chapter 2.8 media and processes introduction to craft
TRANSCRIPT
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Introduction to Craft
By the 1700’s, certain media came to be considered as ,
while others were termed crafts
Crafts meant items made to be used rather than simply looked at
Historically, one learned craft from a master (on in the family),
then later, one joined a guild-not always easy
The distinction today between craft and fine arts is blurred
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics The manufacture of a ceramic object requires the shaping of
clay, which is then baked at high temperatures to make it hard
In a process called wedging,
the clay is kneaded to work out
pockets of air and make the clay
easier to work.
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-
then usually fired again
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics studio equipment. 2: Electric ceramic wheels for pottery production
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics studio equipment. 3: Kilns for firing the ceramic objects
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Coiling to create a clay objects has been around 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
Seated Figure, Oaxaca, Mexico,
Zapotec style, 300 BCE–700 CE.
Ceramic,12⅝ x 7 x 7⅜”.
Cleveland Museum of Art, Ohio
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
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
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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 wheels
The potter centers a mound of clay on the turning wheel and
then shapes a pot by poking a hole in the middle of the mound,
and then pushing and pulling the wall of the pot up and out with
both hands as it turns
http://www.youtube.com/watch?v=t_xgMudrBRE
Throwing a big pot
http://www.youtube.com/watch?v=XaZbSHj23mo
Raku artists and firing process
Shoji Hamada
National Treasure in 1955
Raku Vessel
Raku steps:
wedging, throwing or forming, air dry,
First fire, glaze, 2nd fire, throw in wood
Or paper to smoke
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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 to
make 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
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
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
What do you think of this piece?
Art or not? Craft or not? Is it as
“useful” as a ceramic pot, if the
artistic message fails?
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
https://www.youtube.com/watch?v=UcupSHLsucE
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Metalwork
Metal can be heated to a liquid state and poured into
molds or CAST
It can also be heated and then hammered into shape, or it
can be worked when it is cold or FORGED
It can also be cut and joined or SOLDERED or
WELDED
It can also be RIVETED to other materials like wood or
plastic
Most metals are strong but malleable and can be bent or
stretched to fit the needs of the artist
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
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Death mask from Shaft Grave V, Grave Circle A, Mycenae
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 given 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
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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
Faith Ringgold. Tar Beach 1988. 74 5/8 x 68 1/2 in. http://www.youtube.com/watch?v=lia6SFTOeu8
Quilting as a way to remember, celebrate and document family ties has a long history.
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Tlingit Chilkat dancing blanket
The Tlingit people, from the western coast of Canada and Alaska,
wove this entirely by hand from goat wool and cedar bark
In many cases these designs are abstract depictions of animals
Blankets were worn on ceremonial occasions
Very expensive, and the prized possessions
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Wood
Wood, an organic plant-based material, deteriorates over
time, so we have few ancient examples of art objects made
in this medium
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
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Detail of studiolo from the Ducal Palace in Gubbio, Italy
Intarsia is a kind of wood mosaic using woods of
different 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 wanted the
symbols in this design to reflect his achievements as a ruler,
military commander, collector of books, and patron of the
arts
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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