DOCSLIB.ORG

Sculpture 1A and Sculpture 1B Enduring Understandings: 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sculpture 1A and Sculpture 1B Enduring Understandings: 1 Sculpture 1A and Sculpture 1B Enduring Understandings: 1. Creative expression allows an artist to express a personal response to inner and external prompts, think “outside the box,” and express our deeper concerns. 2. Exploring visual relationships, aesthetics, and the relationship between form and space helps develop an understanding of the world around us. 3. Individual and collaborative creations that come into manifestation in the classroom setting are a reflection of the Creator delighting in His Creation. They are an integral part of our shared human experience, brining the unseen to light, the unknown into manifestation, and inspiration into form. 4. Artists and designers develop excellence through practice and constructive critique, reflecting on, revising and refining work over time. Essential Questions: 1. Why do people past and present feel compelled to make art? 2. What is the value of understanding and participating in the creative process? (Standard #5 – Connections, Relationships, Applications) 3. What is the role of Fine Arts in past and present cultures? List of Units: Sculpture A • Overview/Introduction • Wire Project • The Human Form in an Environment • Found Objects • Louise Nevelson • Personal Shrine List of Units: Sculpture B • Visual Language and Evaluation • Richard Serra • Alexander Calder • Conceptual Art • Earth Artists • Light Modulation Structure • Human Form 3-D STUDIES/MIXED MEDIA SCULPTURE A (6150) Grade Level 9, 10, 11, 12 Length: 1 semester Type of Course: Elective Prerequisite: None COURSE DESCRIPTION: 3D Studies has been designed as an approach to open up the visual world to the student with a particular emphasis on 3D relationships. Using historical examples of sculptors who have expanded our view of what working with form and space means, students will explore the language of visual relationships by developing their own creative solutions to specific design challenges using a variety of materials: paper, wood, metal, plaster, wire, glass, paint and found objects. ESSENTIAL QUESTIONS 1. Why do people past and present feel compelled to make art? (standard #2-Creative Expression) 2. What is the value of understanding and participating in the creative process? (standard #5- Connections, Relationships, Applications) 3. What is the role of fine arts in past and present cultures? (standard #3- Historical and Cultural Context) ENDURING UNDERSTANDINGS: Students will gain: 1. Openness to exploring visual relationships, aesthetic valuing, exploring the relationship of form/space and a curiosity about the elements that compose the world around them 2. Understanding that the individual and collaborative creations that come into manifestation in the classroom setting is a reflection of the Creator delighting in His Creation 3. Understanding and direct experience of the creative process as a tool to be utilized in problem-solving, thinking “outside the box” and as an expression of our deeper concerns 4. Appreciation of generosity and support in the process of developing ideas, structural solutions, aesthetic choices and final creations- towards oneself and others 5. Understanding that the creation and appreciation of art work is an integral part of our shared human experience…bringing the unseen to light, the unknown into manifestation and inspiration into form ESSENTIAL KNOWLEDGE AND SKILLS: Students will be able to: 1) define and utilize a common visual language using terms of description: form, line, texture, color, light, shadow, balance, rhythm, contrast, etc. 2) identify and develop a working knowledge of composition and good design 3) identify and discuss various sculptural artists and historical styles: Brancusi, Arp, Moore, Nevelson, Calder, Oldenberg, Goldsworthy, Rodin, constructivism, dadaism, surrealism, minimalism, cubism, etc. 4) develop basic skills in perceiving our visual world with special attention to the relationship of “form and space” 5) create original works in a process that progresses from non-objective 3D pieces through various styles of abstraction to the observation and execution of a more representational piece 6) create works by utilizing various sculptural materials: paper, wire, plaster, wood, found objects 7) execute works in various styles and techniques: assemblage, found objects, tableau, minimalism, mobile, armature, environmental, etc. 8) create a semester-long notebook with ten written explanations of a particular sculptural style and artist complimented with the student's sketch of that artist's work. This will be developed during the course of the semester outside of class time. 9) create an original 3D final project using the techniques we have discovered and experienced during the semester. Each student will present this piece to the class with a verbal explanation of artists and styles that influenced the work and discussion of materials choice and their creative process. Attitude and Responsibility in the Studio: 10) identify creativity as a gift to value, nurture and share 11) embrace creative risk-taking, decision making and experimentation as important lessons in flexibility, commitment and to see self-value as an essential part of the creative process 12) be open to positive and constructive critique to expand one's vision and possibilities 13) create an environment where a positive creative experience is possible for all 14) respect the creations of others with enthusiastic support and positive critique 15) be prepared for class work and submission of assignments 16) safe use of tools and materials 17) best practices in materials storage and equipment use Evaluation: 1) studio projects 2) field trip reflection papers 3) museum visits- responses: written and sketches 4) 10 Artist Unit /portfolio with an original cover 5) final 3D piece, or self-guided walking sculpture tour and write-up A self evaluation sheet with room for the teacher's comments will be filled out for all major works, giving the student a sense of process, progress, and areas for improvement or variation. SYLLABUS 3D STUDIES/MIXED MEDIA SCULPTURE A Ms. Katie Wolf e-mail [email protected] v-mail:(415) 731-7500, ext 767 Weeks 1-4: Overview of forms, surveys, and field trips. Discuss and demonstrate with powerpoint and observation of previously created student work, the visual language of line, texture, color, form and discern the basic approaches to image making and how we "see" and assess our visual worlds. Assignments: 1. Vocabulary of form -- definitions with follow up of class discussion 2. SHETCH and WRITE REFLECTION ON 3 SCULPTURES FROM THE CASES. Use visual language and thumbnail sketches. 3. PAPER SCULPTURE #1: Explore and experiment with a monochromatic packet of paper its various natures and discover ways to manipulate it (woven, creased, folded, pierced, crimped, etc.) by creating a tableau piece emphasizing texture, line, form and spatial relationships. 4. Sketch a segment of this first 3D piece; therefore allowing sculpture to guide 2D image as the student improves skills in seeing and sketching. 5. PAPER SCULPTURE #2: Create a second individual paper sculpture using techniques experienced in the first paper assignment. This sculpture #2 must be about 18’ tall and color will be introduced with painted surfaces. 6. In-class critique by students of 3D pieces emphasizing use of correct visual language and positive critical approach. Evaluate piece. 7. Hand in first homework/"artist's unit" -- sketch and written information about one sculptor chosen from the given list. This Artist Unit #1 will comprise the first of 10 Artist Units (5 units completed by mid-term and 10 by semester’s end) that will be included in the Final Portfolio due at semester’s end. Weeks 5-7: Wire Project: Process of working from an existing form - either a form from nature: i.e., leaf, bug, shell or a mechanical form: wrench, compass, and develop a 5 stage approach to exploring the form. Assignments: Choose a form because of its interesting 3D relationships and develop it from 5 different approaches to image making. 1. First Impression: Contour drawings of elevation, plan, section. Familiarize yourself with the object. 2. Second Impression: Using 20 gauge wire and tools, develop a contour image of form with emphasis on contour or outline and its 3D aspect. 3. Third Impression: A more developed expression of the original form concentrating on volume and surface detail using several different gages of wire. 4. Fourth Impression: Using various found objects and materials develop a version of the original form that may go beyond the language of reality. 5. Fifth Impression: Sketch any one of the 3D stages of the form you feel is most engaging. 6. Teacher and student will document the process with a record of the work in digital image. 7. Critique and evaluate Weeks 8-10: The Human Form in an Environment: Expressing an internal reality as presented in the relationship of figure and place. Assignments: 1. Research and print out contextual information and 3 images each on artists that work with the human form; Rodin, Segal, Hanson, Marisol. 2. Develop a series of gesture drawings from a life model 3. Thumbnail sketches of form/place 4. Use newspaper and masking tape to form the human figure. 5. Using plaster strips build up the volume and surface of the form; the possible use of Gesso to smooth out surface quality may be desired. 6. Create the environment for the figure, place them together. 7. Critique and evaluate Weeks 10-11: Found object piece: Explore the concepts and decisions utilized in developing a piece of found object sculpture. We will research and study various historically recognized sculptors working in this area that will be a point of departure for student pieces. Assignments: 1. Read pamphlets on Dada and Surrealist style and discuss approach to shaping space. 2. Assemble objects collected 3. Critique and evaluate Weeks 12-14: Louise Nevelson piece: Collect found objects and develop one unit in the framework of a "box top”; unify various forms by painting one color. All individual units will be displayed together to create one large-scale piece. Assignments: 1.
Load more

Recommended publications
  • Yoruba Art & Culture
    Yoruba Art & Culture Phoebe A. Hearst Museum of Anthropology University of California, Berkeley Yoruba Art and Culture PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen Editors Liberty Marie Winn Ira Jacknis Special thanks to Tokunbo Adeniji Aare, Oduduwa Heritage Organization. COPYRIGHT © 2004 PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY AND THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY ◆ UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY, CA 94720-3712 ◆ 510-642-3682 ◆ HTTP://HEARSTMUSEUM.BERKELEY.EDU Table of Contents Vocabulary....................4 Western Spellings and Pronunciation of Yoruba Words....................5 Africa....................6 Nigeria....................7 Political Structure and Economy....................8 The Yoruba....................9, 10 Yoruba Kingdoms....................11 The Story of How the Yoruba Kingdoms Were Created....................12 The Colonization and Independence of Nigeria....................13 Food, Agriculture and Trade....................14 Sculpture....................15 Pottery....................16 Leather and Beadwork....................17 Blacksmiths and Calabash Carvers....................18 Woodcarving....................19 Textiles....................20 Religious Beliefs....................21, 23 Creation Myth....................22 Ifa Divination....................24, 25 Music and Dance....................26 Gelede Festivals and Egugun Ceremonies....................27 Yoruba Diaspora....................28
    [Show full text]
  • Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
    SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today.
    [Show full text]
  • Outdoor Pottery Sculpture in Ife Art School
    E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 3 ISSN 2281-3993 MCSER Publishing, Rome-Italy November 2015 Outdoor Pottery Sculpture in Ife Art School Moses Akintunde Akintonde1 Toyin Emmanuel Akinde2 Segun Oladapo Abiodun3 Michael Adeyinka Okunade4 1,2,3 Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Nigeria 4Department of Fine Arts, Obafemi Awolowo University, Ile-Ife, Nigeria; [email protected] [email protected], [email protected], [email protected] Doi:10.5901/ajis.2015.v4n3p219 Abstract The rich public outdoor sculpture practice of the Southwest of Nigeria still lacks scientific and empirical experimentation of non- conventional material for the production of outdoor sculpture, particularly pottery images. Although scholarship on public outdoor sculpture in the Southwest of Nigeria is becoming steady in growth, yet a reconnaissance study of the pottery sculpture in art practice and historical perspective has not been made. A study of this type of art, erected in the garden of Ife art school is exigent and paramount now that many of the works are not being maintained. The study underscores the inherent values in the genre of the art; and examined pottery sculpture types, its uses in public sphere and its development in morphology, iconic thematic and stylistic expressions. The study observed that outdoor pottery sculptures are impressive, apparent in sculpture multiplicity of type and dynamics; it is rare in occurrence in Southwestern Nigeria. Keywords: Ife Art School; outdoor sculpture, pottery sculpture; handbuilt pottery; Yoruba pottery. 1. Introduction The praxes of outdoor sculpture in Nigeria, beginning from the first quarter of twentieth century presented different latitudes.
    [Show full text]
  • Examination of the Architecture Interactions and Visual
    Cumhuriyet Üniversitesi Fen Fakültesi Cumhuriyet University Faculty of Science Fen Bilimleri Dergisi (CFD), Cilt:36, No: 3 Ozel Sayı (2015) Science Journal (CSJ), Vol. 36, No: 3 Special Issue (2015) ISSN: 1300-1949 ISSN: 1300-1949 Examination of the architecture interactions and visual arts (painting and sculpture) and their role in the persistence architecture (Case Study: City Theatre and the Museum of Contemporary Art) Mitra ESMAILZADEH1,*, Mahdis BASIRI2 1 MA in Architecture, Islamic Azad University, UAE 2 MA in Architecture, Islamic Azad University, Science and Research Branch, Professor in Islamic Azad University, Roodehen Branch Received: 01.02.2015; Accepted: 06.06.2015 ____________________________________________________________________________________________________ Abstract. Sustainability in architecture includes very extensive and different aspects. Environmental sustainability, the use of natural energies, etc., are factors that have been extensively studied, but what is less studied, is the effects of durability of a work in architecture. Architecture durability means building construction that one of the aesthetic aspects is durable building. Therefore, architecture interactions with painting and sculpture arts and how it will lead to the architecture durability, is examined. Revitalize architecture relationships with other Visual arts can explain the elements, which by benefiting from them we can obtain a model to achieve lasting and sustainable cities and communities. In this article, two lasting works on Iranian architecture, the City Theatre and the Museum of Contemporary Art, have been studied. Method used in this study is an analytical-descriptive method, which its data is collected by using the library method, citing references and documents in books, articles and related sites. Finally, to facilitate the use of research results, tables based on paper's aims (an aesthetic component and an environmental component) have been set.
    [Show full text]
  • Prehistoric Art
    PREHISTORIC ART THE BEGINNING Not until 25,000 years ago did out forebears invent art • The first art objects were created not to adorn the body or decorate the cavern--- But attempt to control or appease natural forces CAVE PAINTING • FIRST PAINTINGS WERE MADE ABOUT 15,000 YEARS • BEFORE THE DISCOVERY IN 1996 THE IMAGES AT LASCAUX, FRANCE WERE THE OLDEST KNOWN PAINTINGS IN EUROPE • PAINTINGS MOST REMOTE RECESSES OF THE CAVE—WHERE THERE WAS NO SUNLIGHT WHY DID THEY PAINT THESE IMAGES? • Maybe : • certain animals are symbolic • others represent mythical spirits • to contact spirits in another world • to track migration patterns • related to ritual occasions HORSE CAVE PAINTING 13,000 B.C. SCULPTURE OLDEST SURVIVING ART OBJECTS ARE SCULPTURES VENUS OF WILLENDORF • 25,000- 20,000 BC • ONE OT THE EARLIEST KNOWN HUMAN FIGURES • VENUS GODDNESS OF LOVE • FERTILITY IMAGE • CARRIED AROUND AS AN AMULET—GOOD LUCK CHARM • ONLY FEATURES SHOWING BELLY, BREASTS AND PUBIC AREA • ONLY 5 INCHES TALL • Paleolithic Period:::OLD STONE AGE • After 4000 years gave way to: • NEOLITHIC OR NEW STONE AGE • New stone tools---learned to farm—domesticate animals (cattle—goats –etc.)help with labor, food, milk and leather • Technology of pottery • Settled communities ---architecture of stone and wood were starting to be built ARCHITECTURE STONE HENGE 2,000 B.C. Certain conditions foster preservation of Art • Durable materials ( stone-metal-fired clay) • Local of environment not destructive to artworks • Stable population- • Putting artworks in places of limited or no
    [Show full text]
  • Welles Sculpture Garden Guide 24
    Guidelines for enjoying the Sculpture Garden We invite you to walk around the Museum’s grounds and experience Visiting the Sculpture Garden with Children works of art complemented by nature. Look for shapes and colors in the sculptures. Identify them Please respect the works of art, the landscaping, and together. Be sure to look at the sculptures from all sides (feel other visitors. free to walk in the grass!). Do not climb, hang, or lean on sculpture or trees. Ask each other what you think the sculptures are made of— wood, metal, stone, or objects the artist found? Is it made of Please do not ride bicycles, skateboards, or other more than one material? recreational vehicles. Do you see a story in the sculpture? Please do not litter. Place all refuse in the receptacles provided. Enjoy swinging on Mark di Suvero’s Blubber together. Alcoholic beverages are not allowed without permission. Look carefully at the trees and plants in the Sculpture Garden. Museum grounds may not be used for parties or programs What shapes, textures, and colors do you see that you can also without permission. find in the sculptures? For your safety and the safety of the art, the garden is monitored What birds, insects, or other animals can you find in the by video cameras and Museum Protective Services. Sculpture Garden? www.toledomuseum.org 419.255.8000 Toledo, Ohio 43620 Ohio Toledo, 2445 Monroe Street Monroe 2445 Georgia and David K. Welles Sculpture Garden Guide 24 23 1 26 2 3 6 4 7 8 9 11 10 14 17 13 18 27 16 15 19 20 21 22 12 5 25 Acknowledgments The Museum is grateful to the donors whose generosity made the Sculpture Garden a reality: Georgia and David K.
    [Show full text]
  • Fibers and Fabrics in Stuffed Sculpture" (1976)
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1976 Fibers and Fabrics in Stuffed cS ulpture Carol Ann Haskell Kessler Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Kessler, Carol Ann Haskell, "Fibers and Fabrics in Stuffed Sculpture" (1976). Masters Theses. 3376. https://thekeep.eiu.edu/theses/3376 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. FIBERS AND FABRICS IN STUFFED SCULPTURE (TITLE) BY CAROL ANN HASKELL KESSLER THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1976 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE. CITED AOOYE- J��f 1, l'fll .j i \ � 2.(• "'1 DATE t'l1� DEPARTMENT HEAD PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings.
    [Show full text]
  • Stone Sculpture Hand Carved Creations in Stone
    Zimbabwe Stone Sculpture HAND CARVED CREATIONS IN STONE • BRIEF BACKGROUND • THE STONE • MEDIA REVIEWS • FEATURED ARTISTS • THE SCULPTURE Gallery Handbook Zimbabwe Stone Sculpture A BRIEF BACKGROUND Born of an artistic environment free from the constraints of formal artistic ACKGROUND rules & boundaries, the Zimbabwe Sculpture Movement has become B known as the most compelling & evocative form of art to emerge from Africa in the 20th century. First appearing in the late 1950s, the art soon captured the attention of the west and has since been featured in many of the world’s finest museums, galleries & private collections. However, the significance of Zimbabwean stone sculpture lies not in the international recognition it has gained, but in its honest and emotional expression of the unique socio-cultural identity of the Zimbabwean community at large. The Zimbabwe Sculpture Movement reads as a testimony of time & place as the artists sculpt a cultural & spiritual induced depiction of the ever- changing Zimbabwean society. As their community changes, new styles emerge to document both the past, the present, and a vision for what’s to come. Zimbabwe Stone Sculpture A BRIEF BACKGROUND CONTINUED - In 1957, Frank McEwen was appointed as the first curator of the new ACKGROUND National Gallery in Salisbury, Rhodesia (now Harare, Zimbabwe). He had B previously been curator at the Musée Rodin, Paris and had links with various artists of the time, including Picasso (who was himself heavily influenced by African art) and Matisse. McEwen was impressed with the talent of some of the artists he met in Zimbabwe, and he encouraged them to paint and later to sculpt.
    [Show full text]
  • Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program
    Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program Section I. Fabergé’s Lapidary Art • Tatiana Muntian. Fabergé and His Flower Studies • Alexander von Solokoff. Rock Crystal Mushrooms by Fabergé • Valentin Skurlov. The Range of Products and Precious Stones in Fabergé’s Stone-Cutting Production (1890-1917) • Galina Korneva and Tatiana Cheboksarova. Stone Carvings in the Collection of the Great Duchess Maria Pavlovna • Pavel Kotlyar. Alexander Palace and the Fabergé Firm • Dmitriy Krivoshei. Stone-cut Objects and Clients of the Fabergé Company in 1909-1916’s (Based on General Ledger) • Svetlana Chestnykh. History of Hardstone Figure of Kamer-Kazak N.N. Pustynnikov Section II. Russian Lapidary Art in the 19th-Early 20th Centuries • Evgeniy Lukianov. Precious and Semi-precious Stones in Works of the Sazikov Firm (1850- 1880’s) • Andreiy Gilodo. Lapidary Art of Soviet Russia in 1920-1930’s • Ludmila Budrina. By Order of Mr. Governor: Ekaterinburg Lapidary Factory Items from 1880- 1890’s Made from Non-Chancery Designs • Natalia Borovkova. Works of the Ekaterinburg Lapidary Factory in 1870-1880's Commissioned by His Imperial Majesty's Own Chancery • Mariya Osipova. Stone Carvings of the Bolin Firm • Aleksandra Pestova. History of West Ural’s Stone Craft (1830-1930’s). Influence of Ekaterinburg Stone Carvers and Fabergé’s Craftsmen Section III. Origin of Russian Jeweler’s Art • Annette Fuhr. The Story of Idar-Oberstein, One of the Most Important Towns in the Gemstone World • Max Rutherston. Netsuke • Olga Alieva. Prototypes of Modern Ural Hardstone Sculpture • Raisa Lobatckaya. Siberian Ethnic Motives in Works of Modern Jewelers • Ekaterina Tarakanova.
    [Show full text]
  • Painting-Sculpture-Workshop.Pdf
    WORKSHOP FINDINGS AND RECOMMENDATIONS PAINTING AND SCULPTURE THEME STUDY WORKSHOP UNITED STATES DEPARTMENT OF THE INTERIOR / NATIONAL PARK SERVICE Cover: Twilight in the Wilderness, a sketch, Frederic E. Church, 1856-65. Courtesy: New York State Office of Parks, Recreation, and Historic Preservation, Olana State Historic Site. Midday Rest in New England, J. Alden Weir, 1897. Courtesy: Pennsylvania Academy of the Fine Arts, Philadelphia. workshop findings and recommendations PAINTING AND SCULPTURE THEME STUDY WORKSHOP JUNE 10-14, 1991 UNITED STATES DEPARTMENT OF THE INTERIOR / NATIONAL PARK SERVICE CONTENTS THE PAINTING AND SCULPTURE THEME STUDY WORKSHOP 1 PART ONE: MAJOR FINDINGS AND RECOMMENDATIONS 3 THE NATIONAL PARK SERVICE'S ROLE IN INTERPRETING THE VISUAL ARTS 5 RECOMMENDATIONS FOR IMMEDIATE ACTIONS 8 PART TWO: FRAMEWORK FOR THE VISUAL ARTS THEME STUDY 11 THEME DEFINITION 13 SUBTHEMES: THE STORY TO BE TOLD 14 DETERMINATIONS OF SITE SIGNIFICANCE 17 KINDS OF SITES 17 CRITERIA OF NATIONAL SIGNIFICANCE 18 EVALUATING THE SIGNIFICANCE OF ARTISTS 19 EVALUATING THE SIGNIFICANCE OF SITES 21 COMPLETING THE FRAMEWORK 26 WORKSHOP PARTICIPANTS 27 in THE PAINTING AND SCULPTURE THEME STUDY WORKSHOP The Painting and Sculpture Theme Study Workshop convened specialists in both painting and sculpture), cultural history, a group of 26 professionals, approximately half from within and American and British history. It included highly respected and half from outside the National Park Service, for two-and- museum directors and managers, curators, educators, historic one-half days to site managers, and city planners, along with NPS policy makers and staff knowledgeable about the national historic define the National Park Service's role in preserving landmarks program and national historic site planning and and interpreting American painting and sculpture management (see the list of participants at the end of this report).
    [Show full text]
  • Jewelry As Sculpture As Jewelry
    JEWELRY AS SCULPTURE AS JEWELRY Martine Newby Haspeslagh didier ltd 66 B Kensington Church St London W8 4BY, UK [email protected] www.didierltd.com INTRODUCTION his catalogue is a celebration of the 40th anniver - Boston together with Phyllis Rosen in the late 1960s. It sary of the ground-breaking exhibition, Jewelry as was through the gallery selling contemporary art that she Sculpture as Jewelry , held at the Institute of Contem - met her husband Roger Sonnabend, a scion of the Sonesta Tporary Art, Boston, from November 28 th to December 21 st , Hotels family, and together they built up the first corporate 1973. This exhibition showcased 131 works by 50 leading hotel art collection comprising over 6,000 works. Roger artists and avant-garde studio jewellers, many of whom and Joan married in 1971 and in the following year she were just at the beginning of their careers. Some of the ex - opened a small gallery “Sculpture to Wear” at the Plaza hibits were unique works while others came from small Hotel in New York. It was through this gallery that she numbered editions or were produced as unnumbered mul - built up a market for artist’s jewellery in the States, while tiples. Didier Ltd is fortunate to be able to present here also championing the work of contemporary studio jew - 113 works by 39 of the same artists/jewellers including ellers like Miye Matsukata [ 54 ] and Robert Lee Morris some of the original exhibits. We are especially pleased to [55-71 ]. Her promotion of Robert Lee Morris was espe - be able to include the unique abacus necklace designed by cially successful and he came to work in the gallery.
    [Show full text]
  • KSAT Art Pages
    David Kimball Anderson “Hydrogen and Nitrogen”, Patinated Steel, 2012 Born in Los Angeles, California, David Kimball Anderson’s career spans over 40 years. He provided the KSAT with his own personal commentary on his piece, “Hydrogen and Nitrogen,” First, in much of my work I repeatedly make reference to the heavens to both establish perspective and to indulge in beauty. A clear night sky is beauty beyond my capacity to absorb. The vastness of deep space relieves me of many minor self-indulgent worries. Hydrogen: You will notice a block of iron beneath the orb. I am fascinated with the composition and forms of matter in deep space. It is somehow all very real while all so very mysterious. I find aesthetic pleasure in the ‘space between’ things. The ‘atmosphere’, for lack of better definition, of deep space may seem void of substance. Yet ‘void’ is quite real. “Hydrogen” represents the visceral of deep space. “Nitrogen” is the basis of alive matter here on our planet. The connectedness of the complexities of deep space and earth is complete without interference. To view the mineral makeup of, say, granite on earth (or fall leaves) and the makeup of a certain gaseous composition within a distant galaxy is direct. We are privileged to live at this intense close range to the ever-moving physical events on Earth. We are an extraordinary planet. …but, of course, aren’t they all!” The pedestals for the two orbs were inspired by a 17th century Italian table and an 18th century French table, prized antiques in the collection of the Chicago Art Institute.
    [Show full text]