Unit of Study VI.
Walter Dusenbery - Stone Portals to the Past, Present, and Future
Lesson 1

Objectives

Students will

1. distinguish between the categories of stone and indicate which categories of stones are most appropriate for sculptural carving. (thinking skill: Analysis)
2. understand that carved sculptural forms are the oldest form of sculpture. (thinking skill: Comprehension)
3. familiarize themselves with the work of stone sculptors from various historical
   periods and across various cultures. (thinking skill: Knowledge)
4. use hand tools appropriately to experience traditional methods of carving sculptural form. (thinking skill: Application)

Preliminary sketch for ceramic portals of the past, present, and future.

Materials

• samples of igneous, metamorphic, and sedimentary rock
• images of stone sculptural form throughout history beginning with the Venus of Willendorf through contemporary images. Select images from the resources available to you. Include examples from both Western and non-Western tradition.
• Possible examples might include
  • Egyptian statuary from the various kingdoms
  • Pre-Columbian architectural carvings and objects
  • Works by:
    • (after) Myron
    • Michelangelo
    • August Rodin
    • Constantin Brancusi
    • Henry Moore
    • Barbara Hepworth
    • William Zorech
    • Isamu Noguchi
    • Walter Dusenbery
    • Jesus Moroles
    • Louise Bourgeois
• small pieces of Steatite for carving
• carving tools such as stone hammers, rasps, files, and chisels
• several grits of wet or dry abrasive paper (two hundred, four hundred, and six hundred weight at least)
• wax for polishing (any colorless paste furniture wax will do)
• safety gear
• ventilators and dust masks
• face shields or safety glasses
• exhaust fan

Vocabulary

• carving
• igneous
• metamorphic
• sedimentary
• chisel
• rasp, file
• sculpture in the round
  

A student begins construction on the ceramic portal.

Teacher Preparation

• Familiarize yourself with the categories of stone: igneous, metamorphic, and
  sedimentary.
• Create a timeline of examples of stone sculptural images ranging across cultures, from early pre-history through the present. Include the stone portals of Walter Dusenbery in these examples.
• Prepare a demonstration of the various tools.
• Begin the demonstration with a warning about the safe use of tools, the use of safety glasses, face shields, dust masks, and respirators.
• Chisels come in various widths and with variety of size of teeth and spacing between teeth. The smaller the tooth the more refining can be accomplished.
• The pointed chisel is used for the initial cuts.
• The broad toothed chisels are used for removing larger pieces of material.
• Use flat chisels for refining the form before sanding.
• When using abrasive (sand) papers, begin with a low number paper, and work your way to at least a six hundred grit abrasive paper. The higher the number the smoother and more reflective the surface of the stone becomes. Buy abrasive paper that can be used either wet or dry. Wet sanding seems to help to hold down the dust.
• The final step is to wax and buff the stone with a soft cheesecloth or muslin.

Procedure

• Discuss with students the meaning of:
  • Igneous - formed as the result of volcanic activity, hardest of stones for carving(granite).
  • Metamorphic - sedimentary rocks subjected to intense heat and pressure
    forming a more dense product than sedimentary, suitable for carving (steatite, alabaster, marble).
  • Sedimentary - very porous rock formed from pressure on layers of shell and sand, generally too soft for carving (sandstone, limestone).
  • Sculpture in the round - sculpture intended to be viewed from all angles.
• Discuss with students the possible reasons for creating images such as the Venus of Willendorf. Much speculation exists regarding her specific purpose.
• Introduce the historical and cultural images. Discuss the various styles and approaches these images reflect.
• Introduce students to the work of Walter Dusenbery, a contemporary sculptor whose work reflects the influence of ancient architecture. This first lesson does not use architectural forms; it uses tools that have not changed much since the introduction of iron to early cultures.
• Provide opportunity for students to practice the use of the various chisels, stone hammers, and rasps. Caution students to hold the chisel at an angle, never vertically. While much of the beauty of these stones is the result of color carried by the veins, this veining causes the stone to be fragile and to split easily.
• Assign students to create a palm sized image of their choice from steatite. The sculpture may be non-objective, abstract, or representational. As a motivating question, ask students to think about what an archaeologist or an artist think about the person or civilization that created it, when they unearth it 600 years or so from now?
• Students may draw an image and then select a stone suitable for the intended form or students may create the sculpture based on careful observation of the stone itself. Both are valid approaches.
• When finished discuss how students' appreciation for stone sculpture has changed as a result of working in stone.
• Ask students to select an image previously shown. Discuss the piece of sculpture in light of their knowledge of tools and technique.

Example of steatite sculptures made by Nottingham High School students.

Unit of Study VI.
Walter Dusenbery - Stone Portals to the Past, Present, and Future
Unit Overview | Lesson 1 | Assessment Rubric 1
Lesson 2 | Assessment Rubric 2 | Extensions

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