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3-D Elements part II. PLANE Naum Gabo PLANE Antoine Pevsner, Head, 1923-24 Alexander Calder.

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Presentation on theme: "3-D Elements part II. PLANE Naum Gabo PLANE Antoine Pevsner, Head, 1923-24 Alexander Calder."— Presentation transcript:

1 3-D Elements part II


3 Naum Gabo

4 PLANE Antoine Pevsner, Head, 1923-24 Alexander Calder

5 PETER VOULKOS L: Stack, 2001 Pit Fired R: Isis, 2001 Is the amount of space an object occupiesVOLUME

6 Is a solid three-dimensional form Can be dense and heavy or light and porous Can be carved (subtractive method) from a solid block of plaster, clay or stone or cast using bronze, glass, or other materials Solid and imposing, they tend to dominate the environment in which they are placed.MASS

7 Henry Moore Forma Squadrata Con Taglio 1969

8 SPACE In three dimensional design, space is the area within or around an area of substance. A dialogue between a form and its surroundings is created as soon as an artist positions an object in space. Space is a partner to substance. Used for visual impact and functional purpose.

9 POSITIVE AND NEGATIVE SPACE The interrelations ship between space and substance David Smith Cubi XXXVII 1965

10 COMPRESSION SPACE Richard Serra, Torqued Ellipse VI, 1998 -1999

11 EXPANSION SPACE Richard Long Sahara Line 1988

12 ACTIVATED SPACE The space in or around an artwork may be contemplative, agitated, or even threatening. Anish Kapoor Cloud Gate stainless steel 66’ long x 33’ high weighs 110 tons Inspired by liquid mercury

13 Such activity becomes even more noticeable when the space itself is animated

14 Zygmunt, 1992 Judy Pfaff & Ursula von Rydingsvard A collaborative installation Entering space: some sculptures are designed to be entered physically or mentally

15 TEXTURE The visual or tactile quality of a form. Martin Puryear, "Self," 1978 Meret Oppenheim, Object, 1936 Artists make use of the actual textures of their materials and the relationships between them for visual and psychological impact

16 Mona Hatoum Doormat II, 2000- 2001 Nickel Plated Pins, glue, canvas

17 LIGHT Can enhance our perception of a three-dimensional form, attract an audience, or be used as a material in itself. Robert Irwin Excursus: Homage to the Square X3 1998-99

18 Lighting of an object Mona Hatoum The light at the End, 1989 Using light to engage interaction with viewer Define or enhance a shape

19 LIGHT AS SCULPTURE JAMES TURRELL LIGHT IS ONE OF THE MOST FUNDAMENTAL AND ESSENTIAL ELEMENTS IN ART Spread (2003), installation view 4000-square foot environment Catso, 1967

20 ELEMENT: COLOR Hue, value, intensity, and temperature are the major characteristics of color. Color definitions remain the same whether we are creating a 3-D or 2-D composition HARMONY DISHARMONY Deciding on the right color can make or break a design Can be used effectively to visually create something unusual or disturbing Keith Edmier, Beverly Edmier, 1967 Personalized colors with a balance between opacity and transparency helped iMac develop new users and break away from the standard gray computer format

21 CONTRAST WITH COLOR Michael Graves, Coffee Set glass, silver, and bakelite Andy Goldsworthy, Poppy Petals, 1994

22 COLOR AND EMOTION Tim Hawkinson; Index (Finger); 1997 bondo, pens, pencils George Segal, Walk, Don’t Walk, 1976 plaster, cement, metal, painted wood, and electric light

23 SYMBOLOIC COLOR Symbolic color is culturally based. Due to each culture being unique, color association vary widely. Gerald Clark Artifacts 1999 Shovels, Ribbon, Ink, Photographs

24 ELEMENT: TIME ACTUAL TIME Refers to the location and duration of an actual temporal event IMPLIED TIME Is the suggested location or duration of an event Jean Tinguely Chaos 1, 1973 metal, moving balls on tracks, electric motors. 30’x28’x15’ George Segal, Walk, Don’t Walk 1976 plaster, cement, metal, painted wood, and electric light Every object occupies a position in time as well as space. Actual time, implied time, actual space, and implied space can be combined to create compelling objects of great complexity.

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