“Red Gongs” is a sculpture piece created by Alexander Calder. Calder, born in Lawton, Pennsylvania, lived from 1898 to 1976. He went to college at the Stevens Institute of Technology and studied engineering, before deciding he wanted to study art. He introduced the highly important element of movement to the sculpture world by creating mobiles, he even stated “The next step in sculpture is motion.” Calder’s first moving sculpture was “Cirque Calder” a Circus scene with moving pieces. He mainly used wires and metals to create hanging mobiles that were special because they would change how they looked as the air moved them. Alexander Calder’s “Red Gongs” is an example of his mobiles that introduced a new for of sculpture, kinetic sculpture. …show more content…
The mobile has one “base” piece of metal that the smaller metals and wires stem from. The smaller metal pieces are either golden or orange organic shapes either hanging from wire or connected to the small metal stems. The sculpture’s dimensions are 60 inches by 12 feet, and weighs 9.7 pounds. Calder uses the element of line to by using a variety of thickness in metals and wires. He also uses the element of shape by creating organic shapes hanging from the main metal piece. He then brings the elements together and purposefully and successfully uses movement to get the viewer’s attention within the sculpture. As the sculpture is moved by the air it is never in the same exact position gaining attention from the viewer, and creating an abstract and exciting piece. He also successfully uses the principle of proportion to draw the viewer’s eyes in a certain direction, giving the piece a nice flow and pleasing to the eyes. The organic shapes on the metal branches get smaller towards the end of the piece. The change in proportion makes the viewers eye glide from the large parts to the smaller parts of the
His last and final piece, which is very interesting, is called the "Stoneware Vase*" It has two curled spiral handles, suggestive of ancient or pre-historic civilizat...
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
These strands stand vertically and are parallel to each other referencing the DNA molecule of the double helix. When the curves of one spiraling strand are against another, going inwards and outwards, it leaves open gaps. This continues around the whole sculpture. Thus, the use of geometry on the sculpture’s visual form allows the artist to manipulate it to create a form of movement which impacts the abstractness of the artwork. The size of the sculpture is around fifteen feet tall. However, the spiraling strands when assembled together vertically makes the viewers look at the sculpture from top to bottom and around it. This creates an illusion that the structure is taller than it appears to be. Looking at how the sculpture is standing on its own, also makes us consider what techniques were used during the process of constructing it. One of the few techniques that the artist may have considered to construct the sculpture was armature and mesh. Pieces of metal and wood are used to create the armature as a standing frame for the model. This would better support the monumental structure rather than it falling
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
Anything from a police man leaning on a wall that gets lost in the crowd on busy days to a cleaning lady next to a garbage can. Duane creates life like art pieces that you can lose the fact that they are fake. The amount of detail along with the expressions on the figures’ faces tells the tale. The spectator creates a relationship to the piece because its the familiar look or feeling they receive from the experience. Duane uses the figures’ as they are portrayed to accomplish an everyday ordinary person moreover with that technique displays the ability to relate the viewers to the art
Abstract geometric shapes are easily seen in “Always.” The subject of geometry is apparent from any angle. This sculpture has a unitary form of a long and large rectangular shape that bends several times in different directions and angles before springing into space. Mass controls the composition of this sculpture; it is a large sculpture with lots of volume. The mass creates a line of movement into space. There is a dynamic action of the geometric shapes extending into space. The sculpture appears unstable and off-balanced as if it is going to tip over.
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
The three most dominant elements are form, space, and value. The reason for this is that the inanimate or still objects in the artwork are dominantly three dimensional with illusions of depth and volume, as well as, colors or shades with light values and dark values. The three most dominant principles of design are emphasis, contrast, and balance. The reason for is this is that the artwork displays a contrast and difference towards the values and colors to direct focus and interest onto the work of art. The artwork dominantly consists of these elements and principles to emphasize the relationship and true nature between the insects, brittle leaves, fruits among the inanimate pillar draped in blue cloth.
To create more sympathy on the viewer, he used the abstract art, using the circle to represent for children (it looks like a dumbbell on her shoulder). He was smart when using a rectangle combined with the affected of linear perspective was created
Overall the artist does make a unified scene in this composition. Birch used these principals of design to make his composition more effective like balance, movement, repetition and unity. The composition seems balanced because most of the subjects in the painting are all equally distributed and proportioned.
The use of materials to complement a design’s emotional reaction has stuck with the modernist movement. His implementation of these materials created a language that spoke poetically as you move through the structure. “Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly” (Lomholt). But one material has been one of the most important and most difficult to master: light. Mies was able to sculpt light and use it to his advantage.
a shift can be seen from idealized and nearly perfect sculptures to sculptures that had a natural and real feel to them. These newer statues were sculpted with the notion of Realism weighing more than the concept of Idealism. The subjects’ body was not in a state of military attention, they were placed in a more natural, yet still graceful position. Realistic sculptures also did not embellish the muscular physique of the subject; the muscle definition was displayed more subtly and naturally. The weight of Realistic statues is not distributed in a balanced, geometric fashion like the Ideal statues. The Realistic statues balance their weight just as a real person would in motion which gives the sculpture a more graceful and natural