyond the wall or frame

– skyscraper: towering buildings using steel and reinforced concrete as well as large glass windows; defined by being compared to the local skyline or cityscape; developed in 19th century Chicago

• contemporary architecture – green architecture: smaller buildings

which integrate and are compatible with nature; are energy efficient and use recycled, reusable and sustainable materials

– community: a group of interacting people in a populated environment; community living describes how the structures and dwellings used by these people are organized

– infrastructure: the systems which deliver services to people, such as: water, waste removal, energy, transportation and communication

– illumination: the use of light in architecture; a focus on integrating natural lighting and daylighting into living and working spaces

chapter15

the critical process• thinking about architecture – architecture charts the chronology of technological advancements

from simple post-and-lintel systems to the development of skyscrapers and green architecture

– the need for humans to dwell in suitable habitats has not changed since the beginning of our kind

– because of this many dwellings stay timeless; those ancient solutions are still applicable today

• Moshe Safdie, Canadian Habitat 1967– Compare the Moshe Safdie to the multi-story apartmenet blocks

built in Taos Pueblo, New Mexico, 1000-1450 CE. How are they similar? Why do you think this design is still used today?

– What do these structures say about the humans need to cohabitate and form communities?

– How do these structures use of three-dimensional space?chapter 15