Blog 1 “Torso” (1916) by Constantin Brancusi is an extremely ambiguous sculpture. From first glance, a person may not even guess that it is a representation of a torso until looking at its title. But upon further inspection, the shape of a torso becomes clearer, and invites further examination and questioning. The strong effect “Torso” has on its viewer is due to the fact that Brancusi chose to convey the human figure abstracted. Brancusi simplifies the human figure using three cylindrical pieces of wood. Using this limited amount of material, Brancusi has only included the torso and top of two thighs in his representation—no arms, head, etc. The wood is flawless and polished, a honey color, curved between the “thighs” and cut diagonally at the top. What is Brancusi saying about the human body, and consequently humankind overall by his sculpture? The point of focus of the sculpture is what would represent the groin on a human body. “Torso” is arguably genderless, having neither penis nor breasts—what the pelvic bone is without flesh. The diagonal cut at the top of the torso suggests a chest, or some sort of continuation not shown (to cut it off at a straight line would imply an end). With this very provocative sculpture, is Brancusi suggesting that the fundament of human kind is sex, regardless of gender? He insinuates that the genitals play the dominating role in controlling the human, not the brain, which he seems to subtly acknowledge by the diagonal cut of the wood at its top. Or is this the only part of the body that Brancusi thinks is important enough to represent? On the other hand, the use of material is extremely ambiguous as well. By using wood and not metal, Brancusi suggests that the torso and groin is vulnerable: wood can be burned, chopped, dented, etc. Using the timeless argument of mind vs. sex, intellect vs. primitive action, one could almost argue by that not depicting the head or mind, Brancusi gave the brain domination over sex, suggesting an immortality that could not even be depicted by a piece of wood. In conveying the human body in this way, arousing thoughts of sexuality in such a simple form, one could say that Brancusi lost the beauty of the human figure that hundreds of artists arguably work so hard to communicate. “Torso” only represents a neutral view of the human body, neither really positive nor negative, losing much of the uniqueness of the human body itself, reducing its form in a drastic way. The appeals of the human body are lost (skin, shape, etc.) by using polished wood only with three simplified pieces.
Caitie- A very good job describing and analyzing some of the expressive meaning of the Brancusi. But when you get to making overall comments about the gains and losses of an abstraction and realism you don't go far enough. You don't offer much in the way of an over view of abstraction. You do better with considering what it lacks but these ideas could be further developed...Does loss of uniqueness become dehumanizing? Is there any benefit to 'neutralizing' the figure? etc.
Blog 2 Working with the model to produce an abstracted form of the human body was really helpful, though challenging. Although I have worked with a live model before, I have never experimented with drawing the body abstractly. I found it very difficult to stay away from drawing the body as I saw it, and look at it in a simpler form and drawing shapes or lines instead. Although I definitely need more practice, I think I was able to somewhat achieve and convey the idea of abstractness because of the exercises we were led through. Drawing the body as lines pushed me to think of the “essence” of the human form, not just its outward appearance. Moving on to simple shapes helped me see the fluidity of the body and each part as a whole. Then, having a limit to the number of lines and shapes I could draw really helped me step back and look at what was important to convey about each pose and what the body was expressing. I really enjoyed quickly drawing the body and then cutting out shapes and pasting them onto the drawing. It seemed to me a really interesting way to create abstractness and with each piece pasted on, the drawing and the body conveyed completely changed. But, I still need to work on seeing the body abstractly rather than realistically. I feel that I only touched on the fundamentals of abstract art. Working with the model with the exercises, it became clear that discovering conveying abstractness is much more difficult than it seems.
Blog 2 (cont...) Working with the model today and using wire as well as paper and charcoal, I found making abstract representations of the body as difficult as the first time. It did take me a while to warm up, so by the end of class I think I got the feel of the materials and ideas much more. Once I got into the groove of abstractness and wire and paper, I really found myself starting to tap in to my own style and develop it. I liked using all of the materials and bringing the images off of the page. I am both apprehensive and excited about making the smaller models.
Something that you hint at but don't talk directly about is what I saw to be true of your approach- You did some really nice sketches when you allowed the material/medium you were using to have almost an equal voice in the result (equal with the observed forms of the figure). This was even true when you were just drawing using those really heavy charcoal marks. Were you aware of this?
I think that what I really was aware of was the material and what it could do for me and help me with my goals... especially with the familiar charcoal, and I was working to get more familiar with what the paper and wire could do for me as well.
Blog 3 What I tried to focus on with my three models was to use a different approach for each to find the idea that I liked most. I chose poses that struck me from the life drawing in class, and then I tried to recreate each in a different way. For #1, I used both cardboard and wire pretty much equally throughout the figure, using the cardboard stacked in strips with space in between to create horizontal planes and different angles to try to convey movement and positioning. I used the wire as a spiral for the legs going into a triangle cardboard base, and spirals for embellishments of the figure. As pluses, I like the overall aesthetic appeal of it and I think I tapped into the unique approach of expressing the figure abstractly that I was looking for. Minuses, I need to decide which parts are only decorative and do not serve the function of abstractness, and I need to improve its structural quality. For #2, I used layers of cardboard in angled shapes to represent the figure sitting in a pose with arms raised. I tried to only use wire for structure, the main material being cardboard. As a plus, I think I effectively used simple shapes in the cardboard to abstract the figure in a way conveying strength in the pose, staying away from delicate shapes or designs. Minuses, I did not like the stand I made to sit him upright, and as a style preference I prefer to work with more detail rather than such simplicity, so this sketch did not appeal to me as much, but I wanted to try it anyway. Finally, for #3, I used only wire for the figure and cardboard for shapes representing the negative space the figure created. I made the stand so that the sketch could stand with the figure standing upright, on its side, or up side down; a person would be able to physically move it to see the difference made in the positions, which is something I really liked about this sketch. For the figure, I experimented with using a theme of “X’s” with the wire to create volume on a relatively flat frame. The torso and style did not appeal to me as much as #1, it seemed too conventional and not abstracted enough, but I did like the exaggeration of the limbs. I am choosing #1 to pursue as my final sculpture. For improvement: I need to seriously consider the limbs in this piece. I like the torso, but I want to do something else with the limbs, and I may take inspiration from #3, as I feel limbs could make the piece more powerful. I also need to decide what is decoration and pulls the piece away from abstractness. I am also considering making the sculpture slightly smaller to add more presence to the piece. I also think that a color scheme would improve the piece, I don’t think I want to leave it at the material’s colors; I don’t think it will do anything for it. Finally, I overall need to make it more structurally sound, and make sure that it maintains the straightness and angularity I need it to have to convey its message.
1 Creative Exploration I have found that I am not having to strive for this goal, it is coming naturally. Firstly, I have found this by having to use different materials than I expected, and figuring out how to use them effectively. For example, instead of wire for the center piece, I am using a dowel, so I had to figure out how to assemble/glue the pieces onto that: by drilling the right-sized hole and using different gluing techniques, since it is not instant hot glue. I am also working to make my angles more precise and straight, the points in which my model was lacking.
2 Critical Assessments/ Revisions Along with that I mentioned before, I have found that I needed to change a lot of my model to make my main idea more clear and eliminating what was not helping convey that idea. For example, I took off a lot of the decorative wire, changed from wire to gator for her "legs", and changed the approach to her head. I decided to take off any arms, so now I am left with a much more bare figure. I forced myself to focus on what I thought was working with the model and what was not, based a lot on the critique that I received, so that I can create a better sculpture.
3 Initial Design Process Before I even started the model, I had a vague idea in my head, so I started drawing based on that idea. I think that helped significantly to putting together the model. After the critique of the model, I drew/looked at the old drawings some more, and decided how I was going to alter my model to improve it before I started on the final sculpture. I began "erasing" parts of my model, tearing off what I did not like, and trying out things that I think work better, as stated in detail earlier.
4 Work Habits I am really excited about making this sculpture, so it is not so hard to stay in focus. I have been trying to go to the studio as soon as I have free time, rather than putting it off, so I really have enough time to efficiently accomplish my work. I have even written out a schedule of what I have to do to complete my project in time, since it is due in less than a week. I've planned that I first have to do sanding, then painting, then assembly/gluing, then wire. Dividing this up, it does not seem like such a daunting task. I am very excited to continue on my process.
Excellent entries- I particularly applaud your goal of "making my main idea more clear and eliminating what was not helping convey that idea". That is a really big part of the process- as you design you come to understand what it is you are doing and then you need to make decisions that allows that basic content to not get muddled in things that are irrelevant.
I went into class being really apprehensive about how my sculpture would be recieved. What I am aware of now, and wasn't yesterday, is that I didn't really give myself a day of not looking at my sculpture to be able to go in and look at it objectively, so I need to make sure that I give myself that time in the future. I found the critique to be really helpful and I got a lot of positive feedback which really made me think "Oh, yeah, I guess I did do that well." And I also got some feedback about what could be changed. For strengths, I am really happy about how clean cut my sculpture came out to be. Although it is not perfect, the torso is really my favorite part, I think I conveyed the movement of twisting well, and I am glad that my painting black down the center was effective in further enhancing the twisting. I also prefered the black triangular leg at an angle much more than the wire of my original sketch. For weaknesses, the single use of wire is both a positive and a negative to me. I acutally like that the wire is only in one spot, and that I took the rest off; to me it makes the sculpture strickingly simple. On the other hand, I feel like it could have been effective to use the spiralled wire in one more place, possibly around the dowel as the legs, to make it a more continuous theme of non-angular movement.
Very good work but note how because your sculpture was so successful the group critique maybe didn't give you the level of really rigorous feedback that everyone needs- continue to push your own 'seeing' of the work to put even the things you think are handled well through the assessment "ringer" (that might be the only way to achieve the objectivity we were talking about.)
Blog 6 What I am really interested about in this sculpture is taking a figure and breaking it up with lines that would obstruct a person's view of the figure.
I have a lot to work on to achieve this goal. Firstly, I want the wire to be small, small enough that the figure is the dominant part of the piece and then the wire is noticed afterward. I think I am going to keep the pose of my model but change a few things. I am going to construct her out of wood, and then add volume and curve with sheet metal. This way I can produce a fluid figure and pose that will contrast the linear "box" outside of it. I also think it will become more dominant if I paint the whole figure white.
For the "box", like stated earlier, the wire must be much thinner, and the box will be larger than my small model. This way there will be more space, so the box doesn't seem so cage-like. I also want to work on its design specifically so it does not look like a cage and more just like simple lines. This may involve me taking away the grid, and leaving the more or less random pattern of horizontal and vertical lines. I also think I will make a separate base and do NOT connect the four faces of the "box": space them out, maybe even at different angles, so that the figure no longer looks confined. I am thinking that I will paint the wire black.
I also need to find out how I am going to make the sculpture be eye level without the base dominating the piece. I think I can only do this by experimenting more.
Blog 7 My sculpture can be divided into three parts: the figure, the wall and base, and the pedestal to make it eye level. So, I plan to "attack" it in those parts, but I also need to be very considerate of studio times because each requires studio time.
The final design (plus measurements) was completed on Monday, Oct. 19.
The figure: Blocks measured and cut (completed Oct. 22) Assembly (deadline: Oct. 26) Copper shape formations (as soon as copper sheet metal available) Copper attachment (if needed, learn how to use rivet gun ASAP) Painting (deadline: Oct. 30)
Wall/Base: Wire measured and cut (completed Oct. 19) Wire brazed (start Oct. 26, finish ASAP with studio hours) Wire painted (TBA, but soon after brazing) Wire fit and attached to base (holes drilled ASAP, attachment after brazed and painted) Wood for base cut (completed Oct. 22) Wood waxed and attached (deadline: Oct. 25) Figure attached to base (deadline: as soon as figure is completed)
The box pedestal: Measurements (completed Oct. 24) Wood cut: 5 pieces (ASAP with studio hours, deadline Oct. 30) Assembled and painted/waxed (ASAP)
You seem to be progressing fine with your ambition of creating a 'figure and breaking it up with line'. But this curious goal must have more to it? What does it mean to you to be doing this grid screen? What does this element represent? And conversely, what is the figure? The complex of elements you are engaging will make this sculpture appear as some sort of narrative (ie the story that the figure and its screen tells). I think people will approach it in this way and you need to decide if you will acknowledge this and offer up something of what such a story might mean on another level or not.
Blog 8 India Talk (Lisa) This lecture really inspired me to go to India! The pictures showed were really beautiful, even with all the poverty, it seems like quite the place to travel to, "country of extreme contrast." The temples were also really amazing, to think some were carved out of granite! It makes a person really have respect for those sculptors, it seems so unreal. The Badami cave temples out of sandstone were probably my favorite temple pictures. I also was very fascinated by all of the colors in the clothing and food in the pictures, and the flowers! I also found it really interesting how dedicated the people were to their gods, even putting the idols to sleep, and the Float Festival! I also really liked the sacred elephants.
Faculty Forum The forum provided me with a lot of useful information since I'm thinking of being a studio art minor. The faculty provided a lot of good information about the website, the art SMP, study abroad tours, internships, scholarships and awards (including the student art show that I didn't know about and would really like to enter), and about how to ask for recommendations for grad school. This made the information much more clear.
Blog 9 Strengths: I think this sculpture firsty became much more effective when brought up to a higher height with the pedestal box. This put the sculpture right around eye level, so the figure and the wall were in line with eachother when looked at. Secondly, the wire wall set up parrell with the figure though at a distance was also effective: that way, from the front view, the wire breaks up the figure. From the back, the figure breaks up the wire. From the side, it becomes clear how distanced the wire wall is from the figure. Finally, the two seperate planes of the figure, the bottom half and the upper half, with the top tilted at a different angle created an interesting dynamic with the pose. It almost looks as though the figure is about to dive.
Weaknesses: The figure could have been more effective from the side view. The front/back views are more interesting than the side view, which barely adds dimension to it. Also, the whole sculpture could be more intriquing and interesting from the side.
Overall, I think the message of this sculpture turned out to be really interesting. The theme could be the figure being captured by industrialization, noted by the wire "fence", which is black, compared to the white figure, which has become angled. The copper sheet metal in a sense adds curve to the whole piece, which almost looks like a fire engulfing the figure. Finally, the base has been left waxed to see the wood grain, but is specifically in angular shape, connecting the figure and the wire wall.
I'm not sure if this self-assessment has helped you come to a new level of understanding for this sculpture. It sort of jumps into the middle of a number of assumptions and sees things in the midst of your intentions rather than a fresh and objective re-looking at what the work is.
One of the most interesting aspects of Caitie's piece was her use of the viewing chamber or grid to create an environment for her piece. Her use of the color black for the grid, as well as the pristine braising job, created a very precise and well developed shape. Aside from aesthetics, Not only did the black grid allude to an outside context, but it also allowed the viewer to understand the lines and dimensions of the main parts of the sculpture in a more defined way. However, I wish that the idea had been pushed a bit more, and that the grid had extended even further out on all sides. In this way, the viewer would have been able to truly see the grid envelop the entirety of the sculpture. This would have created an even greater sense of deconstruction. The angular wooden base was also an interesting and thought provoking aspect of the piece. While the cuts of wood and construction of the joint were very purposeful and well-crafted, I felt like more could be done with the color choice and smaller details of the piece. Most importantly, I felt that this part of the sculpture seemed out of place, because it was the only part of the piece that was not painted. This diminished some of the smoother and more polished parts of the piece. Adding even a stripe of color to the middle of the piece would have connected the main sculpture to the viewing grid in a much more solid way. Finally, the main figure of the sculpture was very well done. The shape itself and its joints were very fluid and appeared to be one solid shape. Moreover, the choice of a white coat of paint created a playfulness for the piece that was further expanded upon by the copper ribbons at the bottom. Indeed, the use of minimalist detail drew attention to the right spots of the figure, without appearing too cluttered. In terms of detail, I was also generally impressed by the way in which the construction appeared to be a part of the piece. For example, the rivets that attached the ribbons of copper to the base of the figure appeared almost flush, and were smoothly incorporated into the piece. Furthermore, the joints were all very purposefully constructed, and created a sense of uniformity.
Thank you for the comments, Sarah. I appreciate the ideas for improvement, such as exploring the grid idea and the sculpture base more, and it is also really good for me to see what actually worked with the sculpture, such as the details I did include, like the copper.
The very compelling thing about Kiki Smith's work is her ability to convey a lot of emotion and meaning often through a lone figure and its pose. What adds to these feelings is the material she uses, which is often bronze. This adds weight, especially when the figures body language is downcast or dragging (as opposed to heroic figures in bronze by other artists). For example, in her piece titled "Mary Magdalene," besides the story behind the name, the bronze brings even more gravity to the weight of the pose and the chain and link around her ankle. This would not have had the same effect in another material, such as paper.
This has the same effect when the figure is in opposition to the usually one other material with it. For example, "Daisy Chain" consists of a bronze head, two hands, and two feet, all attached by a steel chain. Because the body parts are solid and out of bronze, they appear to seem extremely heavy, like a ball and chain.
Often this figure is female. In terms of abstraction, sometimes the female figure is abstracted in such a way that the body is reduced in size compared to the head. This creates the effect of looking like a young child, and with the large head, a feeling of intelligence and weight. This is very interesting because it is really just size difference, not very exaggerated, that gives a distinct character to the piece. For example, in "Sleepwalker," the figures small body gives it grace in its pose with its arm extended, but a sort of intelligence more than a child with the large head.
The class critique really helped with pointing out where my sculpture idea could be stronger. The shape and direction of the "limbs" is very important to my piece, which I didn't realize. I have to make sure that the direction of these "limbs" convey the swimming motion I want, especially to emphasize swimming rather than the figure being blown in the wind.
As with the torso/body itself, to improve it I want to make the bend of it stronger (the arc in the back). This way, the torso won't look like it is "just there," and also to emphasize the swimming motion.
Coloring the paper that cover the wire "limbs" also will add more to the piece. My thinking is that I will use a blueish-green color to envoke the feeling of water and calm. Also, shading the colors, darker blue at the base and light/white at the top, will add depth to the piece. I also want to extend the paper past the base, and add more to the torso/body itself.
My plan is to use a wooden armature with a thick wooden base, which will be hidden. I plan to add wood to where the shoulders and waist will be. Then I plan to use chickenwire/mesh to make the shape of the torso. I will attach the wires that make up the "limbs" to this. Then I will use plaster to create the torso shape, then use the paper over the wire.
The final art event that I attended was Joe Lucchesi's Last Lecture, "Art Boys Don't Cry, Reading the Visual." In this interesting lecture, Lucchesi focused on view of the visual as textual, as a constructed piece illustrating a certain thing. He discussed how the artist intentionally sets up the image so that it envokes a certain emotion, or message, or thinking.
To do this, he described the wide range of "from Stendhal to Semiotics": the Stendhal purely emotion response, extreme and overwhelming, to the semiotic study of meaning and how its communicated, its codes or signs. The element of pure visual pleasure often has within it another deeper meaning, such as a political meaning.
He also used specific examples to show how important this is, such as framing photographs or paintings in a certain way. He showed a picture of Pres. Obama taken where he was framed in a doorway with two doors on eithe rside, and compared it with the framing of Jesus in The Last Supper.
Entry # 10 (review of Classmate): thoughtful review of Lindsey’s sculpture
Entry #11 (artist research): Some interesting observations. But you need to dig a bit deeper (I’ve returned the book on her to the library so you can check it out…) and find the work she makes out of paper- quite a lot of it actually.
Entry #12 (model assessment): Does the back appear more arched on your sculpture? (it sort of looks very straight to me). Might this be an instance where a bit of quick modeling with some clay could have helped you visualize this more? Notre how the straightness of the stick that serves as the core of your armature has influenced the form that overlays it – you got to be conscious of this and fight it. I also wonder if you might experiment with coloring the plaster…how will its whiteness work with the color of the paper?
In the beginning I was very apprehensive as to how this class would be. I know I have always enjoyed making objects out of clay and other materials as I child, and also using found objects when I got older, but I had never had any experience with other materials such as wood or plaster.
My parents both being artists, they had always stressed that it is about the process and not the finished product. This idea was really important in this class, and I think it really helped me grow. I feel that even comparing my sculpture 1 to sculpture 2 to sculpture 3, it is apparent that my ideas and stages have gotten a lot clearer. I feel like I have learned more about how to make a sculpture more meaningful, rather than something that just has an aesthetic appeal.
I am still happy with the product of my first sculpture, I think it turned out to be quite an interesting little piece, but I definately do not think it was my strongest piece of work. What I really learned from it was how to work the process of revision, although I think I could have even taken it further than I did, had I time to revise it once again.
For my second sculpture, I think I was not focused enough on one idea. I had an image in mind, but I don't think I effectively used the materials...basically, I think it was the wrong ideas for the wrong materials. But, you definately can see that I started to think more about what the sculpture meant and what I wanted it to say.
Although my third sculpture in still in progress, I have really enjoyed making it thus far. Already I have learned about structural complications with my armature, and I have learned about plaster (and the hours and hours you have to dedicate to it). I think I could get better at surfacing plaster the more I practice. What is left for me is the limbs and paint. I am really excited about the idea behind this sculpture, I think I will be able to capture the idea of swimming as portraying volume.
The beginning life model sessions were really helpful in each of the goals relating to the human figure. But sometimes it seemed to me that some people got a little to far from the original goals to make whatever they wanted. I think it should be stressed that the guidelines are there to challenge you to do something that you have to think about more, such as, "How could I accomplish that goal?"
A good artist is someone who sees each new material as a challenge, and from using new materials gets stronger with their favorite materials. The process of creating ideas and revising them is really important as well, I think that everyone knows that no one can exactly create what they imagine in their head, but that should be something an artist embraces. A good artist should also be able to look around at other peoples' work and be able to see the positive as well as the negative. A good artist should truly enjoy creating.
The goal of this sculpture was to create volume in the figure through the protrayal of a swimming pose.
Strengths: The overall composition came out really well. The painting of the torso and the paint in the paper limbs really blend into one connected piece. The limbs and paper itself really accomplished the task of looking like water while keeping its paper identity. The size of the piece makes it feel as though the torso is swimming up and past you. The solidity of the torso, made of plaster, really balances with the limbs turning into the light paper. The volumes of the torso and the paper limbs created a very separate while still unified volume, and lost the look of the armature (especially with the tape over the wire).
Weaknesses: The torso could have been more dynamic--an arched back, stretching limbs. The limbs still resemble tentacles and probably should have been a little thinner and less bulky. Maybe an addition of a little green would have made the blue less of a block of blue around the torso. Finally, the sculpture wasn't made very efficiently in terms of being able to transport it.
Never knew that efficient transportation was an assessment point (I would have failed). You are seeing your process critically and that is good. But there looms a larger purpose for self- assessment; to take the opportunity to step back and relook at initial assumptions. I hinted at some of the issues that should get your attention like how literal the body form should be (how does the more literal approach you took effect the outcome? How might a more abstract approach changed it? Think about it more like a dialog you'd want to have before you began another one. The purpose of such a review is two fold; it is yet one more step in understanding the effects of your decisions in terms of the resulting work and also an important training moment for your 'eye' (developing a sense of visual form and composition, materiality etc.)
Blog 1
ReplyDelete“Torso” (1916) by Constantin Brancusi is an extremely ambiguous sculpture. From first glance, a person may not even guess that it is a representation of a torso until looking at its title. But upon further inspection, the shape of a torso becomes clearer, and invites further examination and questioning. The strong effect “Torso” has on its viewer is due to the fact that Brancusi chose to convey the human figure abstracted.
Brancusi simplifies the human figure using three cylindrical pieces of wood. Using this limited amount of material, Brancusi has only included the torso and top of two thighs in his representation—no arms, head, etc. The wood is flawless and polished, a honey color, curved between the “thighs” and cut diagonally at the top.
What is Brancusi saying about the human body, and consequently humankind overall by his sculpture? The point of focus of the sculpture is what would represent the groin on a human body. “Torso” is arguably genderless, having neither penis nor breasts—what the pelvic bone is without flesh. The diagonal cut at the top of the torso suggests a chest, or some sort of continuation not shown (to cut it off at a straight line would imply an end).
With this very provocative sculpture, is Brancusi suggesting that the fundament of human kind is sex, regardless of gender? He insinuates that the genitals play the dominating role in controlling the human, not the brain, which he seems to subtly acknowledge by the diagonal cut of the wood at its top. Or is this the only part of the body that Brancusi thinks is important enough to represent?
On the other hand, the use of material is extremely ambiguous as well. By using wood and not metal, Brancusi suggests that the torso and groin is vulnerable: wood can be burned, chopped, dented, etc. Using the timeless argument of mind vs. sex, intellect vs. primitive action, one could almost argue by that not depicting the head or mind, Brancusi gave the brain domination over sex, suggesting an immortality that could not even be depicted by a piece of wood.
In conveying the human body in this way, arousing thoughts of sexuality in such a simple form, one could say that Brancusi lost the beauty of the human figure that hundreds of artists arguably work so hard to communicate. “Torso” only represents a neutral view of the human body, neither really positive nor negative, losing much of the uniqueness of the human body itself, reducing its form in a drastic way. The appeals of the human body are lost (skin, shape, etc.) by using polished wood only with three simplified pieces.
Caitie-
ReplyDeleteA very good job describing and analyzing some of the expressive meaning of the Brancusi. But when you get to making overall comments about the gains and losses of an abstraction and realism you don't go far enough. You don't offer much in the way of an over view of abstraction. You do better with considering what it lacks but these ideas could be further developed...Does loss of uniqueness become dehumanizing? Is there any benefit to 'neutralizing' the figure? etc.
Blog 2
ReplyDeleteWorking with the model to produce an abstracted form of the human body was really helpful, though challenging. Although I have worked with a live model before, I have never experimented with drawing the body abstractly. I found it very difficult to stay away from drawing the body as I saw it, and look at it in a simpler form and drawing shapes or lines instead.
Although I definitely need more practice, I think I was able to somewhat achieve and convey the idea of abstractness because of the exercises we were led through. Drawing the body as lines pushed me to think of the “essence” of the human form, not just its outward appearance. Moving on to simple shapes helped me see the fluidity of the body and each part as a whole. Then, having a limit to the number of lines and shapes I could draw really helped me step back and look at what was important to convey about each pose and what the body was expressing.
I really enjoyed quickly drawing the body and then cutting out shapes and pasting them onto the drawing. It seemed to me a really interesting way to create abstractness and with each piece pasted on, the drawing and the body conveyed completely changed.
But, I still need to work on seeing the body abstractly rather than realistically. I feel that I only touched on the fundamentals of abstract art. Working with the model with the exercises, it became clear that discovering conveying abstractness is much more difficult than it seems.
Blog 2 (cont...)
ReplyDeleteWorking with the model today and using wire as well as paper and charcoal, I found making abstract representations of the body as difficult as the first time. It did take me a while to warm up, so by the end of class I think I got the feel of the materials and ideas much more. Once I got into the groove of abstractness and wire and paper, I really found myself starting to tap in to my own style and develop it. I liked using all of the materials and bringing the images off of the page. I am both apprehensive and excited about making the smaller models.
Something that you hint at but don't talk directly about is what I saw to be true of your approach- You did some really nice sketches when you allowed the material/medium you were using to have almost an equal voice in the result (equal with the observed forms of the figure). This was even true when you were just drawing using those really heavy charcoal marks. Were you aware of this?
ReplyDeleteI think that what I really was aware of was the material and what it could do for me and help me with my goals... especially with the familiar charcoal, and I was working to get more familiar with what the paper and wire could do for me as well.
ReplyDeleteBlog 3
ReplyDeleteWhat I tried to focus on with my three models was to use a different approach for each to find the idea that I liked most. I chose poses that struck me from the life drawing in class, and then I tried to recreate each in a different way.
For #1, I used both cardboard and wire pretty much equally throughout the figure, using the cardboard stacked in strips with space in between to create horizontal planes and different angles to try to convey movement and positioning. I used the wire as a spiral for the legs going into a triangle cardboard base, and spirals for embellishments of the figure. As pluses, I like the overall aesthetic appeal of it and I think I tapped into the unique approach of expressing the figure abstractly that I was looking for. Minuses, I need to decide which parts are only decorative and do not serve the function of abstractness, and I need to improve its structural quality.
For #2, I used layers of cardboard in angled shapes to represent the figure sitting in a pose with arms raised. I tried to only use wire for structure, the main material being cardboard. As a plus, I think I effectively used simple shapes in the cardboard to abstract the figure in a way conveying strength in the pose, staying away from delicate shapes or designs. Minuses, I did not like the stand I made to sit him upright, and as a style preference I prefer to work with more detail rather than such simplicity, so this sketch did not appeal to me as much, but I wanted to try it anyway.
Finally, for #3, I used only wire for the figure and cardboard for shapes representing the negative space the figure created. I made the stand so that the sketch could stand with the figure standing upright, on its side, or up side down; a person would be able to physically move it to see the difference made in the positions, which is something I really liked about this sketch. For the figure, I experimented with using a theme of “X’s” with the wire to create volume on a relatively flat frame. The torso and style did not appeal to me as much as #1, it seemed too conventional and not abstracted enough, but I did like the exaggeration of the limbs.
I am choosing #1 to pursue as my final sculpture. For improvement: I need to seriously consider the limbs in this piece. I like the torso, but I want to do something else with the limbs, and I may take inspiration from #3, as I feel limbs could make the piece more powerful. I also need to decide what is decoration and pulls the piece away from abstractness. I am also considering making the sculpture slightly smaller to add more presence to the piece. I also think that a color scheme would improve the piece, I don’t think I want to leave it at the material’s colors; I don’t think it will do anything for it. Finally, I overall need to make it more structurally sound, and make sure that it maintains the straightness and angularity I need it to have to convey its message.
Pursuing the outlined goals:
ReplyDelete1 Creative Exploration
I have found that I am not having to strive for this goal, it is coming naturally. Firstly, I have found this by having to use different materials than I expected, and figuring out how to use them effectively. For example, instead of wire for the center piece, I am using a dowel, so I had to figure out how to assemble/glue the pieces onto that: by drilling the right-sized hole and using different gluing techniques, since it is not instant hot glue. I am also working to make my angles more precise and straight, the points in which my model was lacking.
2 Critical Assessments/ Revisions
Along with that I mentioned before, I have found that I needed to change a lot of my model to make my main idea more clear and eliminating what was not helping convey that idea. For example, I took off a lot of the decorative wire, changed from wire to gator for her "legs", and changed the approach to her head. I decided to take off any arms, so now I am left with a much more bare figure. I forced myself to focus on what I thought was working with the model and what was not, based a lot on the critique that I received, so that I can create a better sculpture.
3 Initial Design Process
Before I even started the model, I had a vague idea in my head, so I started drawing based on that idea. I think that helped significantly to putting together the model. After the critique of the model, I drew/looked at the old drawings some more, and decided how I was going to alter my model to improve it before I started on the final sculpture. I began "erasing" parts of my model, tearing off what I did not like, and trying out things that I think work better, as stated in detail earlier.
4 Work Habits
I am really excited about making this sculpture, so it is not so hard to stay in focus. I have been trying to go to the studio as soon as I have free time, rather than putting it off, so I really have enough time to efficiently accomplish my work. I have even written out a schedule of what I have to do to complete my project in time, since it is due in less than a week. I've planned that I first have to do sanding, then painting, then assembly/gluing, then wire. Dividing this up, it does not seem like such a daunting task. I am very excited to continue on my process.
Excellent entries- I particularly applaud your goal of "making my main idea more clear and eliminating what was not helping convey that idea". That is a really big part of the process- as you design you come to understand what it is you are doing and then you need to make decisions that allows that basic content to not get muddled in things that are irrelevant.
ReplyDeleteI went into class being really apprehensive about how my sculpture would be recieved. What I am aware of now, and wasn't yesterday, is that I didn't really give myself a day of not looking at my sculpture to be able to go in and look at it objectively, so I need to make sure that I give myself that time in the future.
ReplyDeleteI found the critique to be really helpful and I got a lot of positive feedback which really made me think "Oh, yeah, I guess I did do that well." And I also got some feedback about what could be changed.
For strengths, I am really happy about how clean cut my sculpture came out to be. Although it is not perfect, the torso is really my favorite part, I think I conveyed the movement of twisting well, and I am glad that my painting black down the center was effective in further enhancing the twisting. I also prefered the black triangular leg at an angle much more than the wire of my original sketch.
For weaknesses, the single use of wire is both a positive and a negative to me. I acutally like that the wire is only in one spot, and that I took the rest off; to me it makes the sculpture strickingly simple. On the other hand, I feel like it could have been effective to use the spiralled wire in one more place, possibly around the dowel as the legs, to make it a more continuous theme of non-angular movement.
Very good work but note how because your sculpture was so successful the group critique maybe didn't give you the level of really rigorous feedback that everyone needs- continue to push your own 'seeing' of the work to put even the things you think are handled well through the assessment "ringer" (that might be the only way to achieve the objectivity we were talking about.)
ReplyDeleteBlog 6
ReplyDeleteWhat I am really interested about in this sculpture is taking a figure and breaking it up with lines that would obstruct a person's view of the figure.
I have a lot to work on to achieve this goal. Firstly, I want the wire to be small, small enough that the figure is the dominant part of the piece and then the wire is noticed afterward. I think I am going to keep the pose of my model but change a few things. I am going to construct her out of wood, and then add volume and curve with sheet metal. This way I can produce a fluid figure and pose that will contrast the linear "box" outside of it. I also think it will become more dominant if I paint the whole figure white.
For the "box", like stated earlier, the wire must be much thinner, and the box will be larger than my small model. This way there will be more space, so the box doesn't seem so cage-like. I also want to work on its design specifically so it does not look like a cage and more just like simple lines. This may involve me taking away the grid, and leaving the more or less random pattern of horizontal and vertical lines. I also think I will make a separate base and do NOT connect the four faces of the "box": space them out, maybe even at different angles, so that the figure no longer looks confined. I am thinking that I will paint the wire black.
I also need to find out how I am going to make the sculpture be eye level without the base dominating the piece. I think I can only do this by experimenting more.
Blog 7
ReplyDeleteMy sculpture can be divided into three parts: the figure, the wall and base, and the pedestal to make it eye level. So, I plan to "attack" it in those parts, but I also need to be very considerate of studio times because each requires studio time.
The final design (plus measurements) was completed on Monday, Oct. 19.
The figure:
Blocks measured and cut (completed Oct. 22)
Assembly (deadline: Oct. 26)
Copper shape formations (as soon as copper sheet metal available)
Copper attachment (if needed, learn how to use rivet gun ASAP)
Painting (deadline: Oct. 30)
Wall/Base:
Wire measured and cut (completed Oct. 19)
Wire brazed (start Oct. 26, finish ASAP with studio hours)
Wire painted (TBA, but soon after brazing)
Wire fit and attached to base (holes drilled ASAP, attachment after brazed and painted)
Wood for base cut (completed Oct. 22)
Wood waxed and attached (deadline: Oct. 25)
Figure attached to base (deadline: as soon as figure is completed)
The box pedestal:
Measurements (completed Oct. 24)
Wood cut: 5 pieces (ASAP with studio hours, deadline Oct. 30)
Assembled and painted/waxed (ASAP)
You seem to be progressing fine with your ambition of creating a 'figure and breaking it up with line'. But this curious goal must have more to it? What does it mean to you to be doing this grid screen? What does this element represent? And conversely, what is the figure? The complex of elements you are engaging will make this sculpture appear as some sort of narrative (ie the story that the figure and its screen tells). I think people will approach it in this way and you need to decide if you will acknowledge this and offer up something of what such a story might mean on another level or not.
ReplyDeleteBlog 8
ReplyDeleteIndia Talk (Lisa)
This lecture really inspired me to go to India! The pictures showed were really beautiful, even with all the poverty, it seems like quite the place to travel to, "country of extreme contrast." The temples were also really amazing, to think some were carved out of granite! It makes a person really have respect for those sculptors, it seems so unreal. The Badami cave temples out of sandstone were probably my favorite temple pictures. I also was very fascinated by all of the colors in the clothing and food in the pictures, and the flowers! I also found it really interesting how dedicated the people were to their gods, even putting the idols to sleep, and the Float Festival! I also really liked the sacred elephants.
Faculty Forum
The forum provided me with a lot of useful information since I'm thinking of being a studio art minor. The faculty provided a lot of good information about the website, the art SMP, study abroad tours, internships, scholarships and awards (including the student art show that I didn't know about and would really like to enter), and about how to ask for recommendations for grad school. This made the information much more clear.
Blog 9
ReplyDeleteStrengths:
I think this sculpture firsty became much more effective when brought up to a higher height with the pedestal box. This put the sculpture right around eye level, so the figure and the wall were in line with eachother when looked at.
Secondly, the wire wall set up parrell with the figure though at a distance was also effective: that way, from the front view, the wire breaks up the figure. From the back, the figure breaks up the wire. From the side, it becomes clear how distanced the wire wall is from the figure.
Finally, the two seperate planes of the figure, the bottom half and the upper half, with the top tilted at a different angle created an interesting dynamic with the pose. It almost looks as though the figure is about to dive.
Weaknesses:
The figure could have been more effective from the side view. The front/back views are more interesting than the side view, which barely adds dimension to it.
Also, the whole sculpture could be more intriquing and interesting from the side.
Overall, I think the message of this sculpture turned out to be really interesting. The theme could be the figure being captured by industrialization, noted by the wire "fence", which is black, compared to the white figure, which has become angled. The copper sheet metal in a sense adds curve to the whole piece, which almost looks like a fire engulfing the figure. Finally, the base has been left waxed to see the wood grain, but is specifically in angular shape, connecting the figure and the wire wall.
I'm not sure if this self-assessment has helped you come to a new level of understanding for this sculpture. It sort of jumps into the middle of a number of assumptions and sees things in the midst of your intentions rather than a fresh and objective re-looking at what the work is.
ReplyDeleteOne of the most interesting aspects of Caitie's piece was her use of the viewing chamber or grid to create an environment for her piece. Her use of the color black for the grid, as well as the pristine braising job, created a very precise and well developed shape. Aside from aesthetics, Not only did the black grid allude to an outside context, but it also allowed the viewer to understand the lines and dimensions of the main parts of the sculpture in a more defined way. However, I wish that the idea had been pushed a bit more, and that the grid had extended even further out on all sides. In this way, the viewer would have been able to truly see the grid envelop the entirety of the sculpture. This would have created an even greater sense of deconstruction.
ReplyDeleteThe angular wooden base was also an interesting and thought provoking aspect of the piece. While the cuts of wood and construction of the joint were very purposeful and well-crafted, I felt like more could be done with the color choice and smaller details of the piece. Most importantly, I felt that this part of the sculpture seemed out of place, because it was the only part of the piece that was not painted. This diminished some of the smoother and more polished parts of the piece. Adding even a stripe of color to the middle of the piece would have connected the main sculpture to the viewing grid in a much more solid way.
Finally, the main figure of the sculpture was very well done. The shape itself and its joints were very fluid and appeared to be one solid shape. Moreover, the choice of a white coat of paint created a playfulness for the piece that was further expanded upon by the copper ribbons at the bottom. Indeed, the use of minimalist detail drew attention to the right spots of the figure, without appearing too cluttered.
In terms of detail, I was also generally impressed by the way in which the construction appeared to be a part of the piece. For example, the rivets that attached the ribbons of copper to the base of the figure appeared almost flush, and were smoothly incorporated into the piece. Furthermore, the joints were all very purposefully constructed, and created a sense of uniformity.
Thank you for the comments, Sarah. I appreciate the ideas for improvement, such as exploring the grid idea and the sculpture base more, and it is also really good for me to see what actually worked with the sculpture, such as the details I did include, like the copper.
ReplyDeleteBlog 11
ReplyDeleteThe very compelling thing about Kiki Smith's work is her ability to convey a lot of emotion and meaning often through a lone figure and its pose. What adds to these feelings is the material she uses, which is often bronze. This adds weight, especially when the figures body language is downcast or dragging (as opposed to heroic figures in bronze by other artists). For example, in her piece titled "Mary Magdalene," besides the story behind the name, the bronze brings even more gravity to the weight of the pose and the chain and link around her ankle. This would not have had the same effect in another material, such as paper.
This has the same effect when the figure is in opposition to the usually one other material with it. For example, "Daisy Chain" consists of a bronze head, two hands, and two feet, all attached by a steel chain. Because the body parts are solid and out of bronze, they appear to seem extremely heavy, like a ball and chain.
Often this figure is female. In terms of abstraction, sometimes the female figure is abstracted in such a way that the body is reduced in size compared to the head. This creates the effect of looking like a young child, and with the large head, a feeling of intelligence and weight. This is very interesting because it is really just size difference, not very exaggerated, that gives a distinct character to the piece. For example, in "Sleepwalker," the figures small body gives it grace in its pose with its arm extended, but a sort of intelligence more than a child with the large head.
Blog 12
ReplyDeleteCritique of Sculpture 3
The class critique really helped with pointing out where my sculpture idea could be stronger. The shape and direction of the "limbs" is very important to my piece, which I didn't realize. I have to make sure that the direction of these "limbs" convey the swimming motion I want, especially to emphasize swimming rather than the figure being blown in the wind.
As with the torso/body itself, to improve it I want to make the bend of it stronger (the arc in the back). This way, the torso won't look like it is "just there," and also to emphasize the swimming motion.
Coloring the paper that cover the wire "limbs" also will add more to the piece. My thinking is that I will use a blueish-green color to envoke the feeling of water and calm. Also, shading the colors, darker blue at the base and light/white at the top, will add depth to the piece. I also want to extend the paper past the base, and add more to the torso/body itself.
My plan is to use a wooden armature with a thick wooden base, which will be hidden. I plan to add wood to where the shoulders and waist will be. Then I plan to use chickenwire/mesh to make the shape of the torso. I will attach the wires that make up the "limbs" to this. Then I will use plaster to create the torso shape, then use the paper over the wire.
Blog 13
ReplyDeleteThe final art event that I attended was Joe Lucchesi's Last Lecture, "Art Boys Don't Cry, Reading the Visual." In this interesting lecture, Lucchesi focused on view of the visual as textual, as a constructed piece illustrating a certain thing. He discussed how the artist intentionally sets up the image so that it envokes a certain emotion, or message, or thinking.
To do this, he described the wide range of "from Stendhal to Semiotics": the Stendhal purely emotion response, extreme and overwhelming, to the semiotic study of meaning and how its communicated, its codes or signs. The element of pure visual pleasure often has within it another deeper meaning, such as a political meaning.
He also used specific examples to show how important this is, such as framing photographs or paintings in a certain way. He showed a picture of Pres. Obama taken where he was framed in a doorway with two doors on eithe rside, and compared it with the framing of Jesus in The Last Supper.
Entry # 10 (review of Classmate): thoughtful review of Lindsey’s sculpture
ReplyDeleteEntry #11 (artist research): Some interesting observations. But you need to dig a bit deeper (I’ve returned the book on her to the library so you can check it out…) and find the work she makes out of paper- quite a lot of it actually.
Entry #12 (model assessment): Does the back appear more arched on your sculpture? (it sort of looks very straight to me). Might this be an instance where a bit of quick modeling with some clay could have helped you visualize this more? Notre how the straightness of the stick that serves as the core of your armature has influenced the form that overlays it – you got to be conscious of this and fight it. I also wonder if you might experiment with coloring the plaster…how will its whiteness work with the color of the paper?
Entry #13 (art event): good
Blog 14
ReplyDeleteIn the beginning I was very apprehensive as to how this class would be. I know I have always enjoyed making objects out of clay and other materials as I child, and also using found objects when I got older, but I had never had any experience with other materials such as wood or plaster.
My parents both being artists, they had always stressed that it is about the process and not the finished product. This idea was really important in this class, and I think it really helped me grow. I feel that even comparing my sculpture 1 to sculpture 2 to sculpture 3, it is apparent that my ideas and stages have gotten a lot clearer. I feel like I have learned more about how to make a sculpture more meaningful, rather than something that just has an aesthetic appeal.
I am still happy with the product of my first sculpture, I think it turned out to be quite an interesting little piece, but I definately do not think it was my strongest piece of work. What I really learned from it was how to work the process of revision, although I think I could have even taken it further than I did, had I time to revise it once again.
For my second sculpture, I think I was not focused enough on one idea. I had an image in mind, but I don't think I effectively used the materials...basically, I think it was the wrong ideas for the wrong materials. But, you definately can see that I started to think more about what the sculpture meant and what I wanted it to say.
Although my third sculpture in still in progress, I have really enjoyed making it thus far. Already I have learned about structural complications with my armature, and I have learned about plaster (and the hours and hours you have to dedicate to it). I think I could get better at surfacing plaster the more I practice. What is left for me is the limbs and paint. I am really excited about the idea behind this sculpture, I think I will be able to capture the idea of swimming as portraying volume.
The beginning life model sessions were really helpful in each of the goals relating to the human figure. But sometimes it seemed to me that some people got a little to far from the original goals to make whatever they wanted. I think it should be stressed that the guidelines are there to challenge you to do something that you have to think about more, such as, "How could I accomplish that goal?"
A good artist is someone who sees each new material as a challenge, and from using new materials gets stronger with their favorite materials. The process of creating ideas and revising them is really important as well, I think that everyone knows that no one can exactly create what they imagine in their head, but that should be something an artist embraces. A good artist should also be able to look around at other peoples' work and be able to see the positive as well as the negative. A good artist should truly enjoy creating.
Blog 15
ReplyDeleteThe goal of this sculpture was to create volume in the figure through the protrayal of a swimming pose.
Strengths: The overall composition came out really well. The painting of the torso and the paint in the paper limbs really blend into one connected piece. The limbs and paper itself really accomplished the task of looking like water while keeping its paper identity. The size of the piece makes it feel as though the torso is swimming up and past you. The solidity of the torso, made of plaster, really balances with the limbs turning into the light paper. The volumes of the torso and the paper limbs created a very separate while still unified volume, and lost the look of the armature (especially with the tape over the wire).
Weaknesses: The torso could have been more dynamic--an arched back, stretching limbs. The limbs still resemble tentacles and probably should have been a little thinner and less bulky. Maybe an addition of a little green would have made the blue less of a block of blue around the torso. Finally, the sculpture wasn't made very efficiently in terms of being able to transport it.
Never knew that efficient transportation was an assessment point (I would have failed). You are seeing your process critically and that is good. But there looms a larger purpose for self- assessment; to take the opportunity to step back and relook at initial assumptions. I hinted at some of the issues that should get your attention like how literal the body form should be (how does the more literal approach you took effect the outcome? How might a more abstract approach changed it? Think about it more like a dialog you'd want to have before you began another one. The purpose of such a review is two fold; it is yet one more step in understanding the effects of your decisions in terms of the resulting work and also an important training moment for your 'eye' (developing a sense of visual form and composition, materiality etc.)
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