Essay Question

mariammoshi93

Frank-Prebles12e_CH13_PPT_accessible_lores.pptx

Home >Architecture and Design homework help >Essay Question

Prebles’ Artforms

Twelfth Edition

Chapter 13

Craft Media in Useful Objects

Learning Objectives

13.1 Identify the three general categories of clay and describe their characteristics.

13.2 Discuss some of the techniques used by artists working with glass.

13.3 Describe metalworking techniques used in the creation of functional objects.

13.4 Identify directional forces in a work of art and explain how artists use them.

13.5 Discuss how artists use repetition and rhythm in their designs.

Introduction

William Morris, Windrush

Well-crafted, repeatable woodblock print

Can serve as textile or wallpaper pattern

Interior art improving public’s lives

Separation of art from “craft” in the Western world

Craft as “useful” objects

Artists challenging the notion of function

William Morris. Windrush. 1892. Textile pattern, repeatable. Woodblock print on paper. Victoria and Albert Museum, London. V&A Images, London/Art Resource, NY. [Fig. 13-1]

Clay (1 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Soil with a heavily volcanic makeup mixed with water

Ceramics

The art and science of making objects from clay

Ceramists make any work with clay.

Potters specialize in making dishes.

Must fire a clay object at high temperatures in a kiln oven

Clay (2 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Types of clay

Earthenware

Porous, low-temperature firing

Stoneware

Heavier, high-temperature firing

Porcelain

Rarest, most expensive

Throwing

Shaping clay on a revolving wheel

Clay (3 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Process

Shape clay on potter’s wheel

Air dry piece

Fire in kiln

Decorating ceramics

Slip

Mixture of clay and water

Glaze

A liquid paint with silica base

Clay (4 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Ancient Greece a center of pottery production

Usually made from terra cotta

Earthenware that can be fired at low temperature

Each step done by a different person

Eucharides Painter. Oil Jar with Man Holding a Lyre. Greek Attic Period. c.500–470 BCE. Height 13-5/16”. J. Paul Getty Museum, 73.AE.23. [Fig. 13-2]

Clay (5 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Chinese ceramists perfected blue decoration on white porcelain body

Known nearly worldwide in seventeenth and eighteenth centuries

Blue only color of glaze that could withstand high firing temperatures

Octagonal

Hand-built, not thrown on a wheel

Octagonal P’ing Vase. China. Yuan Dynasty. 1179–1368.

Blue and white porcelain. People’s Republic of China/Bridgeman Images. [Fig. 13-3]

Clay (6 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Recent works with divergent styles

Betty Woodman, Divided Vases: Cubist

Earthenware with a free-form look

Flat perforated panels in handles

Betty Woodman. Divided Vases: Cubist. 2004. Glazed earthenware, epoxy resin, lacquer, and paint. 34-1⁄2” × 39” × 7”. Salon 94, New York. [Fig. 13-4]

Clay (7 of 7)

13.1 Identify the three general categories of clay and describe their characteristics.

Grayson Perry, Quotes from the Internet

Ironic sensibility

Resembles jug of whiskey

Used stoneware

Threw on a wheel

Casual approach parallels views about art

Grayson Perry. Quotes from the Internet. 2005.

Glazed ceramic. 25-5/8” × 17-3/4”. © Grayson Perry. Courtesy of the artist and Victoria Miro, London. [Fig. 13-5]

Glass (1 of 4)

13.2 Discuss some of the techniques used by artists working with glass.

Chemically related to ceramic glaze

Wide range of manipulation

Stained glass

Blown glass

Inlays in various objects

Sensitive and amorphous when hot

Solidifies when it cools without crystallizing

Fluid nature producing line and volume

Glass (2 of 4)

13.2 Discuss some of the techniques used by artists working with glass.

Stained glass

Reached peak in Middle Ages

Technique little changed since

Resurgence in Europe and United States in late nineteenth and early twentieth centuries

Mary Lowndes, Resurrection Window

Painted liberally

Adventurous, unbalanced

Mary Lowndes. Resurrection Window. 1901.

St. Mary’s Church, Sturminster Newton, UK.

craft images/Alamy Stock Photo. [Fig. 13-6]

Glass (3 of 4)

13.2 Discuss some of the techniques used by artists working with glass.

Daly Chihuly, Citron Basket Set

Inspired by Native American baskets

Older baskets tended to sag

Long series of glass works to capture some of those shapes

Blew round piece of molten glass

Spinning it to open at one end and slump slightly

Dale Chihuly. Citron Basket Set with Ebony Lip Wraps. 2015. Blown glass. 11” × 16” × 16”. Courtesy of the artist. [Fig. 13-7]

Glass (4 of 4)

13.2 Discuss some of the techniques used by artists working with glass.

Mona Hatoum, Nature morte aux grenades

Researched explosive devices and recreated them in colorful pieces

“Specimens” placed in gurney

Used beauty of glass to represent lethal objects

Mona Hatoum. Nature morte aux grenades (Still Life with Hand Grenades). 2006–7. Crystal, mild steel, rubber. 38-3⁄8” × 81-7⁄8” × 27-1⁄2”. Photograph: Marc Domage. Courtesy of Alexander and Bonin, New York. [Fig. 13-8]

Metal (1 of 3)

13.3 Describe metalworking techniques used in the creation of functional objects.

Metal

Strong and formidable

Can be hammered, cut, inlayed, drawn out, welded, joined with rivets, or cast

Early metalsmiths created tools, vessels, armor, and weapons.

Metal (2 of 3)

13.3 Describe metalworking techniques used in the creation of functional objects.

Muslim traditions in 13th/14th centuries

Unparalleled sophistication

d’Arenberg Basin

Made for last ruler of Ayyubid dynasty

Body first cast in brass then inlaid with precisely cut pieces of silver

Highly detailed, even panels

The d'Arenberg Basin. Probably Damascus, Syria. 1247–49. Brass inlaid with silver. 8-7⁄8” × 19-5⁄8”. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. Purchase – Charles Lang Freer Endowment, F1955.10. [Fig. 13-9]

Metal (3 of 3)

13.3 Describe metalworking techniques used in the creation of functional objects.

Metal can be hammered or molded into elegant, useful shapes

Margaret De Patta, flatware

Believed daily objects should keep pace with modern art innovations

Simple shapes that do not sacrifice utility

Margaret De Patta. Flatware Set. 1936. Silver, copper, stainless steel. Length of knife 9-3/8”. Decorative Arts Deaccession Fund (M.2007.20.1-.4). © 2018. Digital Image Museum Associates/LACMA/Art Resource, NY/Scala, Florence. © Estate of Margaret De Patta. [Fig. 13-10]

Wood (1 of 3)

13.4 Identify directional forces in a work of art and explain how artists use them.

Living spirit of wood offers vitality

Abundant, versatile, and warm qualities

Movement toward sustainability

Marquetry

Small pieces laid down

Unlike inlay, no bounding wall between the pieces of wood

Artist creates a cartoon, lays it on prepared wood, pricks holes

Artist cuts wood pieces and glues them into place

Wood (2 of 3)

13.4 Identify directional forces in a work of art and explain how artists use them.

Peter Glass

Brought marquetry to United States

Octagonal folding table

Highly ornate

30,000 pieces of wood used

Peter Glass. Marquetry Table. 1868. Wood. Height 41”. DL*281476.0047. Division of Home and Community Life, National Museum of American History, Smithsonian Institution, Washington, D.C. [Fig. 13-11]

Wood (3 of 3)

13.4 Identify directional forces in a work of art and explain how artists use them.

Most wood is flexible when wet

Retains shape when dry

Nina Bruun, Nest Chair

Long, thin strips of flexed birch

Central cushion recalls where birds lay eggs

Arrived at design by trial and error

Nina Bruun. Nest Chair. 2010.

Birchwood. Height 36”. Courtesy of the artist. [Fig. 13-12]

Textiles (1 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Mixing heritage of traditional practices with new avenues of expression

Two classes

Work made with loom

Work made off-loom

Weaving

Interlacing of fibers

Warp fibers

Long fibers in place on a loom

Textiles (2 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Weaving

Loom

Device holding fibers in place

Weft fibers

Cross warp fibers at a right angle

Can be sophisticated, complex

Textiles (3 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Lara Baladi, Sandouk el Dounia (The World in a Box)

Large-scale tapestry

Created a huge collage of about 900 photographs

Programmed a digitally operated loom

Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. 10’4” × 8’2-4⁄10”. Tapestry made with a digitally operated loom from the original photo-collage of 900 C41 3-15/16” × 5-29/32” prints. Cini Foundation, Venice, 2011. [Fig. 13-13a]

Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. Detail. [Fig. 13-13b]

Textiles (4 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Weaving

Ardabil Carpet

Sunburst surrounded by 16 oval shapes

Originally covered floor of prayer chapel

Required approximately 25 million knots

The Ardabil Carpet. Tabriz. 1540. Wool pile on silk warps and wefts. 34’ × 17’6”. Victoria and Albert Museum, London. V&A images, London/Art Resource, NY. [Fig. 13-14]

Textiles (5 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Embroidery and Quilt Making

Embroidery

Artists stitch decorative colored threads into and over a base of woven fabric

Peru produced impressive textiles

Funerary cape

Textiles (6 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Embroidery and Quilt Making

Some African-American communities have long tradition of quilt making

Gees Bend, Alabama

Jessie Pettway, Bars and String-Piece Columns

Made from leftover pieces

Resembles some African textiles

Jessie Pettway. Bars and String-Piece Columns. 1950s. Cotton quilt. 95” × 76”. Tinwood Alliance Collection. San Francisco MoMA. Photograph: Steve Pitking. © 2018 Jessie T. Pettway/Artists Rights Society (ARS), New York. [Fig. 13-16]

Textiles (7 of 7)

13.5 Discuss how artists use repetition and rhythm in their designs.

Faith Ringgold: Stitching History

“Story quilts”

Stories from her own life

Tradition in family as far back as great-great-grandmother

Quilting as an art form used by slave women

Depictions of African-American culture

Tar Beach later became children's book

Faith Ringgold, with detail of The Purple Quilt. 1986. Photograph: C’Love. [Fig. 13-17]

Faith Ringgold. Tar Beach. (Part I from The Women on a Bridge series.) 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pieced cloth. 74-5⁄8” × 68-1⁄2”. Guggenheim Museum, New York. Gift of Mr. and Mrs. Gus and Judith Lieber 1988. © 2018. The Solomon R. Guggenheim Foundation/Art Resource, NY/Scala, Florence. © 2018 Faith Ringgold, member Artists Rights Society (ARS), New York. [Fig. 13-18]