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Educator Guide Permanent Collection Tours 2012-2013

Des Moines Art Center

Created Fall 2012 By Jennifer Cooley

Museum Education Manager

Information and images in this Educator’s Guide may not be manipulated or used in any other format.

Disclaimer 1. As with all artwork, optimal viewing is in person. 2. If you take a guided tour of the Des Moines Art Center, it is a possibility that not

all of these artworks will be addressed on your tour due to time constraints or the artworks may not be on public view at the time of your tour.

3. To schedule a guided or self-guided tour please see http://www.desmoinesartcenter.org/visit/guided-tours.aspx

4. Please note the history of the Des Moines Art Center, architecture, acquisition policy, and job descriptions are now covered in a separate Educator Guide found at http://www.desmoinesartcenter.org/education/educator-resources.aspx

Table of Contents Page

1. Information about the Educator’s Guide 2 2. Goals of Des Moines Art Center Guided Tours 2 3. Student & Chaperone Expectations at the 2

Des Moines Art Center 4. Understanding Labels 3 5. Descriptions and Questions Related to Artworks 4 6. Artwork Comparisons 14 7. Suggested Activities Related to Artworks 16

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Information about the Educator’s Guide

• Each artwork listed in this document corresponds to a color image found in the image document.

• Artist name, artist heritage, title of artwork, year the artwork was created, materials of artwork, and dimensions of the artwork are listed. This information is followed by the credit line (a credit line tells how the artwork became part of the Art Center’s collections).

• A brief description of the artwork is provided, followed by questions.

Goals of Des Moines Art Center Guided Tours

• Introduce students to art museums

• Help students make sense of art by engaging in discussion about art

• Create inspiring connections between art and life

• Teach visual analysis

• Foster and promote creativity

• Encourage on-going participation with the Des Moines Art Center

Student & Chaperone Expectations at the Des Moines Art Center Students & Chaperones

• No touching the art, pedestals, or walls

• Stay on the grey carpet in the galleries

• Stay with your group and use low voices

• Leave large bags and coats in the coat room or in the bus/vehicle

• Only pencils can be used, no pens

• No gum, food, or drinks

• No photography of any kind

• Guards, dressed in black shirts and khaki pants, are posted in every gallery Chaperones

• You are the adult representative for the group; therefore, you are responsible for the group, which includes dispensing any necessary discipline, keeping the group together, and making sure your group is observing the expectations of the museum.

• Additionally, you are here to help facilitate the students’ experience. Please restrict personal or side conversations with your docent or another chaperone until the tour is finished. However, asking questions you feel will benefit the entire group are encouraged.

• Please turn off cell phones for the duration of the tour.

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Understanding Labels Each artwork at the Des Moines Art Center and most art museums, has a label next to it. The label provides important information about the artwork.

Name of Artist→

Title and date → of artwork

How or from → whom the museum

acquired the work

This means the � Pappajohn family

donated money to preserve the frame

and buy glass for the painting

Edward Hopper American, 1882-1967 Automat, 1927 Oil on canvas Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1958.2 Frame conservation and protective glass provided by John and Mary Pappajohn

← Nationality and lifetime

←From what material(s) the artwork is made

← Museum I.D. number: this painting was the 2nd artwork added to the Art Center’s Permanent Collections in 1958

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Image 1

Constantin was born in 1876 in Romania. The area where he was born is known for its rich traditions of folk crafts, particularly wood carvings. He was interested in wood carving and woodworking; he even make a violin by hand as a young adult. A businessman was impressed by his skills and enrolled him in Craiova School of Arts and Crafts, where he studied woodworking and graduated with honors; he then studied sculpture and worked with different materials, like metals, at the Bucharest School of Fine Arts. He often came back to a theme and worked with these ideas for years, which included birds and flying. He said, “All my life I have sought the essence of flight. Flight! What bliss!” Maiastra is part of a bird theme that he re-worked over time. Eventually he broke down the bird to its most basic or fluid shapes, as seen below.

Bird in Space (L'Oiseau dans l'espace), 1932–40 59 7/16 inches, The Solomon R. Guggenheim Foundation Accessed at http://www.guggenheim.org on 7-20-12

In Romanian folklore, Maiastra is a beautiful golden bird who foretells the future and cures the blind. Look closely at Art Center’s sculpture

• Describe the bird and the other parts of the sculpture.

• Why do you think Constantin placed the bird on top of a zigzag piece of limestone and then placed that on top of a tall wooden base?

Think about what a Maiastra is in Romanian folklore

• Why do you think he used that reference for the title of this artwork?

• What kind of song do you think the bird would sing?

Artist: Constantin Brancusi Heritage: Romanian, 1876-1957 Title: Maiastra Date: 1912 Material: Polished bronze with stone base, edition 1 of 3 Dimensions: Bronze: 24 x 7 x 7 inches, Stone: 11 7/8 x 7 ¾ x 7 ¾ inches Credit Line: Des Moines Art Center Permanent Collections; Gift of Elizabeth Bates and John Cowles, 1960.22

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Image 2

Alexander was born in 1898 in Pennsylvania; his parents were also artists, his father was a sculptor and his mother was a painter. Throughout his childhood, Alexander had a small workshop in his parent’s home and made many sculptures as gifts. Even though he had an artistic upbringing he graduated from college with an engineering degree and worked odd jobs, including as a fireman for a ship’s boiler room. On one voyage he awoke to a brilliant sunrise on one side of the ship and a spectacular full moon on the other side. Shortly thereafter, he went back to school to become an artist. While in school, he began a job as an illustrator and spent two weeks sketching people and animals at the Ringling Brothers Barnum and Bailey Circus in Florida. His observations of the circus acts inspired a love of spontaneity, suspense, playfulness, humor, and motion. In 1933, Alexander created a sculpture that moved with cranks and motors. From those sculptures Alexander realized he didn’t need to use motors because air currents would move the sculptures. These new kinetic (movable) sculptures were called mobiles, which is a French word meaning both motion and motive. Alexander’s engineering degree might have helped with the precise balancing needed for mobiles. He explained how he calculated the weight balance: “I begin with the smallest and work up. Once I know the balance point for the first pair…I anchor it by a hook to another arm, where it acts as one end of another pair of scales….” Look closely and notice how this mobile is balanced

• Why do you think Alexander begins with the smallest pieces and then attaches the larger pieces?

• Why do you think he cut out portions of some pieces?

• Most mobiles hang from the ceiling, why do you think Alexander wanted them hung so high? Think about

• Where else in Des Moines have you seen sculptures that move with air currents?

• Do you like sculptures that move? Explain why or why not.

For more information on Alexander Calder see: http://www.calder.org/

Artist: Alexander Calder Heritage: American, 1898-1976 Title: Black Spread Date: 1951 Material: Painted steel Dimensions: 68 1/8 x 143 5/16 x 78 9/16 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1952.15

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Image 3

James was born in 1972 in Portland, Oregon. He went to college at the University of Nevada in Las Vegas, where his appreciation for art grew because of an interesting teacher. James explains, “I have always been attracted to the visual arts, but had until then been entirely confused by them. I found through art-making and experiencing art I could view the world through this new perspective.” He went on to get a graduate degree in art at University of California in Santa Barbara. James began to use felt and yarn in addition to paint because he “had the desire to make a cuddly painting. … By replacing paint with felt, the image became softer, humorous, and able to solicit empathy. The colors of these fabrics are vibrant, but the paintings are not entirely felt. Many of the works have other acrylic painting elements as well as the occasional plastic button or rhinestone.” Look closely at the painting

• What are game are the people playing? How can you tell that?

• In what type of room or building did James place the people? What visual clues in the artwork give you the answer?

• Explain why you would like to join this party or not. James said he used felt and yarn because he wanted to make a “cuddly painting”.

• What materials would you use if you wanted to make a painting that was strong and loud? Why would you choose those materials?

• Explain how materials help you, the viewer, to understand the feeling of an artwork.

Artist: James Gobel Heritage: American, born 1972 Title: The Problem of Leisure, What to do for Pleasure Date: 2011 Material: Felt, yarn and acrylic on canvas Dimensions:108 x 132 inches Credit Line: Des Moines Art Center Permanent Collections; Gift of the artist, 2011.12

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Image 4

Childe (pronounced like the word child) was born in Boston, Massachusetts in 1859. He took art lessons in elementary school but he dropped out of high school to help earn money for his family by working as an accountant; however, he was not good with numbers and figures. Childe then found a different job as a wood engraver and then as an illustrator; during this time he created paintings using watercolor. Since he didn’t have any formal art training, he and a friend traveled to Europe in 1883 where Childe learned from other artists. He returned to the United States and married, he and his wife traveled to Europe together. It was at this time that Childe was inspired by a type of art called Impressionism. The artists who developed Impressionism used a technique that utilized small, quick brushstrokes in paintings that typically captured an “impression” of a scene. There is a mnemonic device (memory tool) to help you remember the characteristics of Impressionism: ELBOW.

E – everyday life L – light B – brushstrokes O – outdoor setting W – weather

Think about the memory tool ELBOW in terms of this painting

• What scene is Childe depicting in this painting? How did you figure that out?

• What kinds of light are shown in this painting? In what areas did you find the light and why do you think he painted in those places?

• Describe the brushstrokes Childe used. Why do you think he painted like that instead of long brushstrokes?

• How can you tell this painting takes place in the outdoors?

• What kind of weather is taking place in this painting? How can you tell?

Artist: Childe Hassam Heritage: American, 1859-1935 Title: Bridge in Snow (Brooklyn Bridge in Winter) Date: 1894 Material: Oil on canvas Dimensions: 32 x 25 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1961.47

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Image 5

Edward was born in 1882 in upstate New York. His parents recognized his artistic ability when he was a child and continued to buy him art supplies as well as instructional magazines and books. After high school he began a correspondence course (like online learning) but soon transferred to the New York Institute of Art and Design where he studied painting. He also worked for an advertising agency where he designed covers for magazines. Edward was reported to be quite shy and very private throughout his life, tendencies that are reflected in many of his paintings. Often he would sit in cafés and other public places and observe people as they moved throughout their day. He was interested in capturing dramatic lighting, like shadows and glowing fluorescent or electrical lights, which sets the tone and instills a sense of mystery in his paintings. Look closely at the painting

• What do you notice about what the woman is wearing?

• What do you notice about where the woman is located? The title of this painting is called Automat. An automat is like a café but instead of ordering from a person, visitors would insert money into a machine to get their food (like a vending machine).

Think about emotions and mystery

• How do you think the woman is feeling? What makes you say that?

• What did Edward do to create a sense of mystery in this painting? What makes you say that?

Artist: Edward Hopper Heritage: American, 1882-1967 Title: Automat Date: 1927 Material: Oil on canvas Dimensions: 28 1/8 x 36 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1958.2 Frame conservation and protective glass provided by John and Mary Pappajohn.

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Image 6

In 1923, Roy was born New York City. He was interested in art as a hobby as a teenager, often drawing jazz musicians as he listened to their live performances in clubs. He attended Ohio State University to study art, but his undergraduate studies were broken up when he served in the Army for three-years during World War II. He returned to Ohio State University to finish his degree and became an instructor at the university. He lived in Ohio until he moved back to New York in 1957. Roy is considered a member of the Pop Art movement. Pop Artists were very influenced by their culture; they looked to advertisements, commercial products, and popular people, among other things, to gain inspiration for their artwork. Pop Artists utilized bright colors and lines to simply capture the likeness of objects in a geometric way. Roy was very inspired by cartoons and comic strips. In fact, in this painting he used Benday dots to shade the sides of the pyramids and the sky. Benday dots were used in comic strips either to color in an image or to show shadow. Benday dots are named after an illustrator that invented the dot printing process, Benjamin Henry Day, Jr.

Example of Benday Dots Accessed at http://en.wikipedia.org/wiki/Ben-Day_dots on 7-23-12

Look closely at the painting

• Do the real pyramids look like the ones in this painting? How are they different? How are they the same?

• Roy considers this to be a landscape painting. Do you agree or disagree and why?

• Why do you think Roy only used three colors in this painting? Describe how this painting would look if he used more colors.

For more information on Roy Lichtenstein see: http://www.lichtensteinfoundation.org/

Artist: Roy Lichtenstein Heritage: American, 1923-1997 Title: The Great Pyramid Date: 1969 Material: Oil and magna on canvas Dimensions: 129 x 204 ¼ inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1970.1

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Image 7

Juan was born in Madrid, Spain in 1953. He left Spain to study architecture and printmaking in London, spent time in New York City and eventually returned to Spain and set up a studio. Throughout his short career, Juan was interested in telling stories with his artwork by capturing people in unique positions or situations. His art tells stories that are often mysterious, as they pose more questions to the viewer than they answer. He once said, “I build metaphors in the guise of sculptures because I do not know any other way to explain to myself what it is that troubles me.” These two figures are in a unique position, as one is carrying the other. Juan also created a sculpture just like this one except it is titled Piggyback (Right), as the person who is being carried looks out over the right side of the person standing. Look closely at the sculpture

• What kind of clothes are the figures wearing? Why do you think Juan dressed them in that type of clothing?

• What sort of emotions do you think the figures are experiencing? What makes you say that?

• Why do you think one person is carrying the other one?

• Why do you think the person standing is on tip-toes?

Artist: Juan Muñoz Heritage: Spanish, 1953-2001 Title: Piggyback (Left) Date: 1996 Material: Bronze Dimensions: 71 x 24 x 22 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Ellen Pray Maytag Madsen Sculpture Fund, 1997.7

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Image 8

Claes was born in Stockholm, Sweden but was raised in Chicago because his father was a Swedish diplomat stationed in Chicago. He studied art at Yale University and the School of the Art Institute of Chicago before becoming a United States citizen and moving to New York City. Claes was one of the first artists to develop soft sculptures that could be moved and change in form (just like Alexander Calder developed the mobile). His sculptures are based on ordinary objects that we use and enjoy everyday but don’t ever think much about, like clothespins, spoons, and paper clips. In addition to his soft sculptures, he creates sculptures made from metal, also based on ordinary objects. In fact Des Moines is home of two of Claes’ large metal sculptures: Crusoe’s Umbrella, 1979, stands in Nollen Plaza, and the grounds of Meredith Corporation’s downtown offices feature Plantoir, 2001, an oversize garden trowel.

Crusoe’s Umbrella, 1979 Plantoir, 2001

Accessed at http://dsmpublicartfoundation.org/ on 7-25-12

Look closely at the sculpture and think about the title

• On which ordinary household object do think this sculpture is based? What makes you say that?

• List the many ways this plug is different from a real plug. Why do you think he highlighted those differences?

Think about the materials

• What are the benefits and drawbacks of making a sculpture out of materials that can be manipulated, or moved?

Artist: Claes Oldenburg Heritage: American, born Sweden, 1929 Title: Three-Way Plug, Scale A (Soft), Prototype in Blue Date: 1971 Material: Naugahyde, wood, chain, plastic, and wire Dimensions: 144 x 77 x 59 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1972.92

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Image 9

Anselm was born in Germany in 1970 and attended the Stuttgart State Academy of Art and Design before transferring to the Karlsruhe Academy of Fine Arts. He now lives and works in Berlin. Anselm is interested in the idea of fine art mixed and made from items that most people would consider trash. This artwork is from a series, each finished piece is painted a different color. It can take up to two years to complete the process for an artwork like this. To begin, Anselm arranges the loose materials that his studio assistants found in the streets around his studio onto a piece of canvas (like a collage). A mold of the entire surface of the artwork – the canvas and all of the materials – is made. From that mold, many pieces can be produced from aluminum. Each piece is sprayed with many layers of rust-resistant car paint; a different color is selected for each piece from the series. With the help of assistants, he burnishes (polishes) the surface with chrome polish until each piece shines. Teacher Note: While it might be difficult to tell from the image included in this educator guide, this artwork includes computer parts, broken bottles and other discarded materials. It also has a very glossy (shiny) finish which reflects any available light. Look closely at the artwork

• What kind of materials did he include in this artwork? Why do you think he used those materials?

• When you walk down the street, what kind of trash do you notice? Why do you think people throw away so much stuff?

• This artwork is painted a shiny turquoise color. What other colors would you use for this artwork? Explain why you would use a shiny or matte polish on top of the color.

Artist: Anselm Reyle Heritage: German, born 1970 Title: Untitled Date: 2010 Material: Cast aluminum, chrome optics, patina Dimensions: 95 ¼ x 75 3/16 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 2011.3

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Image 10

In 1891, Grant was born in Anamosa, Iowa, which is near Cedar Rapids. His family moved to Cedar Rapids when he was an elementary school student. After graduating from high school, he studied art at the Minneapolis School of Design and Handicraft and the School of the Art Institute of Chicago. He even served in the U.S. Army as a camouflage designer during World War I. He returned home in 1919 to help this family after his mother became ill. He taught art at the University of Iowa and helped to make Regionalism, a style of art, well known. Regionalism was a style of art where artists focused on scenes of rural life, mostly in the Midwest. Herbert Hoover, the 31st President of the United States (in office from 1929 to 1933), was also born in Iowa in 1874. A group of business men commissioned (paid) Grant to paint an image of Herbert’s birthplace as a gift for the President in 1931, while he was in office. When the painting was presented to Herbert he turned it down saying, he “did not approve of the painting in which the actual cabin [in which he was born] is obstructed by a house that was not there at the time of [his] birth.”

Current photo of Herbert’s birthplace cottage, view from front of cottage Accessed from http://members.virtualtourist.com/m/e4221/bd3a2/ on 7-25-12

Look closely at the painting

• Where is your point of view? Why do you think Grant gives the viewer that vantage point?

• What do you notice about the trees? How are they the same or different from the real trees outside your school or house?

• Notice the colors Grant used in the painting, what season do you think it is in this painting? What makes you say that?

Think about what Herbert said about the painting

• If you were in Herbert’s place, would you have accepted the painting? Explain why or why not.

Artist: Grant Wood Heritage: American, 1891-1942 Title: The Birthplace of Herbert Hoover Date: 1931 Material: Oil on masonite Dimensions: 30 x 40 inches Credit Line: Purchased jointly by the Des Moines Art Center and The Minneapolis Institute of Arts; with funds from Mrs. Howard H. Frank and the Edmundson Art Foundation, Inc., 1982.2

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Artwork Comparisons Comparing and contrasting artworks is an effective tool for discussing and beginning to interpret works of art.

• Discuss what is similar and what is different between the artworks.

• Talk about materials, color, design elements, creation methods, etc.

• Make other comparisons with artwork from other Educator Guides or artworks studied in your classroom throughout the year.

Artwork Comparison 1 Image 1

Artist: Constantin Brancusi Title: Maiastra Date: 1912 Material: Polished bronze with stone base, edition 1 of 3 Dimensions: Bronze: 24 x 7 x 7 inches, Stone: 11 7/8 x 7 ¾ x 7 ¾ inches Credit Line: Des Moines Art Center Permanent Collections; Gift of Elizabeth Bates and John Cowles, 1960.22

Image 7 Artist: Juan Muñoz Title: Piggyback (Left) Date: 1996 Material: Bronze Dimensions: 71 x 24 x 22 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Ellen Pray Maytag Madsen Sculpture Fund, 1997.7

Artwork Comparison 2 Image 2

Artist: Alexander Calder Title: Black Spread Date: 1951 Material: Painted steel Dimensions: 68 1/8 x 143 5/16 x 78 9/16 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1952.15

Image 8 Artist: Claes Oldenburg Title: Three-Way Plug, Scale A (Soft), Prototype in Blue Date: 1971 Material: Naugahyde, wood, chain, plastic, and wire Dimensions: 144 x 77 x 59 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1972.92

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Artwork Comparison 3 Image 3

Artist: James Gobel Title: The Problem of Leisure, What to do for Pleasure Date: 2011 Material: Felt, yarn and acrylic on canvas Dimensions:108 x 132 inches Credit Line: Des Moines Art Center Permanent Collections; Gift of the artist, 2011.12

Image 5 Artist: Edward Hopper Title: Automat Date: 1927 Material: Oil on canvas Dimensions: 28 1/8 x 36 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1958.2

Artwork Comparison 4 Image 4

Artist: Childe Hassam Title: Bridge in Snow (Brooklyn Bridge in Winter) Date: 1894 Material: Oil on canvas Dimensions: 32 x 25 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1961.47

Image 10 Artist: Grant Wood Title: The Birthplace of Herbert Hoover Date: 1931 Material: Oil on masonite Dimensions: 30 x 40 inches Credit Line: Purchased jointly by the Des Moines Art Center and The Minneapolis Institute of Arts; with funds from Mrs. Howard H. Frank and the Edmundson Art Foundation, Inc., 1982.2

Artwork Comparison 5 Image 6

Artist: Roy Lichtenstein Title: The Great Pyramid Date: 1969 Material: Oil and magna on canvas Dimensions: 129 x 204 ¼ inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1970.1

Image 10 Artist: Grant Wood Title: The Birthplace of Herbert Hoover Date: 1931 Material: Oil on masonite Dimensions: 30 x 40 inches Credit Line: Purchased jointly by the Des Moines Art Center and The Minneapolis Institute of Arts; with funds from Mrs. Howard H. Frank and the Edmundson Art Foundation, Inc., 1982.2

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Suggested Art Activities These art activities are related to artworks in this Educator’s Guide. Feel free to tailor the activities to fit your needs. Artist: Alexander Calder Heritage: American, 1898-1976 Title: Black Spread Date: 1951 Material: Painted steel Dimensions: 68 1/8 x 143 5/16 x 78 9/16 inches Credit Line: Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1952.15

Balance Mobiles Materials:

• Different gauges and lengths of wire with wire cutters

• Mixed media material to hang from the wire Directions:

1. After viewing and discussing Alexander Calder’s mobile with your students, talk about Alexander’s process of making mobiles – he started with the smaller pieces and worked up to the larger pieces. Discuss with your students the different ways they want to approach making a mobile.

2. Demonstrate how the wire can be bent and stretched and how objects can be hung from the wire.

3. Encourage your students to strive for balance with their mobile. Discussion:

• Display the mobiles around the room and talk about similarities and differences.

• Encourage the students to discuss the process of creating their mobiles.

• Discuss how easy or difficult it was to achieve balance.

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Artist: Claes Oldenburg Heritage: American, born Sweden, 1929 Title: Three-Way Plug, Scale A (Soft), Prototype in Blue Date: 1971 Material: Naugahyde, wood, chain, plastic, and wire Dimensions: 144 x 77 x 59 inches Credit Line: Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1972.92

Soft Sculptures Materials:

• Different types of fabric

• Cotton batting

• Cloth glue or needle and thread

• Wooden sticks or metal wire

• Scissors

• Pencils and paper Directions:

1. After viewing and discussing Claes Oldenburg’ soft sculpture with your students, talk about how he used the soft material and other materials to create the sculpture.

2. Have your students sketch ideas for a soft sculpture on their paper. Talk about how their sculpture might need interior supports and how to create that support.

3. Have the students pick out the fabric for their sculpture and begin to cut pieces to create the shape. Use the glue or needle and thread to attach the pieces of fabric together or to attach the fabric to the support. Cotton batting may be used to fill out or provide bulk for the sculpture.

4. Have the students think about if their sculpture should sit on a table, hang from the ceiling or be displayed in another way.

Discussion:

• Display the soft sculptures around the room and talk about similarities and differences.

• Encourage the students to discuss the process of creating their soft sculpture. Do they like to use soft materials to make sculpture or more sold materials, like clay?