art 110 ch 2.8

Chapter 2.8

The Tradition of Craft

PART 2MEDIA AND PROCESSES

Copyright © 2011 Thames & Hudson


Chapter 2.8 The Tradition of Craft

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

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Introduction

By the eighteenth century, certain media, notably painting and sculpture, came to be considered as art, while ceramics, weaving, and embroidery were termed crafts

Crafts came to mean items made to be used rather than simply looked at

The distinction between art and craft was unique to Western culture, and it has now broken down in the twentieth and twenty-first centuries

2.125 Hyo-In Kim, To Be Modern #2, 2004. Metal screen, wire, porcelain, acrylic paint, and found objects, slightly over life-size

Perspectives on Art:




Hyo-In KimArt or Craft:What’s the Difference?

Craft is an object constructed around the idea of function

Hyo-In Kim’s craft is a hanbok, a traditional Korean dress worn with shoes and a hairpin by women of the upper and royal classes

She has subtly transformed it by making it out of silver- colored wire mesh and by molding the decorative details out of porcelain, which she has then painted gold

Kim intends us to see through the material so that the dress appears to float like a ghostly, disembodied figure—something almost there and yet not quite




Ceramics

The manufacture of a ceramic object requires the shaping of clay, a natural material dug from the earth, which is then baked at high temperatures to make it hard

The first step in making a ceramic object is to choose a clay In a process called wedging, the clay is kneaded to work out

pockets of air and make the clay easier to work The ceramist uses one of a number of methods to shape the

clay into the form of the finished object Once it has been shaped, the clay is left to dry Once dry, the clay is fired in an oven called a kiln at a high

temperature To add the finishing touches, artists apply a glaze

Chapter 2.7 Alternative Media and Processes



Click the image above to launch the video




2.126 Ceramics studio equipment. 1: Clay mixer, dry clay, and wet clay storage bins




2.126 Ceramics studio equipment. 2: Electric ceramic wheels for pottery production




2.126 Ceramics studio equipment. 3: Kilns for firing the ceramic objects




2.126 Ceramics studio equipment. 4: Bins and containers of chemicals used in ceramic glazes




Coil Method

The art of using coils to create a clay object has been a common hand-building method since ancient times

A coil is created by rolling the clay on a flat surface so that it extends into a long rope-like shape

When making a round vessel, the artist wraps the coil around upon itself and then fuses the sections together by smoothing

2.127 Seated Figure, Oaxaca, Mexico, Zapotec style, 300 BCE–700 CE. Ceramic,12⅝ x 7 x 7⅜”. Cleveland Museum of Art, Ohio




Seated Figure, Oaxaca,Mexico, Zapotec-style

This figure was made to be buried in the tomb of a Zapotec ruler and may portray a god or possibly a companion for the deceased

On its headdress and chest the artist has carved two calendar dates in Zapotec writing

The coil method was preferred for constructing rounded objects because the organic line of the coil could be controlled in a way that would complement the piece’s essence or spirit

2.128a Baby Figure, between 12th and 9th centuries BCE. Ceramic, cinnabar, red ocher, 13⅜” high. Metropolitan Museum of Art, New York

2.128b Colossal Head, Olmec, 1500–1300 BCE. Basalt, Museo de Antropología, Veracruz, Mexico

Gateway to Art:




Colossal Olmec Heads Sculpture in Stone and Clay

One of the most striking differences between the Olmec Baby Figure and the colossal headsis the scale

At just over a foot tall, it is closer to the size an actual baby would be

The figurine is an example of both additive and subtractive sculpture. The stone carver of the colossal heads, on the other hand, was working with an extremely hard material and was only able to carve away from the existing block of basalt

The ceramic Baby Figure is also hollow, while the stone head is solid




Throwing

A potter’s wheel consists of a round disk that revolves while the ceramist shapes the object

By 3000 BCE the Chinese were using potter’s wheelsto produce ceramic objects

The potter centers a mound of clay on the turningwheel and then shapes a pot by poking a hole in themiddle of the mound, and then pushing and pulling the wall of the pot up and out with both hands as it turns

2.129 Porcelain flask with decoration in blue underglaze, Ming Dynasty, 1425–35. Palace Museum, Beijing, China




Porcelain Flask with decorationin blue underglaze, Ming Dynasty

Produced on a potter’s wheel during the Ming Dynasty almost 600 years ago

The wares were so fine that the users of Ming Dynasty porcelain included the emperor of China himself

In this piece the artist used, first, a blue glaze and then a clear glaze over that to complete the work

2.130 Karen Karnes, Flower Container, 1997. Glazed stoneware, wood-fired, 9¾ x 9½ x 9½”. Collection of Abel Weinrib




Karen Karnes, Flower Container

Exemplifies the expert craft of the potter with its simple symmetry in individual parts conjoined into an organic asymmetrical form

Captures the careful attention and symmetry of formthat are valued by traditional handcrafters and fuses them with the expressive sensibilities of contemporary art




Slab Method

When artists use slab construction to make a ceramic object they first roll out a flat sheet of clay

They then cut this clay into the shapes they need tomake the object

To make a three-dimensional object, the ceramist takes care to join the corners

This style of working lends itself to making boxes and other forms that have large flat sides

2.131 Peter Voulkos, Gallas Rock, 1960. Stoneware with slip and glaze, 84 x 37 x 26¾”. University of California at Los Angeles, Franklin D. Murphy Sculpture Garden




Peter Voulkos, Gallas Rock

Slab construction (and wheel throwing) used in an organic and Expressionistic way

The slabs are evident in the flat planes that dominate this eight-foot-tall sculptural object

Voulkos is known for using clay’s naturalness–its tendency to take on organic forms–and plasticity




Glass

The process of applying intense heat to melt silica together with lead is the basis for most glass production

Glassblowing, the process of forming a glass vessel by forcing air into molten glass, usually by blowing through a tube, was in use by the first century BCE in Syria and was later adopted and perfected by the Romans

2.132 Portland Vase, Roman c. 1–25 CE. British Museum, London, England




Portland Vase

A stunningly beautiful vessel, created in the Roman Empire during the first century CE

It was made by the dip overlay method: an elongated bubble of blue glass was partially dipped into a crucible of white glass, before the two were blown together

After cooling, the white layer was cut away to formthe design

The blue glass forms the background to the figures picked out in white

2.133 Rose window and lancets, north transept, 13th century, Chartres Cathedral, France




Rose window and lancets, north transept, Chartres Cathedral, France

The French did something extraordinary with stainedglass by using it to make enormous decorative windows that bathed the cathedral in colored light

The large circular windows are accented by the contrast with smaller, tall thin windows with pointed tops

The brilliant blue color in these windows stands as one of the most extraordinary artistic achievements of the early thirteenth century

2.134 Dale Chihuly, Fiori di Como, 1998. Handblown glass and steel, 27’6¾” x 11’9¾” × 4’8¾”. Bellagio Hotel, Las Vegas, Nevada




Dale Chihuly, Fiori di Como

To enhance the reception area at the Bellagio Hotel in Las Vegas, Chihuly created a dazzling chandelier made of 2,000 individually blown glass flowers

The strong color, reminiscent of stained glass, enlivens and invigorates the interior and becomes an inviting and memorable symbol of the hotel




Metalwork

The working of metal has been a measure of human development and an important medium for utilitarian purposes

Metal can be heated to a liquid state and poured into molds

It can also be heated and then hammered into shape, or it can be worked when it is cold

Most metals are strong but malleable and can be bent or stretched to fit the needs of the artist

Gold is particularly well suited for decorative metalwork because it is comparatively soft and easy to shape

2.135 Death mask from Shaft Grave V, Grave Circle A, Mycenae. Also known as Mask of Agamemnon. Gold, 12” high. Greece, c. 1550–1500 BCE. National Archaeological Museum, Athens, Greece




Death mask from Shaft Grave V,Grave Circle A, Mycenae

Was created by laying a thin piece of metal over an object carved to resemble a human face

The artist then carefully hammered the surface of the thin metal until the shape and texture of the design was imprinted in the metal

The artist has deftly given us the impression of a human face by placing objects, like cowrie shells for the eyes, under the surface of the metal and forcing the gold sheet into its final shape

This type of mask was used as a burial mask to cover the face of the departed

2.136 Benvenuto Cellini, Salt Cellar of Francis I, 1540–3. Gold, enamel, ebony, ivory, 11¼ x 8½ x 10⅜”.Kunsthistorisches Museum, Vienna, Austria




Benvenuto Cellini, Salt Cellar of Francis I

Created the Salt Cellar of Francis I as an extremely elaborate object to go on the dining table of the kingof France

Cellini first sculpted wax models of Neptune andMother Earth in harmony and at rest

Cellini then covered the wax model with a strongmaterial, perhaps sand and lime, to make a mold

The mold was then heated so that the wax meltedand left the center of the mold empty

Cellini poured the molten gold into the mold




Fiber

Fibers are threads made from animal or vegetable materials (such as fur, wool, silk, cotton, flax, linen)or, more recently, synthetic materials (for example,nylon or polyester)

The fibers can be spun into yarn, string, or thread,then woven or knitted into lengths of textiles

2.137 Tilleke Schwarz, Count Your Blessings, 2003. Hand-embroidery on linen, 26⅜ x 25¼”. Collection of the artist




Tilleke Schwarz, Count Your Blessings

Uses thread in her embroidered works the way another artist might use a pencil

The artist explains that her work aims to be humorous and is “a mixture of contemporary influences, graffiti, icons, texts, and traditional images from samplers”

In the work illustrated here the artist is expressing her fascination with how and what people communicate

2.138 Faith Ringgold, Tar Beach, 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pierced cloth, 6’2 ⅝” x 5’8½”. Solomon R. Guggenheim Museum, New York




Faith Ringgold,Tar Beach

Faith Ringgold’s works are made in collaboration with her mother

Her mother sews the quilted border Faith paints the scene in the middle

Tar Beach relates to the artist’s own family history and also to her shared experience of being African-American

2.139 Tlingit Chilkat dancing blanket, 19th century




Tlingit Chilkat dancing blanket

The Tlingit people, who live on the western coast of Canada and Alaska, combine both animal and plant material in their fiber art

The blanket has been woven entirely by hand fromgoat wool and cedar bark

In many cases these designs are abstract depictionsof animals

Blankets like this were worn on ceremonial occasions

They were very expensive, and the prized possessions of anyone wealthy enough to own one




Wood

Wood, an organic plant-based material, deteriorates over time, so we have few ancient examples of art objects made in this medium

But we know that wood has been utilized for objects and architecture throughout history

Wood has an innate beauty that can be brought out by cutting and carving

Sanding and polishing a piece of wood gives its surface a mesmerizing beauty

2.140 Detail of studiolo from the Ducal Palace in Gubbio, Italy, Giuliano da Maiano, after a design by Francesco di Giorgio Martini, c. 1480. Walnut, beech, rosewood, oak, and fruit woods in walnut base, 15’11” x 16’11” x 12’7¼”. Metropolitan Museum of Art, New York




Detail of studiolo from theDucal Palace in Gubbio, Italy

Intarsia is a kind of wood mosaic using woods ofdifferent colors

The artist took very thin, shaped pieces of wood and organized them to create a masterpiece of illusionistic depth and value

Federico da Montefeltro, the duke of Urbino, who commissioned Martini to do this work, wanted thesymbols in this magnificent design to reflect his achievements as a ruler, military commander, collector of books, and patron of the arts

2.141 Captain Richard Carpenter (Du’klwayella), Bent-corner chest, c. 1860. Yellow cedar, red cedar, and paint, 21¼ x 35¾ x 20½”. Seattle Art Museum




Captain Richard Carpenter (Du’klwayella), Bent-corner chest

To create this vessel, a plank of cedar was smoothed, notches known as kerfs were cut at three corners, and then the wood was made flexible by exposing it to steam created by fire-baked rocks and water

The plank was then bent at the kerfs and joined at the juncture of the last corner

After that, the chest was carved and painted with an elaborate, symmetrical design that fills the whole surface

A separate base and top were then fitted to the whole




Conclusion

Functional crafts are still practiced and remembered as a part of national histories and cultures, and sometimes as part of a region’s identity

The makers of functional items refined and improved them until they became objects of art

The artist of hand-made objects understands the attributes of various materials and chooses those that fit the function he or she needs it to fulfill

Not all crafts are considered art. But many craft works have been recognized for their excellence and attention to design and originality

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This concludes the PowerPoint slide set for Chapter 2.8

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Copyright © 2011 Thames & Hudson




2.125 Courtesy Trudy Labell Fine Art, Florida. © the artist2.126 Photos Ralph Larmann2.127 Cleveland Museum of Art, Gift of the Hanna Fund, 1954.8572.128a Metropolitan Museum of Art, New York. The Michael C. Rockefeller Memorial Collection, Bequest of Nelson

A. Rockefeller, 1979, Acc. no. 1979.206.1134. Photo Schecter Lee. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

2.128b Photo Irmgard Groth-Kimball © Thames & Hudson Ltd, London2.129 Palace Museum, Beijing2.130 Courtesy Arizona State University Art Museum, photo Anthony Cunha2.131 Courtesy the Voulkos & Co. Catalogue Project, www.voulkos.com2.132 British Museum, London2.133 © Angelo Hornak/Corbis2.134 Photo Teresa Nouri Rishel © Dale Chihuly 2.135 National Archaeological Museum, Athens2.136 Kunsthistorisches Museum, Vienna2.137 © the artist www.tillekeschwarz.com 2.138 The Solomon R. Guggenheim Foundation, New York, 88.3620 2.139 © Christie’s Images/Corbis2.140 Metropolitan Museum of Art, Rogers Fund, 1939, Acc. no. 39.153. Photo Metropolitan Museum of Art/Art

Resource/Scala, Florence2.141 Seattle Art Museum, Gift of John H. Hauberg and John and Grace Putnam, 86.278. Photo Paul Macapia

Picture Credits for Chapter 2.8




1. In Geoffrey Chaucer’s time, the makers of the fine objects we can see today in the world’s great art museums learned their trade in associations called ______.

a. clubsb. workhousesc. schoolsd. guildse. none of theseFeedback/Reference: Page 248




2. The Korean-American artist Hyo-In Kim created the work To Be Modern #2 to emulate a ______, a traditional Korean dress worn with shoes and a hairpin by women of the upper and royal classes.

a. hanbokb. kimonoc. smoking jacketd. kimchie. bathrobeFeedback/Reference: Page 249




3. This word means the pliability of a material so that it can be easily formed into almost any orientation.

a. Brittlenessb. Scumblingc. Plasticityd. Opacitye. IntermezzoFeedback/Reference: Page 250




4. This process, which involves carving away material from a surface where it cannot be reapplied, was used to sculpt the Olmec Colossal Head.

a. Additiveb. Modeledc. Castd. Conceptuale. SubtractiveFeedback/Reference: Page 251




5. When an artist is making pottery by hand throwing, the first step when he or she forms the clay on a potter’s wheel is to ______.

a. center a mound of clayb. throw it up in the airc. allow the clay to dryd. fire the claye. form the shape before startingFeedback/Reference: Page 252




6. Which piece of sculpted Roman glass was named after one of its owners, Margaret Bentinck, an English duchess?

a. Bentinck Bowlb. Portland Vasec. Rathbone Urnd. Margaret Crystale. Windsor Water GobletFeedback/Reference: Page 253




7. Exceptional large-scale stained-glass windows were featured in the construction of which Gothic cathedral in northern France?

a. Brugesb. Edinburghc. Cologned. Chartrese. None of theseFeedback/Reference: Page 254




8. The metalworking process called repoussé, used to create the death mask from Mycenae, involves which kind of craftsmanship?

a. Castingb. Rivetingc. Carvingd. Throwinge. HammeringFeedback/Reference: Page 255




9. Processing plant fibers begins with separating the fiber from the plant, then preparing it for use by spinning the fiber into a long ______.

a. coilb. rodc. threadd. shafte. none of theseFeedback/Reference: Page 256




10. Which African-American artist created the fiber work Tar Beach as an autobiographical work about her own experiences growing up in New York?

a. Dale Chihulyb. Faith Ringgoldc. Tilleke Schwarzd. Margaret Bentincke. Karen Karnes

Gateway to Art:



Chapter 2.9 Sculpture

Colossal Olmec Heads, How Olmec Sculptors Made the Colossal Heads

After choosing a stone that best resembles the final shape,the artist works around it, knocking off large chunks of material until the final form has been established

Then the artist begins to bore into the surface, refining the main details of the work

Then the artist would carefully hone the details and finishby polishing the surface to eliminate the marks made by the cutting tools

The achievement of the Olmec sculptors was especially impressive since the Olmec had no metal tools

2.147 Michelangelo, Prisoner, known as the Awakening Slave, 1519–20. Marble, 8’9⅛” high. Accademia, Florence, Italy




László Moholy-Nagy, Light Prop for an Electric Stage

Initially created as a stage lighting device, Light Prop eventually became the main character in a film, also by Moholy-Nagy

The work has a motor that moves a series of perforated discs so that they cross in front of the lighting unit

This creates a constantly changing sculptural object,and the changes in lighting influence the surrounding environment




5. Michelangelo used which Italian term, which refers to a manner of dress, to describe the figures he would use on the tomb of Pope Julius II?

Topic: n/a

a. ignudi

b. arriccio

c. intonaco

d. intaglio

e. intermezzo

Feedback/Reference: Page 264




6. The Hawaiian sculpture of a war god is a composition that includes how many different gods?

Topic: n/a

a. One

b. Two

c. Three

d. Four

e. There are no gods depicted


2.165 Fumihiko Maki, Sketch of Four World Trade Center, 2006

2.169b Great Pyramids at Giza, left to right: Menkaure, Khafre, and Khufu, c. 2560 BCE, Giza, Egypt

Gateway to Art:




The Great Pyramid of KhufuMath and Engineering

The weight of the capstone bears down on the stone beneath it, which, in turn, bears down on the stone beneath it, and so on, holding all the stones securely in place

Construction on this scale required sophisticated engineering and mathematical skills to ensure that such an enormous structure formed a perfectly symmetrical shape that would stand for thousands of years

The pyramid of Khufu contains about 2,300,000 blocksof stone that have been calculated to weigh on average2.5 tons, although some weigh as much as 50 to 80 tons




Post-and-Lintel Construction

In order to create an interior space, an architect must create a span, or a distance between two supports ina structure

One of the oldest and most effective ways of doing this is a system called post-and-lintel construction

In basic post-and-lintel construction the lintel rests on top of two posts




2.175 Barrel vault

2.176 Sainte-Foy, nave, c. 1050–1120, Conques, France

2.182 Horyu-ji (Horyu Temple), Kondo and pagoda, c. 7th century, Nara, Japan




Horyu-ji (Horyu Temple),Kondo and pagoda

The construction of the Horyu-ji complex was the idea of the Japanese emperor Yomei, who hoped to gain spiritual favor so he could recover from illness, but he died before work started

In 607 Empress Suiko and Crown Prince Shotoku fulfilled the emperor’s dying wish and built the first temple in the complex

Since then it has withstood the ravages of time and is an example of the durability of well-constructed wooden buildings




2. Architects must consider the availability and cost of ______ when they plan their projects.

Topic: n/a

a. bribes

b. breathing apparatus

c. building materials

d. fresh water

e. none of these





3. Mayan pyramids primarily served as platforms for ______.

Topic: n/a

a. military use

b. government

c. flooding

d. temples

e. none of these


art 110 ch 2.8

Education

visual arts

kathryn shields

tradition of craft2

certain media

alternative media

dry clay

tradition of craftceramics

tradition of craftcopyright