erik stratmeyer sculpture scavenger hunt sculpture 101 spring 2012 professor robison
Constantin Brancusi The Kiss 1908
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
Isamu Noguchi NightWind 1970
Farah Fawcett was sculpted from white marble, Segalâ€™s Depression Bread Line is cast in bronze and Night Wind is sculpted out of wood.
Bruce Conner Portrait of Allen Ginsberg 1960
This sculpture is comprised of wood, fabric, wax, tin can, glass, feathers, metal, string, and spray paint.
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.
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.
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.
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.
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.
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.
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.
Jud Nelson Hefty 2-Ply 1979 - 1981
This was created by carving pieces of marble from a single block of marble.
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.
Donald Judd Untitled 1993
The forms are parallel to the plane of reference. Amazingly, this piece sold for an estimated $2 - $3 million.
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.
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.
Magdalena Abakanowicz Dancing Figures 2000
The implied movement of the â€œdancersâ€? brings this sculpture to life. The diagonal visual lines created by the arms and legs imply movement.
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.
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
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.
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.
Evan Holloway Closet 2005
The close proximity of the hanging forms creates a very tense clustered/tense composition.
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
The heavier solid forms are closer to the axis than the form in the foreground. This gives the appearance of compositional balance.
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
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.
Sherrie Levine La fortune 1990
The red billiard bar is in contrast with the green felt of the table.
Man Ray Cadeau 1921
The sharp piercing nails are in contrast to smooth flat iron surface.
Robert Rauschenberg Cardbird 1 1971
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.
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.
Jean Tinguely Meta-mecanique 1954
This is a system of gears and pendulums that create kinetic movement within the sculpture.
Charles LeDray Milk and Honey 1994-1996
There are 2000 porcelain miniatures in the custom case. Patience is a virtue.
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.
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.
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.
Dennis Oppenheim Device to Root Out Evil 1997
The entire sculpture is resting on the top of the upside down churchâ€™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 â€œlittle peopleâ€? ), 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
This is a political piece referencing Eisenhowerâ€™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.
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.