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Studying Contemporary
Sculpture
By Christine Finkelstein
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On a fundamental level, sculpture can be defined as a three-dimensional object, a volumetric form possessing measurable height, width, and depth and occupying real space. Freestanding works are to be viewed in the round from a continuously changing vantage point to witness how the form evolves. A relief, which is attached to a flat vertical surface and projects outward, is often read from one vantage point, as one would view a painting. The play of light on and across the surfaces can be incorporated in the work to accentuate forms and textures. Looking at sculpture, especially freestanding works, takes place over a matter of time, which adds a unique quality to the viewing experience.
Another aspect that can set sculpture apart from painting or drawing is the actual process of creation. The very nature of the media utilized can dictate that the execution be a collaborative one between artist and technician. Special facilities, along with trained and experienced staff, are needed for casting bronze and other metals, fabricating industrial materials, and cutting stone.
As with painting and other artworks, sculpture can be studied with an object-directed approach. Visual skills can be developed by examining a sculpture's formal and sensory qualities (i.e. line, color, form, texture, etc.) and analyzing how the elements (i.e. scale, balance, rhythm, proportion, etc.) are organized. Through the exercises of description and analysis, art terms become familiar and vocabularies are increased. The viewer acquires the skill not only to look, but also to see and "read" sculpture.
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Techniques employed by artists can also be studied and compared to works produced by students in studio classes. An introduction to materials and techniques can provide the opportunity to better understand the choices artists have available to them and, in turn, how choices have effected the outcome of their sculptures. It will also become apparent how the selective process aids in the conveyance of the statement the artists wish to present.
The object-associated approach, the examination of the context within which the artwork was created, can be combined with the object-directed. A broad, inclusive application of study takes into consideration the artist's biography, including his/her education, training, and related interests. It also encompasses the art historical context, reflecting upon the contemporaneous art movements, trends, and prevailing philosophical and cultural environments. All combine to directly or indirectly influence the outcome of the work.
It is necessary to understand that art is a constantly evolving continuum that changes through refinement, expansion, and selective rejection of what previously occurred. Equal in importance is the recognition that art is a reflection of the times in which it is created. Consideration should be given to the cultural climate and historical context, and the biography of the artist. It is helpful to become acquainted with the characteristics that set apart the sculpture being made today from those made by past artists to allow for a deeper and broader appreciation of this art form.
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In order to better understand contemporary sculpture, it helps to become familiar with the rich history from which it developed. In the last century many movements arose, building upon and breaking away from what preceded, for the most part following a steady movement towards abstraction. Subject matter was suppressed, the figure abandoned, and emphasis was placed on the art object itself. Sculpture in particular went through rapid changes and significant developments from the mid-twentieth century onward. Artists of creative genius broke boundaries and made way for numerous innovative developments that followed.
Beginning in the 1950s, welding metal, incorporating found objects, and recombining industrially prefabricated units were some of the significant approaches examined and accepted. Artists embraced industrial materials and techniques as part of a bold sculptural language, choosing to reject traditional methods of casting or modeling. Consequently, an unprecedented partnership was formed between artist and industry.
The assemblage, the joining together of found objects in a single context, began to receive considerable attention, especially by American artists in the 1950s and 1960s. In effect the three-dimensional collage caused the viewer to look at the objects in a new and different way. Taken out of their usual context, the objects passed in and out of the newly formed and the already ingrained associations in the viewer's mind.
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The sixties, an era recognized for its questioning of tradition and values, continued a period of intense activity in the field of sculpture. Pop Art offered social commentaries through the selection of easily recognized products and people from popular culture as subject matter. Minimalist artworks emphasized formal properties through tightly structured geometric form, and strove to eliminate, in visual and creative terms, the artists' process and presence. During these same years conceptual art declared a strong foothold in the art world. Its concern with the intellect and the concept presented was partially in protest of sculpture's place as a commodity in a booming art market. Happenings in the sixties followed later by performance art that bridged the conceptual and theatrical, defying set definitions and parameters.
This broadening of the definition of three-dimensional art, beyond objects on a pedestal, can also be read as an influence on installations, in which the viewer experiences the work from within it, not by standing in front of it. This concept played a part in the development of earthworks, also known as environmental art, and site specific works. These works are installed outside the realm of traditional viewing space (i.e. museum, gallery, public spaces, and home) and are built to be an integral part of their surroundings. This period coincided with an increase in the number of public commissions and government support for the inclusion of art works in public projects.
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In the 1980s the term pluralism was a frequently heard buzzword, giving title to the multitude of styles seen in that decade. Besides drawing from previous movements, styles, and even eras in the Post-Modernist sense, subject matter often became expressive and embraced the figure once more as some young artists moved away from the tenets of pure abstraction. The computer and other technological advancements impacted the design, engineering, and realization of artworks.
Studying the past decades reveals how artists today are continuing to push beyond that which was already established. A selective decision-making process that includes drawing from their artistic heritage, utilizing what is available in the present, and orchestrating the artist's own talents and psyche produces original artworks unique to each period. Artists possess a personal inner drive, an urge to create and ultimately present a statement. This statement translates to a work of art to be shared with the viewing public. The artist goes through a decision making process to reach his/her final objective, which is to bring this statement to physical reality. By becoming familiar with the present array of choices available to contemporary sculptors, a more complete understanding of the work is gained.
Contemporary sculpture is but a segment of the visual arts offering an excellent vehicle through which one can teach art history, art production, criticism and aesthetics, while employing problem-solving skills. Through the study and practice of sculpture, expressive language in both the visual and literary sense is acquired and refined. With this acquired knowledge, a greater appreciation and understanding is gained not only for contemporary sculpture, but for the relation among all of the arts and the role they play in the development of our social and cultural history.
About the Curriculum | Units of Study | Field Trip Activity | Resources
NJ Resources | Studying Contemporary Sculpture | Public Relations
Reference Chart for Standards | Extension Activities | Standards
Forming School Partnerships | Acknowledgements | Meet the Team
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