sculpture scavenger hunt

erik stratmeyer sculpture scavenger hunt sculpture 101 spring 2012 professor robison

Constantin Brancusi The Kiss 1908

Primary/Secondary Contours:

The primary contours in this sculpture are the outline of the form, the arms and the split between the two kissing. The secondary contours are the hair, lips and eyes

Keith Edmier Farah Fawcett 2000

George Segal Depression Bread Line 1991

Traditional Materials:

Isamu Noguchi NightWind 1970

Farah Fawcett was sculpted from white marble, Segal’s Depression Bread Line is cast in bronze and Night Wind is sculpted out of wood.

Bruce Conner Portrait of Allen Ginsberg 1960

Non-Traditional Materials:

This sculpture is comprised of wood, fabric, wax, tin can, glass, feathers, metal, string, and spray paint.

Solid Volume:

Andy Goldsworthy Cone Unknown (2000-2010)

It is clearly evident how this sculpture exhibits solid volume/ mass. You can feel the weight through the computer. Although there are small amount of negative space between the rocks, the sheer volume of rocks far outweighs the amount of negative space.

Negative Space:

Alexander Calder Four Arches 1973

The high arcing arches create massive negative space underneath the mammoth sculpture. The negative space is a major component of this sculpture.

Hans Bellmer La Poupee 1933-1937

Represational Sculpture (Emotional Response): I find this sculpture both beautiful and grotesque at the same time. It creates emotional confusion.

Positive Forms:

Frank Gallo Quiet Nude 1966

The positive forms are the entire body (head, torso, limbs, extremities, breasts), hair, and the rock on which she is perched. Positive forms activate the surrounding space.

Organic Forms:

Anish Kapoor Cloud Break 2006

The form is curvilinear and smooth, reminiscent of forms found in nature. This sculpture reminds me of a bean or an enormous cell.

Geometric Forms:

Jim Lambie Touch Zobop Unknown (2000-2010)

The entire composition is composed of a multitude of repeating geometric forms. There is nothing organic about the shapes found in this work.

Upward Movement:

Robert Stackhouse In the Blue 2008

The radiating linear planes look like they are exploding upward. The directional planes are what give this sculpture the explosive qualities.

Additive:

Franz West The Ego and the Id 2009

There are a multitude of separate aluminum parts that are connected by contact junctions to create the composition.

Subtractive:

Jud Nelson Hefty 2-Ply 1979 - 1981

This was created by carving pieces of marble from a single block of marble.

Modularity:

Tom Friedman Untitled (toothpicks) 1995

The sculpture is comprised of small units (toothpicks) repetitively applied to create the composition.

Robert Morris Untitled (pink felt) 1967

Planes (3-D, minimal thickness): The thin planes cut out of the pink felt create a dense 3-D composition.

Positional Planes:

Donald Judd Untitled 1993

The forms are parallel to the plane of reference. Amazingly, this piece sold for an estimated $2 - $3 million.

Directional Planes:

David Mach Out of Order 1989

The planes that comprise the telephone booths are tilted relative to the plane of reference. They directional planes also imply movement.

Static Form:

Robert Gober Untitled 1992

There is no perception of movement in these sculptures. The impression is that the newspapers have not been moved in quite some time.

Dynamic Form:

Magdalena Abakanowicz Dancing Figures 2000

The implied movement of the “dancers� brings this sculpture to life. The diagonal visual lines created by the arms and legs imply movement.

Closed Form:

Roni Horn Untitled 2002 -2004

This is a solid form that does not allow for any penetrations of mass, planes or lines into the surrounding space.

Open Form:

Joel Shapiro Untitled 2008 - 2009

There is absolutely no hint of closure in the composition. All planes are emanating out in different directions. the forms are penetrating and activating the surrounding space.

Kenneth Snelson Sleeping Dragon 2002 - 2003

Interconnecting Junctions:

There are countless interconnecting junctions where the wire penetrates the ends of each cylindrical form (three interconnecting junctions on each end of the cylindrical forms).

James Surls Painted flowers 2002

Contact Junctions (5+):

There are numerous contact junctions. There are junctions where the wooden petals touch, steel to steel, and the painted steel touches the wood.

Repetition:

Vladimir Tatlin The Monument to the Third International 1919

There is a multitude of repeating horizontal and vertical elements that increase the complexity of this sculpture. With out all those elements it would just be a helix form.

Spatial Tension:

Evan Holloway Closet 2005

The close proximity of the hanging forms creates a very tense clustered/tense composition.

Non-Objective:

George Sugarman Yellow to Blue to White to Black 1967

These objects are a marvel for there formal qualities but in my opinion have no external subject matter.

Anthony Caro Early One Morning 1962

Assymetrical Balance:

The heavier solid forms are closer to the axis than the form in the foreground. This gives the appearance of compositional balance.

Radial Symmetry:

Marcel Duchamp Bicycle Wheel 1973

The symmetry is found in the spokes emanating out of the axle of the bicycle wheel.

Gabriel Orozco Black Kites 1997

Symmetrical Balance:

What better example of symmetry than the human face. Although this sculpture is missing the skin and cartilage, the symmetrical balance we find in the human form is recognizable in this state.

Contrasting Colors:

Sherrie Levine La fortune 1990

The red billiard bar is in contrast with the green felt of the table.

Contrasting Textures:

Man Ray Cadeau 1921

The sharp piercing nails are in contrast to smooth flat iron surface.

Robert Rauschenberg Cardbird 1 1971

Materiality (mimicing):

Although this seems to be a sculpture created from corrugated cardboard, it is actually a lithographic print laminated onto cardboard backing. He created a prototype cardboard construction and photographed it for the process.

Light:

Nancy Holt Sun Tunnels 1973-1976

As the sun goes down/up, these concrete forms frame the view of the sun and evening/morning light.

Kinetic Forms:

Jean Tinguely Meta-mecanique 1954

This is a system of gears and pendulums that create kinetic movement within the sculpture.

Small Scale:

Charles LeDray Milk and Honey 1994-1996

There are 2000 porcelain miniatures in the custom case. Patience is a virtue.

Installation Art:

Ann Hamilton Corpus 2004

Hamilton has completely transformed the space the viewer occupies.

Martin Puryear Ladder for Booker T. Washington 1996

Dramatic Shift in Scale:

As the ladder reaches higher there is a dramatic shift in scale that causes the viewer to think the ladder is larger than it is.

Tara Donovan Untitled 2003

Material Transformation (unrecognizable): It is amazing how she created this organic mass dripping from the ceiling with styrofoam cups and hot glue.

Site Specific:

Ned Smyth & Barbara Neijna Accordant Zones 1994

This sculpture is site specific because it responds to the path on the site. If the sculpture was moved just a foot to the right or left, it would not be the same sculpture.

Naum Gabo Head #2 1916

Abstract (distilled from recognizable source):

This is an amazing example of an abstract head and upper torso. Although the forms and geometric shapes are not found in nature, our minds easily make the connection.

No Pedestal:

Roxy Paine Malestrom 2009

There is no defined base for support of this sculpture. There are numerous points of contact with ground from which the sculpture is supported.

Defying Gravity:

Dennis Oppenheim Device to Root Out Evil 1997

The entire sculpture is resting on the top of the upside down church’s steeple. I am interested in figuring out how that was engineered.

Best in Show:

Do-Ho Suh Karma 2003

I knew instantly this was my favorite. The scale shift between the giant leg and small figures, the subject matter (possibly a statement about the elite stepping on the “little people� ), and I love the use of light to cast a shadow over the fleeing figures.

Worst in Show:

Vito Acconci Face of the Earth #3 1988

I do not find this composition compelling. Event though the intent might be to create a juvenile, light hearted sculpture, I find it bland and uninspiring.

Ed Kienholz The US Bird or Home From the Summit 1960

Political Statement:

This is a political piece referencing Eisenhower’s lame duck presidency and failed foreign policy.

Naum Gabo Linear Construction #4 1962

Changed My Perception:

Before starting this scavenger hunt I had never taken the initiative to explore sculpture. In the past year, new opportunities to explore design have appeared. This sculpture proved how sculpture can inform my study of architecture and design.

Urs Fisher Untitled 2011

Mold Making Process:

This sculpture was cast in wax. This is a process that is beginning to make a resurgence.

Successful Content:

Meret Oppenheim The Couple 1956

Even though the message is an obvious cliche (a relationship is as comfortable as an old shoe), I appreciate the simplicity, and straightforward message this composition expresses. Sometimes it is nice not to look too deep and enjoy.

Anthony Caro Emma Scribble 1977

Successful Formal Qualities:

This sculpture exhibits balance between the forms connected with the linear language found in the center of the sculpture. He creates a massive amount of space compared to mass. Color is applied very carefully to accentuate elements and for balance.