3-D Elements part II

PLANE

Naum Gabo

PLANEPLANE

Antoine Pevsner, Head, 1923-24

Alexander Calder

PETER VOULKOSL: Stack, 2001 Pit Fired R: Isis, 2001

Is the amount of space an object

occupies

VOLUMEVOLUME

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.

MASSMASS

Henry Moore

Forma Squadrata Con Taglio

1969

SPACEIn 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.

POSITIVE AND NEGATIVE SPACEThe interrelations ship between space and substance

David Smith

Cubi XXXVII

1965

COMPRESSION SPACE

Richard Serra, Torqued Ellipse VI,

1998 -1999

EXPANSION SPACE

Richard Long

Sahara Line

1988

ACTIVATED SPACEThe space in or around an artwork may be contemplative, agitated, or even threatening.

Anish Kapoor Cloud Gate stainless steel 66’ long x 33’ highweighs 110 tons Inspired by liquid mercury

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

Cornelia Parker,'Cold Dark Matter: An Exploded View’, 1991

Zygmunt, 1992 Judy Pfaff & Ursula von Rydingsvard A collaborative installation

Entering space: some sculptures are designed to be entered physically or mentally

TEXTURETEXTUREThe 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

Mona HatoumDoormat II, 2000-2001Nickel Plated Pins, glue, canvas

LIGHTLIGHTCan enhance our perceptionof a three-dimensional form,attract an audience, or beused as a material in itself.

Robert Irwin Excursus: Homage to the Square X3 1998-99

Lighting of an object

Mona Hatoum The light at the End, 1989

Using light to engage interaction with viewer

Define or enhance a shape

LIGHT AS SCULPTURE

JAMES TURRELL

LIGHT IS ONE OF THE MOST FUNDAMENTAL

AND ESSENTIAL ELEMENTS IN ART

Spread (2003), installation view4000-square foot environmentCatso, 1967

ELEMENT: COLORHue, 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

CONTRAST WITH COLOR

Michael Graves, Coffee Set glass, silver, and bakelite

Andy Goldsworthy, Poppy Petals, 1994

COLOR AND EMOTIONCOLOR 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

SYMBOLOIC COLORSymbolic color is culturally based. Due to each culture being unique, color association vary widely.

Gerald Clark Artifacts 1999

Shovels, Ribbon, Ink, Photographs

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.