ART 113 Three Dimensional Studies

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ART 113 Three Dimensional Studies

Winter Quarter 2011 MW: 1:10
-

4:00 Seigfried Hall 407


Matthew Ziff,
Associate Professor, Interior Architecture Chair, M. Arch, Architect,
NIDD

School of Art

College of Fine Arts

Office: Grover Center W361

Office
Phone: 740. 593. 2869

Email: ziff@ohio.edu

Office hours: M, W: 11
-

12, T, TH: 11
-

3


31 January 2011


Notes for
"Shaping Space" Chapter 1


To really see something, to 'appreciate' it, takes time, and mental
focus.


Experiencing art, especially three d
imensional art, is a "highly
personal" act, but the experience is greatly enriched if you know
something about what you are experiencing.


"Knowledge is power"


Art is a human construction, not a natural construction.
Therefore, to understand it, we need

to understand the human
context in which the 'art' is created.


How do photographs 'distort' our three dimensional experience?


loss of color


loss of 'feel' of texture, weight, and balance


a photo controls how we see, and experience a three
-
d work


a p
hoto allows only one vantage point


photographs 'flatten out' the three
-
d that they depict


the true scale of a piece can be

hidden, or altered, by a
photo




Three
-
d art "compels us to walk all the way around it,
examining it from many angles."


Videos
and computer simulation present a fuller set of views of
three
-
d works, but are nevetheless, still not the same as the
actual three
-
d piece in front of us.


Virtual reality, on the other hand, gets very close to fully
simulating a three
-
d experience.


Pho
tographs of a work of art often become their own 'work of art'
presenting what they show in such a captivating way that the
original work is not really the art any more.


Bas relief is a muted three
-
d experience.

High relief is more three
-
d, but still not

fully three
-
d.


Three
-
d works that have a main, or sole, 'front' face (Lousie
Nevelson sculptures)are still more three dimensional, but not
fully so.


Full three
-
d pieces allow 360 degree experiences, but a 'walk
-
through', a piece that you actually get i
nto, provides an even
more intense experience than merely 'looking'.

To have this
experience, the piece must, obvisously, be large enough to get into.


Three
-
d art involves the viewer more intensely than two
-
d art.

"One of the tasks facing you as an art
ist, therefore, is to draw
attention to your creations, to invite people to notice and to
respond to them."


Three
-
d art can have a tactile appeal. Actually touching
materials and forms enriches experience.


Art can be 'representational', meaning that it

replicates forms, or
subjects, that we recognize.


Art can be 'abstract', meaning that it does not represent any
recognizeable 'real' entity.


Art can be stylized, or abstracted, meaning that it alters a
recognizeable reality; a mouse fur lined tea cup,
for example.


Art can have specific content, such as a political message.



Notes for
"Shaping Space" Chapter 2

"Working In The Round"


This chapter is a look at some of the practical considerations that
determine whether a piece works well.


"All art begins as an idea in the mind of the artist and is
developed through a dialogue with the medium."


"Each idea demands certain specific practical considerations and
specific skills."


Gravity affects all 3
-
d work; deal with it, and perhaps use it
to
enhance an aspect of your work.


The setting where a 3
-
d work is shown influences how it can be
viewed, and what it 'feels' like. Think about how your own work
is affected by placing it on a table, on the floor, on a pedestal, on
the roof of your car.



Lighitng influences what a 3
-
d piece will look like. Is it shown
in sunlight,
fluorescent light, strobe light?


"In choosing and working with materials, artists range between
two extremes: crafting the material to look like something else, or
presenti
ng the material in such a way that its own nature is
emphasized."


Drawings are an effective way to plan, or study, what you will
make using three dimensional materials. Sometimes
lots of
drawings are required before you feel ready to launch into the
phy
sical making of a piece.


On the other hand, sometimes the materials themselves demand
physical exploration; 'mess around' with the materials and
discoveries will be made.


The Bauhaus, the design school that opened in 1919
, promoted
the idea that artist
s and craftsmen were doing the same things,
and that form and function were seen as a single entity, an
organic whole.


Materials cost money. How do you decide what the limit of your
monetary output for a piece should be?


Who is the audience for your
piece? A family member, the
general public, a specific exhibition?




Notes for
"Shaping Space" Chapter 3 "Organizing Principles of
Design"


An artist's 'intentions' can be easy to understand, can be difficult
to figure out, can be impossible to figure out, can be unknowable,
may not exist.


Can art be made totally without any intentions?


Perhaps, but most art, made by artists, does have s
ome idea, some
driving thought, some intention behind it.


A great deal of Western art has political purposes, and is
motivated by political events and ideas.


Some art is a purely visual exploration; the interaction of color,
by josef albers, for exampl
e. Some art is supposed to stir emotions
and call people to action; Picasso's 'Guernica' for example.


'Unity' is often something that an artist wants to achieve in a
piece. To unify a piece is to make its parts appear as one
coherent whole.


Traditio
nally called 'principles of design', characteristics such as
repetition, variety, rhythm, balance, emphasis, economy,
proportion, are all ways of producing unity in a work.


To employ these 'principles', artists use the working tools of the
visual world; f
orm, space, line, texture, light, color, and time.


In the world of architecture and interior design, it is sometimes
said that 'design' can be seen as 'Sameness tempered with
difference.'


This means that there needs to be enough that is the same, to
hol
d a space together as a coherent experience, but at the same
time there needs to be elements of difference that keep it from
being boring. Too much sameness makes a space dull, too much
difference makes it chaotic.




Notes for
"Shaping Space" Chapter 6

"Line"


Line is often thought of as 2 dimensional but it can be 3
dimensional as well.


Many everday objects have a strong linear quality; bare trees in a
landscape, fiber art, furniture, wire sculpture.


Alberto Giacommetti's sculpture emphasizes the
linear.

Eero Saarinen's 'Gateway Arch' in St. Louis does the same.


Lines within forms create textures, patterns, and directional
emphasis.


Implied lines can be strong visual elements that make connections
within a work of art.


The quality of a line c
arries emotion and meaning. Curving
lines suggest motion, rough lines may suggest brutality,


Antonio Gaudi, Spanish architect, is famous for using
undulating lines and planes in his buildings of the early 1900's.