Fred Sandback: Sculpture and Related Work University of Wyoming Art Museum, 2006 Educational Packet developed for grades K-12 Introduction In this museum visit students will view the work of the artist Fred Sandback (1943 – 2003). These seemingly simplistic works of art created from yarn are, in actuality, based on complex ideas rooted in the thinking of the group of artists know as the minimalists. Using an everyday, mundane material, Sandback set out to create art work that was sculptural, site specific and integrated into the architectural space in which it was located. The placement of his geometric forms, his use of repetition, and his consideration of color all contribute to an art form that challenges the way we think about sculpture and space. Today his wife Amy travels to galleries and museums and, using Sandback’s drawings and notes, continues to construct work based upon the shape of an architectural space. This is the work currently on display in the UW Art Museum. History Beginning in the 1960’s, the Minimalists made and exhibited three-dimensional art that explored Fred Sandback, installation view, University of Wyoming Art geometric theories and mathematical systems, such Museum, courtesy of the University of Wyoming Art Museum as proportion, symmetry, and progression. Their artwork was usually constructed from industrial materials like brick, Plexiglas, plywood and steel. They used these machine made and finished materials so that viewers couldn’t see the artist’s hand in the completed work. They did this in reaction to a group of artists from the 1950’s known as Abstract Expressionists whose works were known for incorporating and conveying intense personal emotion and expression. In contrast, the minimalists wanted their art to be devoid of that kind of personal artistic presence. In fact, some of the minimalists conceived and designed their art work, but had the work made by professional carpenters and machinists. Primary proponents of minimalism included Carl Andre (b. 1935), Dan Flavin (1933-1996), Donald Judd (1928-1994), Sol LeWitt (b. 1928) and Robert Morris (b. 1931). An important principle of the minimalist artists was to make the viewer and the space around the work part of their sculpture. They did this by presenting their work unframed or directly on the floor instead of using pedestals. In addition they pared their sculptures down to the most basic elements. This directed the viewer’s attention to relationships outside the sculpture, including the surrounding environment and the viewer’s interaction with time and space. Sandback’s work is clearly related to that of the minimalists; yet the work explored new ground. He first began using yarn and string as an artistic material when he was a student atYale University’s School of Art and Architecture in 1967. This choice of material could be considered humble in contrast to the materials used by other minimalist artists. After all, yarn and string were used everyday in functional ways or as a material for common crafts. Yet Sandback would arrive at galleries and museums with just a few drawings and some yarn, and then calibrate and construct sculptures that literally changed the way the viewer responded to the architectural space and questioned how sculpture has been defined to this point. Artist statement Sandback said: I wanted to make something without an interior, at least in the sense of sculpture that has a conventional interior; I didn’t want a volume enclosed by a surface. Lesson Overview Students will learn about the work of artist Fred Sandback and the minimalists who both inspired him and were his peers. They will explore the construction of his yarn sculptures and wall pieces erected in the art museum, as well as his drawings. They will explore the meaning of installation art and sculpture, and the difference between sculptural (three dimensional) and non-sculptural (two dimensional) work. Students and teachers will consider the concepts behind the art work, and how the pieces are site specific. They will explore the shapes used, and think about and discuss line, mass, volume, repetition and the relationship of these to each other in an architectural space. In the Shelton Studio students will be given the opportunity to complete their own yarn sculptures; to make shapes using a variety of materials and methods; and to explore line and its relationship to mass and volume. Students and teachers may research and engage in conversations about Sandback’s work before arriving at the art museum, using study guides (available on-line) to explore ideas. While here they will spend time in the galleries closely observing the work, discussing it, writing about it and even sketching it. They will begin conversations about the theories behind the work which will lay the groundwork for future opportunities to pursue these ideas in their home classrooms and schools. Essential Questions • Why do we call this work sculpture? • Would you define the art work as a) only the lines of yarn b) the lines of yarn and the space occupied by the shapes which are formed by the lines of yarn c) the lines of yarn, the space occupied by the shapes and the space surrounding the shapes? • Can work that is this minimal or spare illicit emotion from a viewer? • Do you think the artist wants the viewer to have an emotional response to the work? • What can we learn about the architectural space in which the work is placed by observing the art work? • If this exact work was installed somewhere else would it remain the same; would we have the same response to it? Art Questions to Consider • How does Sandback’s work reference the work of other minimalists? • How does it reference geometric and mathematical systems? • What shapes and patterns do you see? • Where do you see them? • Do the patterns remind you of any thing else? What? • Why do you think Sandback uses yarn as his chosen material? • If you were to deconstruct (take apart) this yarn sculpture, how much space would the yarn actually occupy? • How much space does the yarn seem to occupy when it is strung in place in the gallery? • What is your definition of sculpture? • Does this work match your definition or does it make you think about changing your definition of sculpture? • What happens when we introduce a single line into an empty space? Does it change the way we look at that space? Why? • Why does the artist use different colors of yarn? Pre-visit Activities In order to prepare students for their museum visit and extend learning possibilities, we suggest that teachers and students consider the following activities. • Students will read and research about the artists of the Minimalist movement in art magazines, books at the library and on the internet. • Students will research information on the artist Fred Sandback. • Students will explore relationships of pattern and shape in art and other areas (math, poetry, music, science). Museum Activities Part 1 – Time frame: 45 minutes • Students will closely observe the yarn sculptures and drawings of Fred Sandback on exhibit in the art museum. • They will identify shapes and patterns existing in the work. • Students will discuss what they see with museum educators. • They will explore Sandback’s work in relationship to other minimalist artists. • They will explore the concepts of line, volume and mass. • Using worksheets, students will respond in writing or drawing to the work they see by recording their observations and their own thoughts about the work. Student-created yarn sculpture • Students will answer questions on a museum worksheet. • Students will engage in discussions about their observations and their answers and sketches with one another and with the teachers. Part 2 – Time frame: 45 minutes (minimum) The following projects may be considered individually, or combined, or museum staff will work with teachers to develop specific projects which support ongoing classroom work. • Students will explore, through movement, the use of line within an architectural space by creating shapes with yarn. • Students will create a yarn sculpture together as a group in the Shelton Studio, working together to plan the shape and then construct it using the space created by the walls, floor and ceiling of the studio. Students explore movement by creating shapes with yarn. • Students will build their own personal architectural spaces out of foam core and paper, and then design their own sculptures that they can take home with them. • Students will explore shapes, patterns, repetition using a variety of media. Post-visit activities We have found that students achieve maximum benefit from a museum visit when time is scheduled for post-visit activities. Here are some suggestions. • Students discuss or write about their museum experiences, reviewing what they learned, what has special meaning for them, how they will use new information and skills. • Students continue to research the work of artist Fred Sandback and other minimalists (an essay, art work, research paper). • Students create their own yarn sculptures in various architectural spaces to explore the relationship of sculptural form to space. • Students learn and practice string games such as “cat’s cradle” and talk about how these relate to Sandback’s explorations of line and shape. • Students read about and explore other installation art forms. Prerequisite skills/knowledge Museum staff will work with teachers to ensure that all projects are age and skills appropriate. At the very minimum: • Students should have some familiarity with sketching objects. • Students should be able to manipulate materials in a sculptural way (place objects in a 3- dimensional space). • Students should be able to identify some shapes and colors. Suggested use in the curriculum The study of Fred Sandback’s installation, plus the historical knowledge gained from studying the work of the minimalist art movement ties to multiple curricular areas including art, history, writing, reading, and philosophy.