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Lecture8-student_Interactionartandperceiver_sculpture.pptxCurrent Readings + Discussion
Article #1: Arnheim, R. (1999). Buildings and human figures aware of each other. Leonardo, 32, 197-198.
Article #6: Martin, F. D. (1978). On Perceiving Paintings and Sculpture. Leonardo, 11, 287-292
Field Trip: Pyramid Hill Sculpture Park and Museum
“Adam’s First Breath”
--Sam McKinney
April 6 & 7
Saturday and Sunday
READ Articles (1) and (6); see syllabus
Depart 11:00 meet at “P” lot (behind Baujan Field)
Return 3:00 to U.D.
Leave Dayton at 11; Meet in parking lot P, off of Caldwell St., behind Beaujon Soccer field, but close to the step at the refreshment end (closest to Frericks)
Return between 3 and 4.
Art carts: Non-members: $20 for the first hour / $15 each additional hour
*rented on a first come first served basis. Driver must be 21
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DIRECTIONS: I-75 to Exit 24 (Route 129). Follow Route 129 West into Hamilton, OH. Follow the signs to St. Rt. 128. Cross the Great Miami River. Travel South on Route 128 for 1.5 miles. Pyramid Hill Sculpture Park will be on your right.
Pyramid Hill Sculpture Park & Museum
1763 Hamilton Cleves Rd, Hamilton, OH 45013
(513) 868-8336
Dr. D. (513) 290-8827
Assignment #2
Based on the Field Trip to Pyramid Hill Sculpture Park
What: Write a 2-3 page analysis paper
Topic: An analysis centered on your apprehension of the art in the park environment and the ideas expressed in the papers by Rudy Arnheim (1999), and Martin (1978).
How are “the demands of physical reality [the reality system] and those of visual apprehension…both satisfied?”
How do the two systems interact with each other?
Couple these ideas with those of Martin that sculpture almost “begs” us to touch it—and you can, at Pyramid Hill, unlike most museums containing sculpture.
Relate your analysis to an identification of the point of entry provided by the sculptures for you the viewer, as discussed in class.
Due date: Monday, Apr. 15, to the Isidore site, 11:00 p.m.
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Responses to art
Perceptual level
Cognitive level
Emotional level
Formal intellectual level
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What makes art “art”?
Universal appeal
(cross cultural)
Popularity, also….
Feeling connected to the “viewing/listening space”
Human-art interaction
Reality system
Apprehension system
Physical constraints
Point of entry
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What is the The point of entry in these works of art?
The emotional/intellectual hook that challenges the viewer to engage his or her skills (things that highlight the “perceptual, emotional, cognitive and communicative content of the works”).
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Psychology and Sculpture
Psychology of the Arts
Florence, Rome, Oregon, Hamilton OH
How do we find the “best” point of entry?
Is there more than one? Same as the “optimal
viewing point” described by Martin?
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Reality versus Apprehension Systems?
What are they? What is the nature of their interaction?
How would the “entry” to a building encourage or discourage engagement, physical and/or emotional?
A building such as this?
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St. Peter’s Basilica, Rome
What about something like this engages our emotions and our desire to enter?
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Giotto’s paintings: Capella degli Scrovegni, Padua (c 1305)
Here is the entry to another building. How does it “compare” with St. Peter’s Basilica? How does this make us feel?
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Reality versus Apprehension Systems?
What are they here? What is the nature of their interaction?
How would the “entry” to a garden, encourage or discourage engagement, physical and/or emotional?
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Paintings versus sculpture
Sculpture as a many-sided painting
Characteristics of paintings that differ from sculpture?
Perceptions of paintings that differ from sculpture?
The desire to touch—does it exist for paintings as Martin (1978) claims it does for sculpture?
Types of sculpture
Relief
Low
High
In-the-round
Advantages?
East doors, or Gates of Paradise, by Lorenzo Ghiberti
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David (1622, Bernini): the Borghese Gallery, Rome
Baroque Sculpture in Rome
David in Florence
Renaissance Art in Florence
Another Pieta in Rome
Pieta (Michelangelo, Sistine Chapel, Vatican)
Edit Master text styles
Second level
Third level
Fourth level
Fifth level
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The symbolism of a modern sculptor: Leroy Setziol
“ If it’s difficult it’s going to be beautiful, if it’s beautiful it’s going to be difficult” “ You don’t arrive at designs by sitting in a corner and waiting for inspiration” –Leroy Setziol
“ I don’t think of woodcarving as a business… If someone likes my work then we have a communication” –Leroy Setziol
“ The wood is existential. It is the way the tree wanted to grow in that particular environment… It knows how to grow as a tree better than you do.” – Leroy Setziol
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Symbolism and Art at Pyramid Hill
“…the link between the artist’s unconscious wish and the recipients’ emotions…” (p. 1320, Jurist)
“Romeo and Juliet”
“Citizen”
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