Chap05shape and form

Journal student art portfolio shape form and space

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Unformatted text preview: ing the Artwork 1 Deborah Butterfield (b. 1949) DESCRIBE What do you see? List all the information found in the credit line. When was this work completed? Who is the artist? What object is depicted in this sculpture? What is unusual about the medium listed in the credit line? 2 ANALYZE How is this work organized? This is a clue-collecting step about the elements of art. Is the work two- or three-dimensional? Geometric or free-form? Is this form open or closed? Active or static? Compare and contrast the use of form and space in this sculpture. 3 INTERPRET What message does this sculpture communicate to you? Combine the clues you have collected to form a creative interpretation of the work. How do you think it would feel to walk around this sculpture? Would the horse appear the same from every viewpoint? Explain. The artist went to great lengths to imitate wood in cast bronze. Form a conclusion about her intent. Why didn’t she simply use wood in the first place? What feeling about horses does the work communicate to you? Why? 4 JUDGE What do you think of the work? Decide if this is a successful work of art. Do you think the artist constructed Woodrow with appropriate materials? Why? Deborah Butterfield was born in San Diego. She developed a love for horses at an early age. Fittingly, these animals are the subject of most of her sculptures. She has sculpted horses in nearly every medium imaginable. These range from found materials to metals to wood. In the 1980s, her medium of choice became bronze. The sculpture in Figure 5.41, created during this period, began as sticks, tree branches, and bark. Each piece was cast separately in bronze and then welded. Do you think this is a successful work of art? Why or why not? Use one or more of the aesthetic theories you have learned to defend your decision. Art Criticism in Action 131 DOUGLAS PEEBLES/CORBIS Frank Gehry’s unusual buildings have forms that make people stop in their tracks. ike all architects, Frank Gehry deals with shape, form, and space when he designs buildings. But instead of creating buildings with pure box-like forms, Gehry’s buildings curve, swoop, and tilt. Frank Gehry was born in 1929 in Toronto, Canada. In 1947, he and his family moved to Los Angeles, where he studied architecture. Gehry liked the contemporary, nontraditional building styles he saw there. He was also introduced to the shapes and forms of sculpture. These sculptural forms influenced his building design. An office complex he designed in Prague, Czech Republic, has two towers that lean into one another. To some people, the towers seem to be dancing together. Gehry’s Guggenheim Museum in Bilbao, Spain, resembles a spaceship that has landed in an ancient town (Figure 14.1, page 388). One of Gehry’s best-known works is the Experience Music Project in Seattle, Washington. The lines of this rock-and-roll museum twist and curve to look like parts of a giant smashed guitar. The walls are made of thousands of titanium and stain...
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