Sunday, March 14, 2010

Totem Poles

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We will soon be starting work on our next project. We will be making totem poles. This will be a group project, and the plan is that when they are finished, our totem poles will be installed outside somewhere on the school grounds (exact location to be determined).

As an introduction to this project, today you will be reading some information about totem poles, and looking at some pictures. At the bottom of this post, you will find your assignment for today.

Sometime in the next few days, you will be receiving more specific information about the actual project that you will be doing. (Note: you will see in the pictures below that actual totem poles are very large, and are carved out of wood. We will not be carving; rather, we will be making a series of relief sculpture totems out of wood, which will then be mounted on poles.)

Here is a definition/explanation about totems and totem poles, found on the Internet:

A totem is a representation of an animal, a plan, or a natural object that serves among certain tribal or traditional peoples as an emblem or as a guardian. Or, the animal, plant or natural object itself.

A totem pole is a traditional form among artists of various Native peoples of the "Northwest Coast" -- British Columbia, Canada, an southern Alaska, USA. Carved from mature cedar trees, full size totem poles were originally an important part of the Potlatch ceremony, a feast with deep meaning to coastal First Nation. Totem poles were once carved and raised to represent a family-clan, its kinship system and stories. A totem pole served, in essence, as the emblem of a family or clan and often as a reminder of its ancestry. It might be raised to honor a deceased elder, or to show the number of names and rights a person had acquired over their lifetime, or to record an encounter with a supernatural being, or to symbolize the generosity of a person who sponsored a Potlatch ceremony. contemporary totem poles are carved for both Natives and non-Natives, and have come to represent the Northwest Pacific Coast Native tradition and pride.

source: http://www.artlex.com/ArtLex/Tf.html


Older/historical totem poles (mid-1800s to early 1900s)












Newer/contemporary totem poles (mid-1900s to early 2000s)




















Student examples (Ours will be somewhat similar to these-- relief sculptures mounted on poles. Note the limited color scheme. We will be making some decisions such as layout/design and color scheme as a class-- this is a collaborative project where everyone will be working together.)



Photo above is from the book From Ordinary to Extraordinary by Ken Vieth

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Your assignment for today:

As we have done previously, you will be posting a "comment" below, in which you will respond to the following:

1. Post two links to pictures of totem poles that you like, and for each picture, explain what it is that you like and why you like it. (3 points for each link/picture; 6 points total)

2. Off the top of your head, what do you think you might chose as your personal totem? Animal, plant, other natural object, or something altogether different? Please explain your choice. This choice does not need to be what you will use for your project-- it can be, or you can give it some more thought once we actually start working on the project. (4 points)


For your research, you can of course use Google etc, but here is a really great website with a ton of links about totem poles.

Monday, February 15, 2010

Sculpture: the abstract human figure

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In our previous project, you were introduced to subtractive sculpture. The faces you have been carving out of plaster are relief sculptures-- they are meant to be viewed from the front only.

For this project, you will be creating another subtractive sculpture out of plaster. However, this time, you will be making a full round sculpture (also known as a free-standing sculpture). Full round sculptures can be viewed from any angle. The subject matter for this sculpture will be an abstract human figure.


Jean Arp
1.

Abstract sculpture: sculptures that may be based on actual objects, but where the objects have been simplified, stylized, distorted, or otherwise altered to the point were they may become difficult or impossible to recognize.

In this blog post, we will be looking at the work of three modern artists that are known for their abstract sculptures of human figures-- Henry Moore, Jean Arp, and Barbara Hepworth. These sculptures were created over several decades in the 1900s.

After you look at the pictures below, there will be a few questions for you to answer-- answer by making a comment down at the bottom of this post.

(Sorry-- I don't have titles for these sculptures-- they are numbered for your convenience so that you may refer to individual pieces in your answers to the questions.)


Henry Moore
1898-1986

British sculptor Henry Moore is probably the most well-known of the three sculptors we will be looking at. Moore worked in stone, wood, and bronze, and plaster.

Note the progression of style in his sculpture, how he moves from figures that are stylized but recognizable to figures that become increasingly abstract.


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4.


Henry Moore making a plaster maquette


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Barbara Hepworth
1903-1975

Also from Great Britain, Hepworth and Moore met in college, and remained friends throughout their lives. Together, they played a major role in defining modernism in sculpture.


Hepworth carving a block of stone


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Jean Arp (a.k.a. Hans Arp)
1886-1966

French/German artist Jean Arp came out of the Surrealist movement in the earlier twentieth century, and was a member of the movement known as Dada. Arp was a sculptor, painter, and poet.


Arp in his studio, surrounded by plaster sculptures


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Questions:

1. What kinds of things did Moore do to simplify the human figure and make it more abstract?

2. Look at the series of sketches by Moore (#4). What is he doing with these sketches? Describe in detail; be specific.

3. Look at the picture of Hepworth carving a block of stone. What exactly is she doing, and how is she doing it?

4. Would you say that Hepworth's gender (female) has anything to do with the appearance of her work? If so, what? If not, why not?

5. Compare and contrast-- How is Arp's and Moore's work similar? How is it different?


Answer these questions by making a "comment" below.

Please give detailed answers-- at least 2 or 3 sentences. Use whole sentences, and think about what you are going to say before you answer.

PUT YOUR NAME AT THE BOTTOM OF YOUR COMMENT

We will be starting this project next week. Before you begin carving your plaster, you will be required to produce a series of sketches (similar to what Moore has done in picture #4). You will then make a clay model of your sculpture-- this will help you to see where you will need to go with carving your plaster.

Friday, January 1, 2010

New Student Work: Sculpture

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Papier Mache


Lindsey Burcar


Lindsey Burcar


Madeline Toro


Assemblage with "found wood"


Kayla Friess


Madeline Toro


Anthony Beverly

New Student Work: Ceramics

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Lindsey Burcar


Alexandra Kosut


Madeline Toro


Lindsey Burcar


Kayla Friess


Kayla Friess


Emma Jeffrey


Celia Eddy


Nina Harvey