UBC Theses and Dissertations

UBC Theses Logo

UBC Theses and Dissertations

Teaching sculpture : a rationale and resource kit McFeely, Susanne Gayle 1983

You don't seem to have a PDF reader installed, try download the pdf

Item Metadata

Download

Media
UBC_1983_A4_7 M24.pdf [ 24.18MB ]
[if-you-see-this-DO-NOT-CLICK]
[if-you-see-this-DO-NOT-CLICK]
Metadata
JSON: 1.0095273.json
JSON-LD: 1.0095273+ld.json
RDF/XML (Pretty): 1.0095273.xml
RDF/JSON: 1.0095273+rdf.json
Turtle: 1.0095273+rdf-turtle.txt
N-Triples: 1.0095273+rdf-ntriples.txt
Original Record: 1.0095273 +original-record.json
Full Text
1.0095273.txt
Citation
1.0095273.ris

Full Text

TEACHING  SCULPTURE:  A RATIONALE  AND  RESOURCE  KIT  by  SUSANNE B.Ed.,  The  A THESIS  GAYLE  University  SUBMITTED  THE  of B r i t i s h  IN P A R T I A L  REQUIREMENTS MASTER  McFEELY  FOR  OF  THE  Columbia,  FULFILLMENT DEGREE  1966  OF  OF  EDUCATION  in  THE Department  FACULTY  of V i s u a l  OF  accept to  THE  of  this  thesis  OF  May  Arts  in  Education  Education  the r e q u i r e d  UNIVERSITY  (?)  STUDIES  and P e r f o r m i n g  Faculty  We  GRADUATE  as  conforming  standard  BRITISH  COLUMBIA  1983  Susanne Gayle  McFeely,  1983  In p r e s e n t i n g  t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of  the  requirements f o r an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make it  f r e e l y a v a i l a b l e f o r reference  agree t h a t p e r m i s s i o n  and  f o r extensive  f o r s c h o l a r l y purposes may  study.  I further  copying o f t h i s t h e s i s  be granted by the head o f  department or by h i s or her r e p r e s e n t a t i v e s .  my  It is  understood t h a t copying or p u b l i c a t i o n of t h i s t h e s i s f o r f i n a n c i a l gain s h a l l not be allowed without my permission.  Department o f V i s u a l and Performing A r t s i n E d u c a t i o n The U n i v e r s i t y of B r i t i s h Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3  lE-6  (3/811  written  ABSTRACT  This  resource  sculpture art a  becomes  curriculum.  analysis  maps,  activities. an  fifty  as  focuses media  on  is  aim  of  model of  the  as  listed  and  examples  of  The  appendix  presents  tional  with  sculpture  The  hope  is  part  of  British  model  for  material  The  will  when,  Columbia  school  the  how,  and  and  art  and  prod-  the  thesis  hundred  and  Another  section  sculpture.  One  Other  media  resources  with  these  media.  diversity  of  local  interna-  and  resource  why  what i t  overview  sculpture  with  fieldtrip  visual  concerning  introduction facilitate  in  crit-  resources,  of  one  work  the  historical, of  and  technique.  show  of  complete  section  their  intention  i s , and  this  for  glossary,  system  critical,  audio  schools'  a  local  producing  and  information  on  over  each  to  is  Vancouver.  of  known  what  that  in  aspects  and  based  approach,  found  a  classroom  entire  sculptors  be,  area  this  and  kit  that  Columbia  readiness,  historical,  written  contemporary  teachers  expression  a  resource  An  ensuring  British  sculpture,  present, the  for  creating  pertinent  environments.  provide  to  technical  developed  both  of  of  information,  sculpture  with  to  The  to  for  reasons  part  sculpture.  are  ture,  is  approach  a  pieces  approach  offered.  Its  domains  reviews,  integral  background  integrated  uctive  presents  definition  is  slides,  an An  criteria-based  ical  kit  is  to  sculpture is  of  becoming  programs.  kit  sculp-  can  created. this an  visual equitable  i i i .  TABLE  OF  CONTENTS  Section  I.  Page  INTRODUCTION Reasons  f o r the Thesis  1  Reasons  f o r Studying  3  Contents Table for II.  1  of t h i s  Study  7  I: An I n t e g r a t e d A p p r o a c h Teaching Sculpture  CREATING  In:  12  Natural  a n d Man  Glossary  of the Language  Defining  Sculpture  Critical  Analysis:  Systematic Approaching A  Preface  VANCOUVER Area  10  READINESS  Tuning  III.  Sculpture  Made  Forms  of Sculpture  to Vancouver  . Scene  48  Sculpture  49 57  1 - The U n i v e r s i t y o f  British  Columbia  IV.  14  45  SCULPTURE  Area  . . . .  Feldman's  the L o c a l  2 - Stanley  12  43  Approach  Area  . . . .  60 Park  83  3 - The West  End  98  Area  4 - Downtown  A  116  Area  5 - Downtown  B  136  Area  6 - VanDusen  Gardens  156  SCULPTURE  172  THE  TECHNIQUES  OF  Introduction Table  II:  172  A Model the  Four  for Introducing Techniques  175  Manipulation  176  Subtraction  20 1  Substitution  220  Addition  230  iv.  Section  V.  Page  SUMMARY  APPENDIX  AND  CONCLUSIONS  255 259  V  SLIDES  THAT  TEACHING  Section  Section  Section  Section  Section  Section  ACCOMPANY T H E MASTER O F E D U C A T I O N  SCULPTUREt  Ills  111:  l l l i  l l l l  Ills  111J  1  2  3  Area  Area  4  Area  5  Area  6  P.  P.  P.  P.  P.  P.  63  1  64  2 1 •-  40  65  4 1 •-  45  85  1  97  21 •  111  1  112  21  119  1  120  21  139  1  140  21  159  1  160  21  - 20  - 22  - 20  - 32 - 20  - 35 - 20  - 36 - 20  - 23  1  P.  185  1  - 20  t  Part  2  P.  208  1  -  Section  _/«  Part  3  P.  229  1  - 12  Section  TV  Part  4  P.  245  1  - 20  246  21  IV:  Section  IV  t  j_|i^0& •  - 20  Part  Section  Q^S  A R A T I O N A L E AND R E S O U R C E K I T  Area  Area  THESIS  16  -  26  Susanne April,  McFeely 1983  ^  f  r  t  SECTION  Reasons  for  This course  in  forms  conceived  and  many  learning  what  created.  As  to  was  sculpture—an  course,  create  Thesis  project  dimensional that  the  their  hours  dimensional  the  excitement  teachers  and  students  my  sculpture  efficacy  of  discordant l;um  in  British  elementary to  with  the  other  nonentity. what basic  they  and  part The  of  a  includes  sculpture  three  does  visual  year's  Book,  art  not  dimensional  a  enable art  the  and  so  and  mind  as  of  at  Since in  why  did  i t is  the  to  desire  with  other  enthusiasm least,  in  the  teaching.  an  sensibilities  inequitable is  province.  expression,  sculpture  prepared  make  to  missing  art  taught  this  are  in  three  yearning  sculpture  sculpture  rang curricu-  in  the  Compared has  been  teachers  i f sculpture  a  aware i s not  of a  program.  Education's  Province as  my  schools  students  of  did  Little' sculpture  p r o j e c t was  Ministry  own,  i n my  artistry  perceived  secondary  Resource  clusion  supported,  I  their  my  and  infectious  what  This  when,  seemingly  period,  of  how,  whose  this  areas  of  invested  of  Columbia.  and  been  so  of  settings.  have  progressed, work  their  studies  realm  knowledge  research,  Throughout  and  the  and  workshops my  be,  graduate  into  upon  research  can  a  entry  effect  of  research  share  during  exciting  sculpture the  three  I  Grades  British  visual  8-12  Columbia,  expression  teachers  themselves  A  Sept.  area  inexperienced to  teach  Curriculum  but in  1981  Draft-  such the  sculpture.  Guide/  an  area  inof  Assistance  in  viewing,  ure  discussing,  i s necessary.  sary  felt  another  gory  that  deals  three  sculpt-  to provide  this  with  The belief  final  that  i s the concern  that  painting,  a survey reason  graduate  creation  from  of t h e i r  students  programs  institutions contents  neces  be  This  project  own  taught  cate-  carving  tech-  to  teachers  experience  with  one p o s s i b l e  undertaken  i n a r t education they  and c e r a m i c s .  program  programs  Faculty  ap-  other  Hopefully  Students  i n elementary,  be  secondary Before  place.  day  fut-  opporthis p a r t of  post-secondary  detailing  are outlined  an  an i n t e g r a l and  i n the  their  Such some  areas  at the  of Education.  to expose  as  and  i s possible  of study.  and s c u l p t u r e w i l l  s t u d i e d i n the f i r s t  have  drawing  In these  trained  i n sculpture.  reasons  i s the  are generally p r o f i c i e n t  fields  Columbia.  should  do  of s t u d i e s  and w e l l  specific  study,  to  of  to i n t r o d u c e the  o r no  being  s c u l p t u r e as  work  in British  a survey 1  available  provides  study  Columbia's  these  I  course.  year  change  of this  had l i t t l e  design,  to these  will  have  trained  i s not possible  situation  i s readily  f o r this  of B r i t i s h  assemblages,  o f s c u l p t u r e o r how  to study  a three  as b o x e d  little  art.  graphics,  University  should  such  who  teachers  interest  tunity  o f m a t e r i a l i n t h e 'how  the scope  opportunity  study  i s a wealth  to students  to such  for this  information regarding  areas  dimensional  proach  art  endeavours  of adequate  e t c . , but very  subject  ure  There  of s p e c i f i c  niques,  who  project  reason  f o r the lack  sculpture.  of  This  a n a l y z i n g , and making  assistance. Yet  much  critically  the  as t o why  specific  sculpture  3. Reasons  for Studying  Many many as  of  well  listed  reasons  them to  the  below  sculpture We  values, asies,  given  exclusive  other  art  a l l art  Communicate  for studying  sculpture,  however,  to  since  pertain  sculpture  disciplines. a  discussion  forms and  frustrations,  they  Encompassing of  those  reasons  more  are  specific  to  to:  express  concerns,  feelings,  thoughts,  conflicts,  hopes,  beliefs,  dreams,  fant-  inspirations. React  3.  Read  to  4.  more  statements  be  philosophical,  they  expressive,  religious,  utilitar-  political  or  of  a  nature.  Develop anew  experiences.  visual  ornamental,  documentary  ive,  not  be  alone.  2.  onment  can  f o l l o w e d by  study  1.  ian,  are  Sculpture  in  visual  order  to  literacy be  discriminating,  more more  whereby  we  critically capable  of  perceive aware,  making  the  more wise  envir-  selectvalue  j udgments. 5.  Provide  are  posed,  are  found.  J  problem  personal As  solving  decisions  i n the  situations  are  following  made,  i n which  individual  challenges  solutions  quote:  A f r i e n d h a s p o i n t e d o u t t h a t w h a t I do i s 'more therapy than i t i s a r t . ' I was, at f i r s t , q u i t e c o n f u s e d about t h i s , f o r the word ' t h e r a p y ' i s a c o m p l e x w o r d o f t e n m i s u s e d and o c c a s i o n a l l y used as a p u t - d o w n ; e s p e c i a l l y when u s e d w i t h t h e w o r d 'art'. I b e g a n t o r e l a x a b o u t t h i s when I d i s c o v e r e d t h a t the r o o t of the word ' t h e r a p y ' i s 'to cure.' To c u r e , n o t i n t h e s e n s e o f m a k i n g w e l l something that i s s i c k , but to cure i n the sense of to r i p e n . To r i p e n as t h e s e e d r i p e n s i n t o t h e f r u i t , as t h e c h i l d r i p e n s i n t o t h e a d u l t , as o u r v o i c e r i p e n s i n t o o u r s o n g . If t h i s i s w h a t i t m e a n s t o be a t h e r a p i s t , t o a i d i n the p r o c e s s of r i p e n i n g , then i t i s something to work f o r . (Berensohn, 1968, p . 146.)  I  believe  these  She  states  and  development  wherever lead"  that,  their  (1977, The  in  we  quote  able  to  ive  since  such  to  early  in  i n her  and  The fostering between  as  449).  and  the  growth  may  be  and  they  McFee,  to  comprehending  paper that  The  and  the  may  been  to  of  to  the  the  three  and  stimuli  be  creat.  . .  arts  to  life  1947,  p.  9).  Morris  Visual i n her  dimensional  such  our  may  "Sculpture  children  concerning  of  designed  children.  Response  stimuli.  Envirstudy  stimuli This  needs  to  be  acknow-  s c u l p t u r e has  to  do  with  teachers.  for studying  history.  to  design,  that  i n young  part  the  s c u l p t u r e we  dimensionality" (Rich,  dimensional  an  nature,  product  the  and  than  sculpture is  approach  of  forms  i n nature  'form-blind'  of  argued  intimate  comments  reason  forms  the  u n i n v e s t i g a t e d ; to  of  study  positively  by  are  are  dimensional  responsiveness  majority  three  go  i t s very  i s evident  the  three  study  Preschoolers  and  in  people  architecture,  most  form  of  sculptural  i s , by  i t has  i n students  art  is  i f noticed  students'  encouraged  second  education wherever  full  The  more  i s three  actively  interest  quoting  sculpture in particular  Through  and  questions  ledged  p.  Indeed,  onment , w r i t e s  and  "Many  the  nearest  responded  them.  world.  Interest  by  of  from  i n a world  Sculpture  i t s essence  (1981),  studying  (1937,  heighten  the  summarized  for creating  environment  form.  crafts.  (is)  for  live  forms-in-space  be  purpose  individuals  Moore,  object-filled  best  323).  man-made  of  key  explore  colour-blind"  can  aptitudes  We  Henry  study  of  p.  seldom  our  "The  reasons  following: but  reasons  understanding Since  of  the  prehistoric  relationship  time  sculpture  has  been  an i m p o r t a n t  "(sculpture ideas  He  itself  through  goes  on  to s t a t e  almost  sometimes  (Ibid.,  10).  So  p.  does  learning  sent art  an  One  not  needs  sional by  pull,  with (p. to  any  need  building  on  c u t away,  that  blocks  Rb'ttger  create  three  ( 1962)  and  critical  especially mass"  have  senses,  three  child  to  pre-  dimensional  join  this  that  Similarly  of  i tis  sculpture.  to touch,  and b u i l d  the v a r i e t y  sand  exploring his  not j u s t  including  model,  their  of three  own dimen-  support  this  statement  children  have  manifested  through  their  structures claim  o b j e c t s when  the urge  (p. 7 ) .  reasons  important  own  young  (1972)  making  dimensional  testimony"  invalid.  their  mould,  supports  i t s essential  other  of students  dimensions  o r by  language  t h e r e f o r e seem  "For generations  i n three  entity  heritage  form,  the part  a n d Buchman  an  Fore-  of our a r t i s t i c  a very  about  shape,  (1957,  and  study.  f o r themselves  D'Amico  7).  shapeless  talk  a  revealed  It i s equally  A l l the c h i l d ' s  to simply  interest  "children  to observe  experience  art.  . . .  the h i s t o r i c a l  to produce  of i d e a l s  as b e i n g  of a l l  a study  of t h e i r  writes,  time"  involved in his explorations.  acknowledging  their  part  world.  become  forms—to  with  only  i s a great  pound,  has  i n the absence  f o r students  adequate  There  culture  sculpture.  inherent  form-filled sight,  "as w e l l  to h i s t o r y  consider  dealt about  reasons as  To  every  a l lrecorded  that,  a key  Gaunt  repository  not i n c l u d e s c u l p t u r e would  f a r I have  for  through  ( i t ) i s also  which  cultures.  and w o n d e r f u l  form  character,  that  o f many  i s ) a vast  i n tangible  word). in  part  he  that  fascination on  the beach"  students  maintains  and a b i l i t y  to g i v e  need  that form  to  6. A  further  program A  wide  is  the  phere  that  variety  technique both  reason tools of  (see  not  Furthermore,  to  two  the  of  ment.  'Mistakes'  to  the  Reed found Many  as  Towne  four  (1974)  his  "less  are  reluctant  are  apt  to  build,  who  declare  child with of  addition  are  never  already  formed  ject  the  is  more  n a t u r a l and  achievement  of  highly  "the  and  a  found  child's  intriguing  view  that  sculpture  from  D'Amico  and  or  The  or  sense  of  objects. own to  making the  should  Buchman  mystery This  taught  and  experibe  committed  the  use  paper"  of  (p.  15).  experience, whereas  and  when  that  they  endorsement Bunch  (1975) of  the  he  is  working  There  is  a  sense  transformation  transformation sense  Further i n our  As  enthusiasms  the  a  ad-  readily  Another  10).  contains  (1972):  feel  one.  in  and  project.  figure  than  (p.  student. be  a  personal  abilities  materials"  can  in Lidstone  satisfied  atmos-  freely  i s not  blank  human  model  enabling  materials.  to  at  students  a  thus  r e o r g a n i z a t i o n of  student  from  art  addition  relaxed  them  the  than  the  of  an  inexpensive.  manipulation  attempts  found  creative  found  expense  view  draw  carve  fully  the  may  aware,  technique,is  that  in  into  free,  student  found,  to  with  the  frightening  already  are  are  techniques,  first  have  be  the  the  objects.  may  of  work  modelling  students more  to  student  further  is  teachers  working  in particular,  the  assembled  objects  when  consider  p r e s e r v a t i o n of  and  materials  opportunities for  through  temporarily  and  students  having  provide  few  activities  and  dition  'erased'  are  Glossary)  teacher  of  for incorporating sculpture  of  into magic  support  schools  an  is  to  of ob-  which the  gained  7. From the e x p e r i e n c e of the a u t h o r s , and from extensive s t u d i e s a n d r e s e a r c h made o v e r a p e r i o d o f more t h a n t h i r t y y e a r s a t the A r t C e n t e r o f t h e Museum o f M o d e r n A r t , i t h a s b e e n l e a r n e d t h a t c h i l d r e n o f a l l ages have i n t e r e s t s and a b i l i t i e s that n e c e s s i t a t e three dimensional expression. Certain individuals, in fact, are more t h r e e - t h a n t w o - d i m e n s i o n a l i n t h e i r perc e p t i o n , and e x p r e s s i o n o f t h e i r c r e a t i v e d e v e l o p ment d e p e n d s on t h e i n c l u s i o n o f a p p r o p r i a t e outlets, (p . 7 . )  base  And  finally  the  (as  in  this  study)  Perry.  In  critic  Art  Stone ical in  Sculpture Garden,  dealing  study is  an  with  indirectly  held  refers  three  sculpture  article  Symposium  Perry  of  to  on  at  the  with  advocated  the  by  Vancouver  Vancouver's problem  dimensional  local  the  works  as  its  local  art  International  Van  Dusen  general  Botan-  public  has  art:  The c o n c e p t of s c u l p t u r e i s not i n the V a n c o u v e r art temperament. Few i n the l o c a l a r t a u d i e n c e r e a l l y a t t e m p t any c o m p r e h e n s i o n of the three dimensional art o b j e c t — p a i n t i n g apprehension i s the„ n o r m , a n d t h a t i s b a s i c a l l y w h a t p e o p l e feel most c o m f o r t a b l e h a v i n g n e a r them. T h i s i s not i d i o s y n c r a t i c o f j u s t B.C. I t i s an accepted a e s t h e t i c problem i n a l l art centres. C a l l i t the 'tyranny of the r e c t a n g l e ' or the ' f i x e d frontality of the f l a t f o r m a t ' or j u s t p l a i n c o l d f e e t to any object that intrudes i n t o your space. Whatever. The f a c t r e m a i n s t h a t s c u l p t u r e i s t h e m o s t m i s u n d e r s t o o d of a l l v i s u a l a r t forms. (Gallery Gazette, S e p t . 19 75 .) Contents  of  Table This  I  Study  immediately  integrated  three  approach  follows for  domains—historical,  Eisner 1974 ,  This  used pp.  niques,  in  The  concepts,  expression,  a  elements  locally  based  contents  teaching  critical  Kettering  327-338). . Under  the  Project  these and art  of  sculpture  and  is  and  headings  p r i n c i p l e s of heritage,  and  that  on  the  Elliott  Zernich,  the  design, the  study.  based  productive —  (Hardiman  three  this  media, modes  techof  rationales  of  sculpture veying being  have  the the  Creating natural  been  visual  organized  expression  introduction Readiness.  and  opportunity  made  forms  for  both  the  the  elements  and  its introduction of  the  sculpture--what Feldman's in  his  of  this  the  book  creating  local  scene  Vancouver  presented  sult are  Section the  could  four  be  listed  and  of  and  in  Visual  readiness concludes  is  The  A  II  and  I  handling  to  provide  become  an  famil-  glossary  facilitate  definition next.  (1971)  preface  sur-  entitled  analysis,  Experience  Section  is  The  to  be—is  critical  section.  to  included  i t must  to  order  design.  sculpture.  what  II  students  of  Section  s e l e c t i n g and  advocated  approach  IV  i s based  as  a  IV  also  in  mo de1  on  only,  of  when w o r k i n g  this  section  bibliography  resources  and  that  work  with  that  hope  that  teachers  four  media  are  where  can  corporate  the  sculpture  emphasized  in  so a  is  to  the  of  Edmund as  presented  also  part  approaching  introduces  As  Section  also  is  Vancouver Table  representative  III:  with  technique.  each  presented  in  includes  possible, This  detail  throughout  print  own  this  of  The  productive  re-  focii  media  that  media with  an  audio sculptors  is provided  four  a  The  major  activities  thesis.  as  materials,  examples  and  The  conjunction  models.  critical  and  various  information  their as  the  II,  sculpture  model.  and  develop  historical,  II.  sculpture  which  media.  outlined  Table  becomes  techniques  used  annotated visual  of  method  Sculpture.  Section is  of  follows  language  Varieties  Section  p r i n c i p l e s of  that  systematic  is  one  sculpture.  thesis,  teacher  and  i t can  of  activity  man  with  demonstrate  area  the  The  iar  acquiring  to  to  in  the  using  the  models  in-  domains  of  In only of  the  for  the  summary  the  teacher  limitations  developed  regarding  riculum.  The  in  chart  ture.  and  form  but  of  the  the  also  the  appendix of  conclusion for  provision includes  cultural  and  reference  is  information  regarding  a l l types  local  tor,  and  dates,  local,  and  national  'trademarks.'  media,  d e s c r i p t i o n of  k i t and of  the  of  a  areas  complete  historical to  sculpture  page  to  be  an  of  sculpwith  emphasis  include  the  cur-  compilation  teachers  'style', and  made  sculpture  with  headings  technique,  yet  not  is  heritage  provide  sculpture The  posed  Mention  thirty-eight  attempt  sculptors.  nationality, a  an  a  are  students.  resource  This  on  questions  sculp-  female,  sculptor's  Table An  Integrated  Approach  Productive  I  f o r Teaching  Sculpture  Critical  Elements  Techniques*  His t o r i c a l  Principles  1.  shape  5 . time  1.  balance  2.  value  6 . texture  2.  harmony  3. s u b s t i t u t i o n  3.  space  7 . colour  3. v a r i e t y  4.  4.  line  8. mas s volume  4.  economy  5.  proportion  6.  movement  1. 2.  manipulation subtraction  addition  Modes  Medi a  of  Expression  natural  1.  realistic  1.  formali s t  2.  man  2.  naturalistic  2.  functional  3. i m p r e s s i o n i s t i c  3.  self  4. e x p r e s s i o n i s t i c  4.  religious philosophical political  5.  documentation  6.  ornamentation  Concep t 1.  in  2. b a s  * **  the  5.  abstract  round  relief  becomes  the basis  in Vancouver**  Rationales  1.  made  S c ulp t ure  expression  f o r Table I I .  focus of S e c t i o n I I I ; reference ( r e f e r a l s o to the appendix).  i s made  to i n t e r n a t i o n a l s c u l p t u r e  i n Section  IV  11  References  Berensohn, and D'Amico,  P.  Finding  Schuster, V.,  &  creative Society Feldman, and Gaunt,  idea.  J.,  of  New  A  new  York:  Simon  dimension  Greenwich:  visual Harry  to  New  T.  C.  Abrams,  York  in Graphic  195  (Eds.).  Working  sculpture.  1976. The  A  considerations  development,  Publishing  Toronto:  image  London:  Curricular  big.  as  7.  rationale, Stipes  Art  I n c . , Pub.,  sculpture.  Ltd.,  education:  Bunch,  experience.  N.  study  Champaign:  environmental  and  Co.,  1974.  teacher's  guide  Van  Nostrand  and  environment.  to  Reinhold  19 75 .  J.K.,  &  catalyst Inc., Moore,  action.  York :  arts  &  clay.  Assemblage.  Zernich,  evaluation.  McFee,  in  yourself  &  visual  Co. ,  with  U n i v e r s i t i e s - Press  G.W.,  Lidstone,  way  I  19 72.  New  Teach  Hardiman,  A.  Varieties  English  for  teaching Ltd.,  Section  1972.  Buchman,  E.B.  W.  one's  for  Degge, for  R.M.  Art,  teaching.  culture  Belmont:  Wadsworth  A  Publishing  Co.  19 77.  H.  The  sculptor  speaks.  The  Listener,  August,  1937,  XVIII. Reed,  C.,  &  Towne,  Worcester: Rich,  J.C. Oxford  Rottger,  E.  The  B.  Davis  Creative Corp.,  from  Publishers,  materials  University  Publishing  Sculpture  and  Press, clay  Inc.,  methods  of  objects.  1974. sculpture.  New  1947.  design.  1962.  found  New  York:  Reinhold  York:  12.  SECTION  Tuning  In:  This ents  Natural section  t o be  more  II:  a n d Man-made  presents  receptive  be  bringing  into  the classroom  ents on  should  trips  their have  forms  to the beach,  own  homes,  past  or i n t r i g u i n g .  ibles  i n a show-and-tell  a n d B,  and of  below.  make  group  these  in  the  to p r e p a r i n g  sales,  time  lot.  Alternatively,  share  then  they  readiness  activity  and  could  form  include  A  find in  They  may  t o be  un-  collect-  activities  i n small  labelled  a summary  some  Stud-  find  prized  through  c o u l d work  p r e s e n t a t i o n s to the c l a s s . objects  they  consider  work  man-made  they  stores.  their  and  objects).  Forms  they  and  Forms  or g r o c e r y  could and  natural  them.  holidays that  that  of c o l l e c t i n g  recommended  or vacant  the s t u d -  I t i s suggested  or both  interest  Students  student-found  creating  either  that  park  usual  A  approach  f o r some  a t garage  t r e a s u r e s from  Forms  the r e s p o n s i b i l i t y  following  choose  READINESS  to s c u l p t u r e .  each  (see l i s t s  given  one  students  forms  CREATING  of  groups  display this  o f the terms  listed  glossary.  Natural  Forms  bone s  cones  rocks  shells  weeds  b ranches  nuts  driftwood  gourds  seeds  twigs  fruit  pods  fungi  ve ge t a b l e s  Activities: 1.  Ask  yourself  what  makes  these  forms  c r e a t e d by  nature  so  13. fascinating. think  a  2. to  find  and  or  shell,  Look  at  each  the  3.  Look  at  each  i t , change  form  natural  and  at  room.  film  later  jected  on  on  viewer.  the 5.  a screen  Repeat  clusters forms.  of What  some a  of  and  of  of  more  examine  do  you  i t i n order  (consult  points the  with  these  of  Table  I  view--walk  objects  4,  light  so  that  changes  changes  they  Note  the  the  n e g a t i v e shapes  impact  can  be  on  slides  pro-  of  form  natural  spaces  both  in a  in perception  through  the  grouping  conditions,  focused light  in scale,  objects.  the  objects  between  in  the  created?  Forms: and  other p l a s t i c ,  containers  cardboard, electrical  glass, components  tools  flatware  toys  tableware  motors  small  appliances  nuts,  bolts,  machine  Why  shape?  design  different  change  3 and  interesting  cartons  paper  under  f o r example,  or  another?  particular  different  Experiment  how  numbers  two  Man-made egg  Record  of  level.  form  note  from  position/level  artificial.  darkened and  the  that  principles  form  h i g h e r / l o w e r / a t eye Look  you  individually  and  the  remind  e t c . has  form  elements*  glossary).  4.  B.  one  seed  the  around are  Does  parts,  gadgets  ornaments  *Consult  screws  utensils  the  Glossary  for definitions  of  underlined  words.  14 . Activities: 1.  Repeat  man-made  numbers  2 to 5 of previous  activities  but using  forms.  Summarizing striving  Activity:  t o compose  Combine  a balance  n a t u r a l a n d man-made  between  organi c  and  objects,  geometric  shapes. Glossary As ant to  of t h e Language stated  that  i n t h e new  "a s t u d e n t  use v o c a b u l a r y  talk  about,  None  of this  erence.'  ent  that  terms The  should  critically  descriptive  glossary  more  be  the basis  I t i s , however,  result  of f i v e  of  viewing,  that a  needed  teacher  make  years  to decide  about  If others fifteen  vocabulary  It i s evidlist;  a s t o how  some  written. of sculp-  as p o s s i b l e ;  i n contact  a list.  ref-  tools,  vocabulary  I t may  of  a  of s c u l p t u r e ; with  terms  be d i f f i c u l t f o r  For this  teachers  reason  I  can i n c r e a s e  i n sculpture.  an e x h i b i t i o n  of a c t u a l  i s not a v a i l a b l e t o twenty  i n this  and t e a c h e r  and coming  t o use such  sculpture.  'terms  list.  and complete  and u n d e r s t a n d i n g . how  about  of m a t e r i a l being  a student  the f o l l o w i n g suggestions  student  i n this  ability  t o be a b l e t o  but techniques,  as a c o m p l e t e  as s u c c i n c t  of reading  need  i t i s import-  o f and  a r e common  be i n c l u d e d  f o r volumes  as b o t h  defining  there words  could  i s not presented  ture.  Students  are included  terms  knowledge  and ask q u e s t i o n s  i s possible unless  many  a r t curriculum  demonstrate  analyze  and s u p p l i e s  could  secondary  i n sculpture."  Not o n l y  equipment,  of S c u l p t u r e  arrange  photographs  sculptures  done  a  wall'  from  'gallery  magazines,  by s t u d e n t s  or  or display  of  exhibition  15. catalogues, Each of  students, each  by The  be  the  the  student  point  Another  activity  have  students  create  of  d e s c r i p t i o n on  a  these an  unlabelled  appropriate  Table  I which  ganization uctive  of  flashcard. includes  domains  of  I  key into  of  could  students'  sculpture  one  assist  the  be  adequately  whatever  and  the the  in  final  the  c l a y , wire  suggestion in  productive,  teacher  vocabularies.  or  students  the  is  a  in  time  flashcards  paper a  to  and how  and  example follow-up  classmates  critical,  determining  and  described.  with  consult  glossary.  sub-headings,  asked  display.  at  As  by  deemed  descriptive  the  flashcards.  found  their  only  desThese  time  the  flashcard  labelled  groups  glossary).  study  display  the  terms  sculpture,  reference  to  could A  to  sculpture.  teacher,  that  the  or  of  photograph/sculpture  be  one  the  sculpture  read  the  by  removed,  a plasticine, any  variety  and  a week  actual  would  creations  Table  be  could to  I  students  then or  a  flashcards  Table for  for  should  teacher  to  using  i n place  of  'labelled'  (consult  a photograph  Conversely,  be  class,  teacher  cards  describe  a  the  could  necessary words.  or  newspapers  could  sculpture  flashcards  ask  and  photograph/work  cribe  to  posters,  and  The  prod-  terms to  or-  of  increase  GLOSSARY  17.  ab s t r a c t  consult  Table  I  -"Includes  a l l sculpture,  because  conversion  from  the  ably  the  nically in  nature  greatest only  nature  like  interpretation, rearrangement, abstract" -the  Section  III:  popular  expressionist  United  s culp t ure  and  4  sculpture  States  p.  image,  the  the  -  be  1950's  when  were  its origins  result  i s known  of  as  11). or  source  at  insGeorge  Centre,  A.  geometrie  and  of  e.g.  Pacific  1960's  improvisation,  structure  tech-  simplification,  Downtown  can  prob-  But  has  recognizable,  sculpture  Area  during  loose  1968,  longer  Untitled  abstract  elaboration  device,  Norris'  -abstract  is  is  a l l .  generalization, and  i s no  of  which  realism,  (Coleman,  original  piration  sculpture  initial  inanimate  abstraction  that  and,  to  the  combined  or  organic  in  the  spontaneity, with  new  materials  addition  consult a  Table  technique  developed -an a  in  I;  used  often  order  Section  assembling;  putting  in  a  together  to' p r o d u c e  IV  construction of  two  to  as  or  of  more  fabrications; materials,  discards  -commonly  referred  sculpture,  assemblage  18, amorphous  without  armature  a  framework  ial  Art  "A  Deco  in  style  zag  of  and  and  rives  for  form;  shapeless  supporting  decoration 1930's  and  geometric  prevalent  ornament.  that  of  Decoratifs  held  in Paris  assemblage  see  b alance  a  p.  the  the  I t s name  E x p o s i t i o n de in  1925"  zigde-  Arts  (Kalman,  addition  -used and  a  in  273).  principle  of  mater-  c h a r a c t e r i z e d by  from  1978,  malleable  modelling  1920's  Baroque  definite  in  in  ized  by  curved  order:  relation  relation  order  style  of  and  of  to  the  art  to  consult weight  the  and  or  other  elements  Table  of  I  gravity,  principles design  architecture  character-  much  ornamentation  and  the  lines;  especially  popular  use  of  during  1550-1750  bas  see  relief  biomorphic  form  an  in  abs t r a c t  related than  bisque  a  relief  to  they  clay  form plant  are  object  to  whose and  contours  animal  geometric  that  has  been  are  more  configurations shapes  fired  once  19. to  solder  melting  an  with  a metal  that  has a  high  point  alloy  consisting  chiefly  of copper  in relief  so t h a t  the  and  tin  a  carving  design  i s usually  colour  from  the  o f a column  decorative  a process  material  desired  shape  form  being  that  and  or  pilaster support  the removal  a block,  of  until  the  i s achieved  into  solid,  a powdered  different  o f an u p r i g h t  from  results  poured  become  head  of r e d u c t i o n ;  surplus  a  of  i t s background  top p a r t  -the  i n a layer  raised  from  a watery  a mould,  and then  substance  mixture  allowed to  removed  made  of burned  lime  clay  -when, m i x e d  with  water  with  water,  and sand  i t forms  mo r t a r -when is  called  like -a  mixed  stone  when  as c i m e n t  sculpture  and g r a v e l i t  concrete ; the mixtures  particularly  known  sand  harden  dried fine  grained  cement i s  fondu  i n clay  that  has been  fired  20 . chas i n g  ciment  cire  to  fondu  perdue  ornament  see  ure  wax  casting  i s modelled  investment  classicism  that  a form  colour  compound,  usually  from  bits  substances  surface  i n an u n u s u a l  special  effect  -the  emotion, Table  natural  applied  lative,  hollow a  of design  ing  by m o l t e n  metal  the study of exemplars  of rather  are pasted  flat,  on a  and s c u l p t u r e and  which  atmosphere;  I colour  colour  and c u r v e d  i s usually  when  producing  or cast  like  preferred manipu-  sculpture  the i n s i d e  h a l f of  ball  theoretical other  out  relationship,for  mood,  subtractive,  hollow  fig-  i n an  burned  Greco-Roman,  lightweight  an e l e m e n t  encased  replaced  i n which  to  embossing  the o r i g i n a l  and then  an a r t f o r m  consult  conceptual a r t  i n wax,  of a r t derived  evokes  con cave  whereby  i t c a n be  antique,  collage  by e n g r a v i n g ;  cement  lost  so  metal  than  format;  a r t that  i s rarely  i n a blueprint, also  called  realized  draft  o r draw-  'idea a r t '  21  Constructivism  principally out  contemporary  of  content  the  of  a  Russian  movement  which  grew  collage  this  generation  meaning  or  or  this  decade  significance  of  a work  of  art  contour  -is  produced  -it  cannot  the  outline  by  be  form  but  is  intangible  described with  or  periphery  of  accuracy  a  figure  or  object  curving  convex  outward  like  the  surface  of  a  sphere  critic al  domain  Elliott ing  Eisner's  Project  in  which  of  art  Cub i s m  the  a r t work's  art  works  grew  out  Braque of  of  to  of  objects  conception 1973,  p.  themes,  efforts  replace  Impressionist  face  as  of  43).  of  the  form  with  with  art  works  learn  of  a more  the  other  which  Picasso  and  visual with  effects the  intellectual  colour"  to  and  forms  purely  and  sculpture  materials,  preoccupation with  Ketter-  students  relationship  the  the  aspect  a l l abstract  of  in  experiences  encouraged  symbols,  "parent  used  ( 1 9 6 9 ) ; an  meaningful  are  analyse  term  (Walker,  sur-  22.  Dada  (French: during -a  hobby-horse)  W.W.  of a period  lasting  deliberately tended  density  is  d e s i gn  ial  used  to  documentation  a  than  arrangement,  icates  consult  Table  declares  that  ascertains  e c onomy  i n -  scandalize  as w e l l  sculptural  as by t h e  quant-  the q u a l i t y  of the mater-  an o r d e r i n g  which  which  a  principle  commun-  or  appearance  sculpture;  by i t s e x i s t e n c e took  a certain  e.g. George 1; L o r d  I I I : Area  of order;  of which with  form  an e v e n t  I I I : Area  Section  effect  and a n t i - s e n s e  I  what  like,  in  purpose  was  f o r producing  a r t form  Section  and  1915-1922 w h i c h  closely  the normal  rationale  looked  of h y s t e r i a  content  change  -any  and  b y how  a r e massed  rather  distort  anti-art  to outrage  ity  an  between  determined  forms  i n Zurich  I;  product  shock  developed  place or  individual VI f o u n d i n Stanley  found  2.  consult  Table  i s to achieve  the simplest  design  I the  t h e maximum  23.  elaboration  embossed  the  addition  a  surface  a  design  design  engraved  a  and  environmental a r t  that  ship  a  carved  below  into  so t h a t t h e  the surface  an o b j e c t  the design  with  the surface  alters  between  the landscape  site  consult  on t h e a r t i s t ' s so t h a t  i n an a t relation-  and work  of expression;  emotions  a  i s cut into  to e s t a b l i s h a r e c i p r o c a l  -based  figurative  on a theme o r  an o b j e c t  above  so t h a t  which  mode  plied  details  into  i s raised  tool  tempt  expressionistic  carved  design  sharp  o f more  there  moods,  Table  I  opinions,  i s inherent  and  or im-  emotion  recognizable  subject  matter,  i . e . rep re s-  entational -the  opposite  referred  flux  a  t o as  substance  help  metals  oxidation  forge  to  form  after  being  non-figurative  usually  abstract  such  as b o r a x  or rosin,  fuse  together  by  used to  preventing  as i n s o l d e r i n g  o r shape  the metal  metal  with  has been  hammer  heated  blows  24.  1.  "The manner  his a  subject  work  matter  of a r t .  organization, ipulation 2.  i n which  of  or content  Form  composition,  a n d man-  materials.  in  an a r t work  p.  152)  common  meaning  tangible,  one  of the r a t i o n a l e s  ing  consult  Table  or  groupings  (Mayer,  1969 ,  f o r producing  sculp-  I  main  out of forms,  having  shapes,  discernible  sculptor's  designing  o f the word,  a r e i t s forms,"  -is  -the  i n creating ofh i s  i n d i v i d u a l masses,  ture;  presents  i s the product  design,  I n t h e more  the  the a r t i s t  interest  i s t h e work-  the organizing  of objects,  and  e.g. Minimal  an i r r e g u l a r , u s u a l l y  sculpture  curvilinear  outline  a  rationale  f o r producing  sult  Table  time  influenced  has  I; anything  artistic  in  1909  -the  sought  was  con-  a t one design  and  use  movement  Futurists  that  by an a r t i s t ' s  a practical  an  sculpture;  originating i n Italy  opposed  to depict  t r a d i t i o n a l i s m and  dynamic  movement  by  25  eliminating and  geome t r i e  language  stressing  of  the machine  one  of 2 kinds  cles  and s i m i l a r  straight  emphasizes  the m a t e r i a l  i s stone,  tactile,  colour,  "Monumental  ful,  sculpture  f o r the f i r s t  tion:*  (Mayer,  shaped, known  dried  fired mixed  in  circontrast  which  the  whether the  or c l a y ; the qualities  i n the round time  since  of  I t had a  and g r e a t  concern  was  antiquity grace-  emotional  the I n t e r n a t i o n a l f o r weight  as f o r r e a l i s t i c  Style and  observa-  1969, p . 1 7 2 ) .  but u n f i r e d  t o be v e r y  crushed oughly  as w e l l  from  period.  elegance  a renewed  volume,  character-  retained  although  showed  art  forms  bronze  the Gothic  appeal,  violence  and' t e n s i l e  are  sinuous  balance  and  created,  material  during  grog  i s being  material  and  triangles,  regular  abstract art  revived  greenware  lines,  organic  the  Gothic  the speed  of abstract  by  sculpture  form  age  ized  to  glyptic  by  conventional  objects;  fragile  clay into  clay  that  i s added  unformed  clay  and to  thor-  increase  26 .  its  strength,  handbuilt  a  harmony  is  in  such  the  among  historical  domain  and  biography,  a  of  beams  in  the a  of  context,  Ketter-  systematic  works,  study  used  only  to  interpret  subject  example  the art  and  to  artobjects  the  produce  The  Section  a  consult  vague  relev-  three  allowing  what  sees  he  a portrait only  are  Table  visual  thereby  clues  sculpture's  in  used  art  expression:  a  -e.g.  proportion,  dim-  images  of  which  elements  art  are  of  in  I  conformity  includes  the  cultural  -possesses  -for  Table  of  is  good  term  individual  history  mode  use  there  (1969);  ists'  ensional  for  balance  Eisner's  their  consult  the  plus  of  laser  of  that  parts  Project  ant  impressionistic  order;  study  in  holograms  a way  Elliott ing  of  result  the  unity,  useful  sculpture  principle  it  particularly  or  a  semblance the  observer  figure  given  I  as  to  study the  content  Skater III:  by  Giacomo  Area  3  -  Manzu,  The  West  found End  27 . to  show, a s p e r f e c t  than  o r more  into;  bas  relief  see  engraved  (low r e l i e f ) ;  foreground  shapes  a continuous  -although  the bas  dimension  of depth,  does  a  design  into the  Table  this  has  the  depth  the back  I  project out-  background  relief  not include  i t is  consult  or f i g u r e s  ward'from  i.e.  perfect  i s true  cut  it  nearly  plane third  is  shallow;  of the  carving  frontal  is incised,  a hard  material  etched,  or engrave d  so  i t i s below  that  surface  consult  Table  -sculpture four  that  i s manipulated  on  at  least  sides  -there view  I  a r e an  leading  an  outer  an  a r t form  States  infinite into  covering  Kurt  (see  Section  used  popular  during  from  the  number  i n casting  t h e 1950's  IV:  Part  each  other  i n Europe  Schwitter's  of views,  which  and  the  was  derived  use of s t r e e t 1 -  United  Addition)  debris  28. kinetic  "any  s c u l p t u r e which  process not  of  change—any  static.  pand,  It  fuse,  needed ical,  for  or  can  change  itself  may  take  it  take  a  or  in  sculpture  be  natural,  fraction  of  ex-  energy mechan-  The. a  is  grow,  The  chemical.  the  that  light,  sound.  may  a  involved  move,  make  electrical,  may  is  change  second,  centuries." (Chichura,  or  1974 ,  P . 9) .  kitsch  derives make  from  the  German  rubbish  or  the  effects  of  past  the  process  cheapens  'low fine  gluing  together  lignum  a  hard,., h a r d w o o d  very  consult  Table  -sculptural and it  tends  wire  -has  the  bulk  of  styles  cuts  of  element  line  is  difficult  to  be to  highly two  i t becomes  across  a piece  to  of  of  formal  and  in  design to  produce  in  clay  dimensional three create  the  apes  wood  an  ability  direction  art  I;  is similar  with  art' that  them  laminating  line  Verkitschem'--to  cheap  -artistic  vitae  1  as  drawing;  dimensional movement  surface  sculpture  and  and  around  the  29 . linear  language  enfolds e.g.  space  wire  as  in a  line-like  opposed  to  substance,  glyptic  or  plastic  1anguage  lost  wax  malleable  see  cire  perdue  substance pressed, shapes  mallet  manipulation  without  used  stone  a  Table  modelling  model  mass  a  the  a  or  various  short  handle  chisel  that  i n wood  and  or  building which  sketch  finished  element  up  must of  might  of  within  which  something  by  one  maintain i t s  be  needed)  wax,  etc.  often  to  the  scale  refers  to  the  im-  volume  that  compared  sculpture  which and  experience; consult  "that  form  i t s weight ( a l -  in clay,  of weight  may  sculpture:  I  i n miniature  pression  mat r i x  into  to produce  armature  or  design  viewer  a  s u p p o r t most  an  created of  pounded,  destroyed  with  material  and  though  a  pulled  being  hammer  hammered,  carving  pliable  maquette  and  t e c h n i q u e used  shape  be  for driving  consult -a  can  pushed  a wooden is  that  which,  or w i t h i n  originates,  the  Table  and  takes  I  from form,  or  30 .  develops, or  Minimal  Sculpture  e.g. a d i e or mold  shaping"  (Guralnik,  also  called  Bare  Bones A r t  -sculptors  ABC  Walter and  tional  as D o n a l d  Smithson,  de M a r i a ,  Larry  1970, p. 8 7 5 ) .  Art,Anti-Illusion,  such  Witt,. Robert  Bell  self  for casting  Tony  Judd,  Ronald Smith,  reacted  or  S o l Le  Bladen, Dan  against  e x p r e s s i o n of the  Flavin  t h e emoAbstract  Expressionists -minimal licity tion  mobile  that  than  has a c l a r i t y  i s more  more  an a r t f o r m  resistant  figurative  invented  a n d named  object  created, adapted,  the  maker, then  one  o r more  ent  i n space o f one  a pattern, ing  -there  arms  with  assimila-  Alexander  Duchamp;  an  and s e l e c t e d  by  and b a l a n c e d  on  therefore  respect  free  to or  to  independ-  another  hollow  a certain  plastic  1.  wire  simp-  sculpture  by M a r c e l  arranged  and  to  i n 1932 by  Calder  move  mould  sculpture  form  or molten are four  flexible  form,  or matrix  to something  for giv-  in a  state  types ;  mould  - a mould  elastic  .31.  enough out  so t h a t  damage  subject  I t c a n be  t o t h e mould  removed  that  can  to c o n s i d e r a b l e d i s t o r t i o n piece  the reproduction  be made.  Reassemblage  the a d d i t i o n a l  feature  which  only  process  one  cast  of removing  one  c a n b e made; the c a s t .  cast  with-  o f mould i s  made  i n sections  o f t h e same  model  difficult.  to a waste  mould  complexity. - the type  the mould  This  type  c a n be  - similar  mould  models  shrinkage.  of l i m i t e d  waste  This  sections  mould  complex  - a mould  than  of cast sand  4.  and  mould  o f more  3. with  fairly  or to the model.  2. so  from  of mould  i s destroyed  i s t h e most  by  i n the  accurate  type  of  mould.  monolithic  a large  single  block  monumental  appears  larger  than  -refers  to  sculpture's  convey  the  feelings  of  lifesize impact;  grandeur,  i t can  nobility  and  permanence  motif  a  theme;  movement  a  principle  -leads gesting  a repeated  figure  of order;  there  design  consult  the eye i n c e r t a i n motion;  or  Table  directions  a r e two  types  I sugof  movement: 1 .  implied  ous  parts  within  the object;  of the composition  draws  vari-  together,  32  e.g.  the twin  found  f o u n t a i n s on Beach  i n Section  III:  Area  Avenue  3 - The West  End 2.  real  kinetic  naturalistic  motion  of expression; consult  -imitates  an o b j e c t  Burns  2 - Stanley  space  o rganx c  the  void  o r open  having  some  living  organism;  i n Section  space  III:  e.g. Area  found  within  of the c h a r a c t e r i s t i c s another  rationale  or  and  term  of a  often  -such  duce  Table  used  abstract  the a r t i s t  decorates  sculpture,  pp. o f macher pulp  an  or a e s t h e t i c  decoration includes  to a  art, in  sculp-  I  to i t sbeauty  onmental  Fr.  o f ab s t r a c t  f o r the p r o d u c t i o n of  consult  adds  types  to geometrie  -whenever  mache  object/image,  poss-  i n i t s setting  o f t h e two  ture;  papier  as  biomorphic  contrast  a  I  Park.  a form  -one  ornamentation  found  around  is  Table  as f a i t h f u l l y  i t is a specific  Robert  negative  time, e.g.  sculpture  a mode  ible;  involving  body  and  object quality envir-  jewelry,e t c .  (L. m a s t i c a r e ) ; to r e -  33.  -an  ancient  China  patina  and  overall subtle  a  perception  i n Persia,  Japan,  Europe  surface  c o l o u r a t i o n made  variations  metallic  pe d i m e n t  a r t found  of colour  up  o f many  and v a l u e  of  objects  triangularly  shaped  o f some  low-pitched  buildings;  gable  the  front  the  Grecian  classical  style  of  the  process  of making  sense  o u t o f what  on  flourished in architecture  we  see  philosophical  rationales  political  Table  I ; o r as F e l d m a n  states  alist  art'  the a r t i s t  religious  J  uses  f o r producing  . . . which  as an i n s t r u m e n t  people's  beliefs  religiously Feb.  makes a n d  f o r changing  socially,  (School  'instrument-  other  politically,  A r t , v o l 7 5 , #6,  and  p . 20,  1976).  -these  rationales  cultural  values  also  helped  to  as i n t h e M i d d l e  when  were  Baptismal  fonts,  e t c . f o r the i n s t r u c t i o n  a  chemical  scale;  bath  preserve  on  Ages  ideals  illiterate  sculpted  maintain  Christian  the  p i ckle  sculpture; consult  the w a l l s ,  congregation  used  to c l e a r  wood, e t c .  metal  of  of  34.  pilaster  "a  shallow  into  a wall  (Kalman,  plane  "a  rectangular  1978,  surface  line  joining  plastic  language  calcium  fluid,  great  domain  is  that  Project  (1969);  students  learn  a  create  part  size;  as  formed  the  in i t "  by  the  lakes;  a  scientific  dihydrate  and/or clay  to  term  to  form  and  wa-x  has  action  from  four  manage  or  movement  plastic  the  language  Kettering  factors  whereby  materials,  invent  qualitative relationships,  spatial  and  aesthetic  order^with  power  of  order;  part  i t requires  personal  of  possesses  has  perceive  principle  its  media  degree  Eisner's  expressive  proportion  straight  lying  inland  with  such  Elliott  and  in  sulphate  some  sculpture  forms,  decoration"  immediacy  -there  productive  set  1088).  gypsum  rock  media  as  every  points  p.  malleable  -plastic  in  two  salts  mineral  support  275).  from  of  mainly  contains  1970,  depositing  name  p.  any  manufactured  white  used  that  (Guralnik,  plaster  and  upright  consult  Table  relationships in judgment  and  is  I  terms  of  therefore  35  r as p  a  rough  wood  rationales  file  and/or  consult  to give  that  would  mode  is  relief  a  reason f o r  to a  to i t s ideas  been  commun-  and f o r c e s  formless  otherwise"  i n which  the object  i n Section  viewed  intaglio  b)  cameo  face  consult  a bas r e l i e f III:  Area  manipulation  a r e two  relief  but i t i s not a  one o f a k i n d ;  shallow  the  rep r e s e n t a t i o n a l  have  a)  a  on  something  importance  recognizable  therefore  r e p ous s e  shape  The P o s t m a n ,  -there  to express  of expression  specific  found  used  1957 , p . 9) .  easily  e.g.  points  "the e s s e n t i a l  of v i t a l  ity;  a  I;  has been  considered  (Gaunt,  raised  stone  Table  sculpture  realistic  with  only  Table  sculpture  4 - Downtown A  on one p l a n e from  I  and i s  the front  types:  i ) simple line i i ) depression (concave)  form  which  i s worked  from  behind  of the sculpture  recognizable  subject  matter;  see f i g ur a-  tive  rhythm  a  repeated  the  motif  interval  which  between  varies  according  repetitions  to  s o o n e may  36 . speak  of quick,  moderate,  measured  or  slow  rhythm  Romanesque  "designating  or of a s t y l e  architecture  o f t h e 11th and  ies, by  based  o n t h e Roman  and  the use of the round  thick  massive  walls,  (Guralnik,  1970, p .  -there  also  was  corresponded are  European 12th  centur-  characterized  arch  and v a u l t ,  interior  bays,e t c . "  1234).  a style  of s c u l p t u r e  to t h i s - - i t s  religious  of  solemnity,  that  characteristics decorativeness  and  symbolism.  scale  when  proportion  lationship ture  i s concerned  of the parts  or the t o t a l  ings;  a critical  with  the r e -  to the t o t a l  sculpture concept  sculp-  to i t s surround-  when  dealing  with  s culp ture -refers ence  self  expression  t o t h e human  a rationale suit  Table  trying or  sgraffito  to the s i z e  a  of the piece  in refer-  body  f o r producing I; expression  to communicate  sculpture; of the  con^.  artist  a feeling,  attitude,  idea  method  created  of by  decorating incising  or  in  which  cutting  a design lines  is  through  37.  shape  one  layer  of p l a s t e r  the  contrasting  an e l e m e n t it  colour  of design;  i s a generally  closed  by  or stucco  contour  o f an  to  underlayer  consult  Table  measurable  area;  and c a u s e d  by  or  I en-  line,  trasting  colour,  texture,  -usually  depends  on t h e p o s i t i o n  viewer  reveal  con-  value of the  and t h e d i r e c t i o n o f t h e s o u r c e  of  illumination  shim  a thin wall, arates  size  two p i e c e s  has a p h y s i c a l or  slurry  soft  often  sculpture  a metal  sheet,  of a mould  and e m o t i o n a l  from  that  sep-  each  other  meaning,  idea,  vision  a watery  mixture  ial  as c l a y ,  such  implies  limpness  of a f i n e cement,  insoluble  mater-  or p l a s t e r  and p l i a b i l i t y  like  human  flesh -involves so  concerned  was  Soft  a metal or  with  the f i r s t  e.g.  solder  the t a c t i l e  to create  patching  used  metal  and i t i s n o t  perpetuity;  Typewriter  alloy  quality  such  Claes  Oldenburg  an a r t f o r m ,  (1963).  when parts  melted or  for joining  surfaces  38.  sound  sculpture  space  especially  important  in  as  kinetic  sculpture  and  an  element  of  -"the  distance,  over,  within,  p.  poured metal  a  s taglng  refers  into  rigid,  to  of  i t s best  the  of  ter  used  ponents will  a  a work  or  Table  area  such  Art  I  between,  (Guralnik,  not  molten well  metal  1970,  as  the  is waste  opening  figure  and  executing  both  of  sculpture  and  setting  so  as  to  that  is  the the  present  each  advantage  or  and  endent is  standing  theme  a work,  as an  planning  the  "is  which  such  free  design  p.  consult  things"  mould  in  of  in  substitution  a  placement  to  matter  through  cast  s tab 1 l e  subject  Performance  expanse,  etc.  art  1363).  openings  sprues  design;  time-based  the  story  is  the  only  o t h e r s , but  independently  ( i . e . form be  an  art  and  component when of  indep-  subject  the  content)  form"  represented  other the  (Coleman,  matcom-  result 1968,  12).  technique  consult  used  Table  -a  casting, a  by  pouring  a  to  produce  sculpture;  I reproducing temporarily  of  a  fluid  given  shape  material  39  into  subtraction  a mould.  the  reproduction.  -it  i s an i m i t a t i v e  a  t e c h n i q u e used  consult -a  Table  carving  the  "the  until  in  symmetry  texture  a process  fantastic  stands  something  else  a n d makes  otherwise  might  of form  of a d i v i d i n g  f o r 'baked  elled  or moulded  hard;  see b i s q u e  f o r or  n o t be  of  imagery  of u n n a t u r a l (Webster,  represents  visible  clearly  that  which  understood  or arrangement line  a  or p r a c t i c e  and c o m b i n a t i o n s "  that  on  either  or plane  earth';  fired  clay,  and baked  until  i t i s very  an  element  of design;  it  i s that  tactile  affects  from  i s achieved  b y means  something  which  reduction;  or incongruous  2301).  Italian  of  shape  1971 , p .  similarity  sculpture;  material  ideals,  a r t or l i t e r a t u r e  side  terracotta  to produce  the desired  juxtapositions  symb o1  device  of surplus  principles,  producing  material i s  I  away;  removal  block  Surrealism  The s o l i d i f i e d  both  consult  quality  Table  of a  the sense  mod-  I  surface  of touch  and  40.  the  sense  of l i g h t .  1.  indigenous  to the m a t e r i a l  2.  that  the a r t i s t  which  There  a r e two  sources:  produces  on t h e  enlivens  three  surface "it  i s the seasoning  that  dimensional  designs;  with  a n d movement  and  rhythm variety  i t invests  to the play  surfaces  and g i v e s of l i g h t "  subtlety (Stevens,  1965 , p . 5 6 ) .  theme  an i d e a work -it of  time  i s the u n d e r l y i n g an a r t i s t ' s  consult  1. piece--almost  r e q u i r e d by  itself;  completely  into 3.  sculpture and  has been  sometimes  tion/deterioration uries .  on i n a  or e s s e n t i a l  I ; an e l e m e n t  are three  sources  taken  beyond  by  by  to complete  of  of  time: to view  of the  artist  the a r t i s t - - t h i s mobility  i s the  or change  within  the s c u l p t u r e  to destroy  of the p i e c e — e . g .  itself  o r t o be  by i t s e n v i r o n m e n t / s e t t i n g .  can take  subject  design  the viewer  the c o n t r o l  the permanency  created  destroyed  expanded  creation  controlled  the o b j e c t  i t i s designed  Table  the time  2. time  of view  of a r t  -there  the  or point  place  i n a few m i n u t e s  acted This  or take  some upon  destruccent-  41.  the  a r t of  trees  is  into  the  ture  trimming  Table  be  I;  ranges  ornamental  element  to  i t i s the  from  light  the  by  surface  -often the  a  other  or  i s the  by  until  contrasts  an the  dark  of  which  total  natures,  design;  form,  controlled  both  of  Table  parts of  light  the  I  and  is  contrasting  elaborating competes,  simple  consult  on or  parts  Table  I  and  the  knead  the  clay  water  con-  same  time  solid  space  clay--meaning  in  order  to  combine  the  results  time  more  in  in  which  by  used  therein  preventing  and  parts  1.  tained  which  complexity  of  consult  light  of  or  other  sculp-  of  consult  utilizing  with  element  or  d e s c r i b e s a l l of  except  order;  their  most  reflection  dissimilarity  opposing  parts  to  elements  shrubs  understood; quality  i t i s value  achieved  permits  a b s o r p t i o n or  principle  it  training shapes  which  visually  from a  and  the  to  clay  completely;  a i r bubbles  and  at  from  the  being  trapped  clay  2.  used  in  ial  tapered  casting—meaning to  a  thin  edge  a hard that  can  materbe  42 .  driven in  along  order  a shim  to separate  line one  of  a piece  section  mould  from  an-  other  weld  to  unite  pieces  molten  and  fused  hammer  or press  of metal or u n t i l together  by  heating  soft  until  enough  to  43. Defining  Sculpture  Sculpture in  this  clearly  thesis.  the  It what  i s my  understanding  student or  quality  compare  most  people  can be. i n which  from  i n mind  have  other I  propose  could  the following  the  a s k them  an e x a m p l e  Following no  a narrow  to broaden  and/or  of the examples  with  students  sculpture.  a teacher  a definition  display  that  sculpture  thought  I n an a t t e m p t  sculpture  board  aesthetic  ributions  that  of sculpture,  believes  bulletin  the  can be.  a photograph,  this  to d e f i n i n g  experience  significance  can be, i . e . , the range of  distinguishes With  of greatest  importance  sculpture  forms.  approach  sculpture  class  what  a n d what  dimensional  following  the term  I t i s of c r u c i a l  understand  possibilities, three  i s definitely  chosen, list  students' to bring  i s made  s e e how  o f what  to  o f what t h e  a sharing  reference  view of  time  and  as t o  their  sculpture  cont can  be : -  a memorial  -  a stone  an  angel  statue  carving  a fountain  -  a statuette  -  a bronze  -  an a d v e n t u r e  -  something  on, -  i n front  figurine  something  i n the foyer  held  of a  on a s c h o o l body  garden  theatre ground  sculpture);  eaten  ( ' f e e l i e s ' ) ; experienced  even  on a w a l l ,  of surfaces;  cemetery  i n a residential  (jewelry,  around);  o r museum;  o f a bank  playground  worn  place  i n an a r t g a l l e r y  in a  or f i g u r i n e  sculptures);  played  kinds  o f a nude  on a h e a d s t o n e  -  dough  i n a public  smell  hanging  indoors  and sound from  or out  c a n be  a ceiling,  (bread,  cookie  (sati n ,  climbe  involved. or resting  on a l l  44. -  something  soft  or hard,  temporary  or permanent,  miniature or  monument a l -  something  considered  concep t u a l ,  cub i s t ,  -  considered  something  realistic,  This  history  to carve  -  something  -  -  form  something  created  music"  a hill  becomes  for  this  ion  o f what  or -  Some  i n order  when  (circa  1500)  apparent  that  range  an a c t u a l  o f what  sculpture must  form  around i t  include  the t h i r d  created  'sculpere'.  orders  and an-  1968, F o r e w o r d ) the emotions  of the  1920)  of i d e a l s (Gaunt,  and i d e a s  i n tang-  1957, F o r e w o r d )  made, w i l l  sculpture be  can be.  'defines'  not break  i f rolled  of sculpture  must  The f o l l o w i n g  allow  criter-  sculpture.  be: actual  dimension  degree  by man.  word  o n e who  visible  any d e f i n i t i o n  must  study of  40)  well  occupying  space  to a g r e a t e r  p.  i s , fol-  say s c u l p t u r e i s :  Manifest,  a l l r e c o r d e d time  non-figurative  a careful  (Noguchi,  t o make  repository  (Ibid.,  or  as i n t h e L a t i n  i t meaning  which,  Sculpture  the  books.  expressionistic,  say s c u l p t u r e  after  a scientist-artist;  and g i v e s  through  -  -  be i l l u s t r a t e d  and w o n d e r f u l  "frozen  It  by  some  kinetic,  or environmental  figurative  t o what  (Russian Constructivists'  -  down  abs t r a c t ,  related  could  made  space  a vast  ible  architectural,  or cut out of stone  something  artist  list  or c l a s s i c a l ,  t o be i m p r e s s i o n i s t i c ,  of a r t r e f e r e n c e  -  imates  list,  traditional  minimal,  naturalis tic,  Another lows.  t o be  space  whether  and c a p a b l e  minimally  of  affecting  as i n b a s  relief  as i n t h e r o u n d  I f i t i s meant  t o be  functional  i t must  also  45 . be -  more a  than  product  colour,  useful of  skill  texture,  using  pattern,  the  elements:  volume,  mass,  line, value  principles : variety, -  economy,  greatly  affected  which  i t is  -  embodiment  the  'see'; the  an  ture  Critical App  of  light,  mass  a  time  balance,  harmony,  movement angle,  vital  essence  affects  essence,  or  purpose  produced  Analysis:  and  the  distance  by  and  force  that  Feldman's  makes  stimulates  presence, and  forms  that  one  both  stop  the  incorporates and  f i l l  and  mind  poetic  distinguishes  our  and  sculp-  environment.  Systematic  roach Having  with  natural  volved  with  'tuned and  relevant.  has  not  been  not  an  area  into'  sculpture  man-made  forms,  i t s vocabulary,  becomes  a  It  major  many  of  most  must  us,  are  ive  and,  occasionally,  now  time  to  recognize  analysis  but  also  of  local,  analysis  is  like  discipline.  not  and  of  spend  of  national  suggest  our  school  and  any  new  that  become  that art  feel  similarly of  art  criticism  programs.  domains  time  of  important work  on  art.  and  teachers  i t takes  of  our  peers,  Critical  time,  demonstrate  i t is  teaching  international artists. skill;  is  product-  feel  of  that  It  practising.  the I  matter  in-  sculpture  comfortable  classroom  own  involvement  analysis  acknowledged  equally  only  active  having  critical  historical the  through  teachers,  to  learning I  be  as  likely  critical  the  ingredient  Teachers  and  the  special  that  This  i t has  from  by  and  and  space,  perceived  essence  senses.  vision;  proportion,  shape,  practise  their  46 . facility  with  students  the  this  task.  system,  Whenever  Feldman's  for  in  full  ing  an  initial  a  skill  below  of  (1971). Formal  as  sculpture  Feldman's in  his  seen.  In  informed  viewed  the  shape,  description  etc.  v i e w e r / c r i t i c should  the  value 2.  how  the  Formal  of  Analysis. has  design,  economy,  Feldman  description  of  the  of  at  is  analysis  feel-  given which  he  experience  stages:  critic  of  the  Des c r i p t i o n ,  inventory  names  sculpture  elements Table  criticize  I) is  and  the  the  balance,  have  suggests way  should  organized,  namely  been that  i n which  Interpretation.  meanings  present  analysis  outline  complete  sculpture  This  been  movement,  sculpture.  3.  and  work.  of as  one  things should  design well  made  make  the  of  used  as  and  give  an  assembled.  inferences  about  work.  sculpture  principles iety,  the  piece  the  not  a  the  (consult  how  The  of  a  to  E v a l u a t i on.  be  i n which  title  of  and  be  sculptural  visual  four  own  discouraged  An  of  their  should  critical  on  should  describing  state  colour,  based  Interpretation.,  being  be  assigning  introduction  of  review  Varieties  is  This  piece  experience. to  before an  embarrassment;  book,  Des c r i p t i o n .  as  Don't  approach  system  a  under  a l l concerned.  with  times  helpful,  analyze  improves  fully  categorically  to  or  Analysis,  are  such  of  several  be  discomfort  that  sculpture  that  the  Feldman's  1. the  view  Edmund  describes  might  teachers  possible,  and  is  It  system  This  sculpture  an  which  used  is  or  to  be  to  say,  discover how  Analysis  an  discovering  the  harmony,  incorporated  perceive  should  attempt  proportion,  Formal  we  by  be  var-  into  should  be  the a  forms. attempt and  to  express  relating  its  47 . themes, been  and  the  addressed  cludes  stating  to  human  the  sculpture on  our  ation  other  should  specify  relate the  piece.  be  work  the  be  of  645).  and  making  the  work  and  aesthetic  of a  to  we  art  the  needs It  art  is  that and  also  be  important  ing  to  sculpture.  and  overcome  the  fear  of  not  have  a  relaxed  disposition in  the  effect;  the  union our  To of  say  a  is  ities.  to  have  artist  of  trying  To  the  effects  intellect,  and  is  impact  experience  on  and  the  impact  i t  has  and the our  in  We  decide  the  In  judging,  have to  of  of  the  we  consid-  the  important  the  we  been  say,  Further,  on  rel-  critic  time  in  to  be  need  to  sculpture  and,  evaluation.  and  acknowledge  is  therefore  recommended  initiated  to  lives  the  outlook  heritage.  technical  i t is highly  criticism  "in-  sculpture  which  purpose/function/rationale  While  artistic  merit.  objects  judgment;  created.  i t a  says,  ideas  kind.  determine  give  our  have  The  the  of  finally,  and  to  rank  knowledgeable the  that  Feldman  meanings  (p.  stage  i t s class  for  our  stage,  acknowledged  this  range  was  these  problems  examined.  In  works  of  This  general"  should  its artistic  relevant  intellectual  relevance  should  of  which  the  Evaluation.  to  should  the  presents  degree  ered  within  and  situation in  vision  4.  artistic  that  Feldman's  encouraged other  ways  relaxed being  also  by of  to  important.  of  the  to  'see'  to  be  sculpture  sculpture emotions.  a  teacher,  approaching  d i s p o s i t i o n toward  able  order  the  approach  verbalize The aware on  sculpture  has  on  Each  our  of  the  their there sense  person's  i t is  or  own  the  needs  to  experience sensibil-  must of  relat-  sculpture  what  viewer  to  be  sight,  a on  48. experience  with  experience  may  that  is  the  This ture,  of  change  'magic'  view  actual to  posters,  and  works  the  should this of  and  It  increased  -  viewing  i t -  touching  from  different  -  on  many  the  -  being  able  to  relate  -  being  able  to  take  to  and  students  a  though  feel  of  sculp-  critic-  prepared  the  to  following  ap-  presented.  appear  slides  screen,  the  focus  of  i s evident  on  and  best  ' i n person.'  vantage  times  of  postcards,  films way  of  to  this  project  one's  sculp-  'see  Experiencing  that  1  sculp-  being  on  perception  points the  aware  of  the  to  terms  into  and  i t s setting  More  can  be  gained  be  enhances  sculpture  well-organized  experiencing  day  and  year  occasions  order  affects  single  art.  s c u l p t u r e , and  sculpture  the  different  at  viewer  help  this  by:  -  i t in  of  of  and  o b j e c t i v e i n mind  of  i t  d i s p l a y e d works.  around i t  varying conditions;  importance  even  for  walking  with  communication  Moreover,  Scene  reason  sculpture is  and  sculpture is  experience  major  person.  language  i n p r o j e c t i o n s on to  that  the  photographs  -  -  of  the  i n books,  is  to  non-verbal  With  Local  though  sculpture  of  the  appear  locally  time  sculpture  viewing  Even  is  with  of  works.  Approaching  ture  unique  understanding  analyzing  ture  is  acknowledgement  ally  proach  a work  in  i t in  the  material  of  one's  own  the  relationship  and  one  affects  an  introduction  fieldtrip  than  how  i t  piece  account how  and  from  to an  the  size between  the  other.  sculpture hour's  from  reading  a or  49 .  lecture—with  or  without  students  may  ally,  or  experience.  riate  starting  way is  meant of  never  suggest  that  lesser  benefit  or  after  student  the  in  his  'own  as  the  model  province It  duction  of  what  study  first  an  this  resource  be  presumed  order  to  find  communities own  their  offices  their  main  and  that  local  with  I hope  stimuli  rather, B.C.  a new  student  interest  they  Vancouver  Vancouverites  are  in in  is  works  the  that  left  until  that  chosen  i t is  in  are  Vancouver  area  of  the  a  major  city  useful  i n an  intro-  that will  and  will  teachers be  round  learning  in  in  look  there  around  along  their  sculptural  about  small to  and  government —  malls,  is  understanding  that  playgrounds,  the  in  inspired  wider see  and  and  can  have  living  parks and  I  no  sculpture  i s best to  in  familiar.  public relief  basis  reason,  shopping  bas  approp-  i_s i n f e r r e d  exposure  their  of  to  hand  in  resources  Preface  What  buildings—private  streets,  an  international  k i t , since  throughout  surroundings  gardens,  spark  most  I hope,  sculpture i s .  of  initial  not  and  their  a  For  sculpture.  person-  sculpture; i t is  the  is  that  to  about  had  am  relate  learning  should in  I  sculpture  viewing  which  to  at  this  around,  a  local  on  backyard.' for  walk  importance.  available has  examples—about  hand,  with  necessary  A  for  to  not  ential  touch,  First  place  sculpture  towns  see,  slide  resid-  are  rich  forms  that  sculpture.  Sculpture fortunate  to  have  access  to  both  outdoor  50 . and  indoor  played  sculpture.*  and  study.  publicly  Bas  mosaic  reliefs  murals  ensional tially  are  sense.  for  the  Northwest  found  in  as  a  referenced tent  that  owner  at  growing  in  any and  This  found  inside  ents. its art" art  As  time,  for  is  art,  p.  90).  (outdoors)  than  are  of  have  is  and  also only  be  been  of  available  writes,  not  the  to  the  Huxtable  most  a  whereas  three  the  least  dim-  omitted  par-  sculp-  sculpture is  the  presented sculpture  display be  pieces  examined  to  removed of  and  found public  by  the by  which  ex-  its is  by  oriented  "more  people  museums"  outdoors than  teachers  sculpture,  people  states,  galleries  that  i t may  general  "Outdoor  the  this  the  city.  the be  in  decorative  playgrounds  i t s owner; reason,  in  art,  permanent  dis-  mentioned  depth  also  noted  on  particularly  in  documented  liturgical  parks  nature  probably  is  A r c h i t e c t u r a l and  must  any  lack  hangings  areas,  by  permanently  sgraffito  their  buildings—should  Robinette  (1976,  to  Indian  enjoyed  readily  setting,  due  study  sculpture,  more  shallow  It  changing  often  as  Coast  this  i t is  as  reason.  only.  Vancouver's sculpture  Woven w a l l  residential  sampling  of  accessible  not,  same  ture,  Much  work and  virtue of  —  studof  a l l urban  experience  (Ibid.).  It  is  in  R e g a r d i n g i n d o o r s c u l p t u r e , no m e n t i o n i s made o f t h e vari o u s g a l l e r i e s a n d museums, b o t h p u b l i c and p r i v a t e , t h a t regul a r l y e x h i b i t l o c a l , C a n a d i a n , and i n t e r n a t i o n a l l y r e c o g n i z e d sculptors. M o s t o f t h e g a l l e r i e s a n d museums h a v e catalogues, biographies of a r t i s t s , and s l i d e d o c u m e n t a t i o n o f t h e i r s h o w s . C l a s s t o u r s a r e a p o s s i b i l i t y i f p r i o r a r r a n g e m e n t s a r e made. L o c a l n e w s p a p e r s and m a g a z i n e s l i s t and a d v e r t i s e e x h i b i t s . It i s a d v a n t a g e o u s t o b e c o m e a member a n d / o r be on t h e m a i l i n g lists o f V a n c o u v e r g a l l e r i e s a n d museums i n o r d e r t o show s u p p o r t f o r t h e l o c a l a r t c o m m u n i t y a n d be n o t i f i e d o f show o p e n i n g s and s p e c i a l events.  51. order  to  ingful  make  and  searched  this  consequential  and  is  rarely  labelled.  date,  dimensions,  edy  the  for  of  on  the  the  work,  such  being  unable  to  Henry  Moore.*  local  to  numerous  Resources  1980.  riate  as  part  this  of  model  more  has  mean-  been  re-  "A  their  the  sculptor,  the  art  seldom  little  to  sculpture  at  of  Art  their  and  include  as  well  have  the  rem-  of  had  few  recognition  which as  prov-  Design,  mention  teachers  program,  model  technique,  is  does in  beyond  art  in  piece  College  to  sculpture  media,  majoring  them  the  the  is  yet  appendix  sculptors.  A G.uide  being  the the  secondary  enable  of  situation  Carr  Vancouver  were  and  name  sculptors  used  six sculpture  contains  general  three  this  that  i f any,  This  Emily  to  that  is  The  students,  the  local  proofread  title  sculpture  Vancouver  model  site.  upon  for  Imredy's  paperback the  the  Although  quately  as  call  listing  Peggy  with  d e s c r i p t i o n of  Furthermore,  reason  -  this  some  sculptors  for  this  patron,  a  name  another  ation  or  of  institutions  of  the  sculpture  problem  resources  that  reason  title  ided  experience  presented.  Another Vancouver  outdoor  to  in  areas  the of  preparation Vancouver  Sculpture  in  to  the  Landmarks  information  not  the the  of  a  informfollowing:  published  illustrated,  inappropriately titled,  Guide  useful  are  Vancouver,  publication i s poorly is  of  more  inadeapprop-  Vancouver,"  otherwise  this  available  public.  Information g a i n e d i n a May 1982 B e e r , a s c u l p t o r and i n s t r u c t o r a t t h e Art and Design.  in  c o n v e r s a t i o n w i t h Ruth Emily Carr C o l l e g e of  to  -  S t a r t i n g with  ment  Educational  lication -  Monuments:  is  Doris  Project,  mentioned  Munroe's  in  of  Art  within  the  city  Columbia  and  the  British listed from and  the  The  questionnaires government  Exploring  ings  (1978)  The  ive  in  resources  2.  by  Kalman,  Harold of  Vancouver found  to  cite  further  than  this  study  relief  those  as  general The  to  of  to  these  divide  the  order  of  the  artists,  is  a  public.  University  Airport  their  are  unveiling  medium,  catalogue  of  was  architects,  size  gained  patrons,  4,  by  Gerald  5.  examples  of  within  a more  in  the  of  the  City  and  up  round  i t s Build-  and  and  listed  as  Tours  useful The  in  last  were the  Decorat-  two  other  preparation  three  resources  architectural/ornamental  this to  Formosa  and  study.  date  On  the  summation  sculpture  other  of  currently  of  refer sculp-  hand,  the  bas  available  to  public.  six  correspond  general  location, artist,  particularly  3,  provides well  (1972)  A r c h i t e c t u r a l Sculpture  (1982)  be  red ture  Ten  Seeing.  Areas  to,  by  the  Vancouver,  in  pub-  2.  International  listed  Vancouver  III:  ies  item,  Environ-  Columbia  Vancouver to  chronological  date,  British  Area  in  of  Vancouver  answered  Section  the  limits  Vancouver  representatives.  Pleasure  Art  Art  a  of  III:  accessible  descriptive information  and  -  to  1905-1971.  from  -  according  art  Park,  University  Public  catalogue found  a  Section  thesis,  permanent  Stanley  self-contained six  areas  areas  evenly  were  the  of  parts  of  sculpture  conceived  quantity  of  Section in  mainly  III  that  Vancouver. as  permanently  a  result  follow  The of  displayed  boundartrying sculpture  within  the  city.  Three  of  Columbia,  Stanley  Park,  and  naturally  'self-contained'  tion  of  town  A  fieldtrips. and  B  accessible  is  areas  are The  more  for  activities.  The  the the and  contents  readily  fieldtrips  within  of  than  for  each  these  how  University Botanical  facilitate  found  dispersed  Recommendations  presented  the  VanDusen  sculpture  widely  class  areas,  in  The  and  is  they  are  of  Gardens the  West  to  approach  of  Section  are  organizaEnd,  therefore for  British  Down-  less  small  group  these  three  area.  six parts  III  include  the  following: -  a  map  with  Sculptures  not  -  a  brief  -  classroom  are  an a  preview the  difference  ing  sculpture  ities -  in  and  of  regarding  ered terms  to  terms  be  are  of  the  each of key  of the  works.  sculpture looking  work  of  from  sculptures  in  the  use  i t is  the  be  Note  to  and  and  into  the  'ex-  note  relationship  one  seewhat  between  possibil-  angle.  information used  of  do  before  insight  as  underlined  description  glossary.  slides  sensation,  that  they  students  an  the  than  slides  reproduction  background  (Note  the  sculpture,  gain  could  of  acknowledged  enable  scale,  more  the  the  the  slide  will  tabulated  in  a  tactile  slides.  however.  Viewing  will  at  They  the  on  perceive  and  points  defined  to  sense  marked.  area  Although  way  clearly  marked,  centre  local  a  sculpture  not  each  hand.  sculpture,  slides  showing  of  between first  are  study.  actual  viewing  labelled  the  this  each  which  inadequate  the  missed  to  activities  periencing'  setting  photographed  within  facilitate  is  l o c a t i o n of  introduction  contained slides  the  the  also  a  script  words work.  that  sheets  in  for  considThese the  54. descriptive to -  the  quality  fieldtrip  during  the  library complete ical, the ture  notes,  and  of  value the  art  these  room  as  s c u l p t u r e ; more occurs  in  which  and  could  facilities  well  as  emphasis  Section  IV.  some on  in  needed  the  the  as  avoided.)  the by  activities of  vocabulary'  attempted  back  are  These  'loaded  been  be  completed  activities.  historical  and  s c u l p t u r e have  activities fieldtrip  judgments  on  site  classroom. the  productive  the  to crit-  domains  domain  of  begun Often  students  include  productive  or  of  sculp-  55 .  References  Chichura,  D.B.,  science,  &  technology  Toronto: Coleman,  Van  R.L.  Elliott  Stanford G.W.,  &  W.  T.  arts  tion.  Champaign:  and Formosa,  G.  and  New  The  decorative  Publishers, Gaunt,  W.  Teach  English Guralnik,  D.B.  H.  its  yourself  Foster  Thomas  A  Harry  and  wee  Project.  folk:  In  Hardiman,  considerations  development Co.,  Abrams,  seeing.  and  for  evalua-  1974. Art  Inc.,  as  image  1977.  Architectural  Vancouver.  to  study  Scott,  Vancouver  Vancouver:  sculpture Skorba  New  Ltd., 2. The  London:  The  1957. World  Dictionary.  Toronto:  1970. Ten  tours  of  University  the of  city  and  British  1978.  Dictionary Crowell  sculpture.  Ltd.,  Vancouver:  Press,  Y.  students.  experience.  N.  Webster's  Exploring  buildings.  R.  sculpture.  1982.  (Ed.).  Columbia Mayer,  in  in  for  the  Publishing  U n i v e r s i t i e s Press  Nelson, Kalman,  art  for  Curriculum  visual  of  Using  1974.  handbook  Rationale,  of  pleasure  Co.,  making  Stipes  York:  sculpture.  phenomena  Kettering  education.  II  1968.  (Eds.),  Varieties  idea.  basic  Co.,  University's  E.B.  natural  Curriculum  Zernich,  Super  Reinhold A  Brown  visual  Feldman,  and  Nostrand  W.C.  Section  T.K.  Sculpture.  Dubuque: Eisner,  Stevens,  for  of Co.,  Art  Terms  1969.  and  Techniques.  New  York:  Munroe,  D.C.  Public  Department, (Available  a r t i n Vancouver,  University in Special  of  British  Thesis, Columbia,  Collections,  Fine  Art  April  University  1972.  of  British  Maillard,  general  Columbia.) New  Dictionary editor.  Noguchi,  I.  of New  A  Modern  Sculpture.  York:  Tudor  sculptor's  Robert  Publishing  world.  Co.,  Tokyo:  1970.  Thames  and  Hudson,  1968 . School  Arts  Stevens,  H.  Magazine, Art  dimensional  Feb.  19 76,  i n the  round.  design.  New  75_(6) ,  20.  Elements York:  and  Reinhold  materials  of  Publishing  three Corp.,  1965. Walker,  J.A.  1945.  Glossary London:  of Clive  art, architecture, Bingley,  1973.  and  design  since  57.  SECTION  Although to  peruse  l i n e d spent. be  of  i n i t i a l l y  the  terms  s l i d e s ,  .found  For  a  b e n e f i t  l o c a l l y . l o c a l  a  p e r u s a l  may  notes  seem  and  teacher  working  in  to  become  but  w i t h  s t y l e s ,  works.  For  would  help  I  c i t y  working  become  used.  They  s c u l p t u r e  part  f i n d  found  At  the  of  a  s c h o o l s ,  may  in  same  t i t y  m a t e r i a l  of one  e r e s t  art  t h e r e f o r e to  any  time.  to  know  and  o u t s i d e  v a l u e  -  what  r a t i o n a l e s  -  what  ' s t y l e s '  -  what  v e i l e d  areas) can  Before and i s  i n  r e c e p t i o n  i s  u s e f u l  the be  w i t h  the  domain for  time  a  it  not  of  c i t y  underw e l l would  a v a i l a b l e  p a t r o n s ,  modes  teacher  only w i t h  w i t h the  e x p r e s s i o n l i m i t s  such  c l a s s r o o m /  format  study  I  of  have the  community. r e c o g n i z e d  program  that  what  b u i l d i n g s  it  own  t e a c h e r s  f a m i l i a r  format  i n  d e c i s i o n s  s p e c i f i c  -  the  t h e i r  time  y e a r ' s  d u c t i o n  t h i s  would  a  Vancouver  and  f i e l d t r i p - h i s t o r i c a l / c r i t i c a l / p r o d u c t i v e  for  s c u l p t u r e  acquaint  s c u l p t o r s  it of  the  task  i n c l u d i n g  think  r a t i o n a l e s ,  teachers them  mammoth  with  would l o c a l  a  the  f a m i l i a r  f a m i l i a r i t y  SCULPTURE  a c t i v i t i e s  III,  t e c h n i q u e s ,  these  it  S e c t i o n  Such  of  VANCOUVER  in  s c u l p t u r e  media,  III:  the  and  w i l l be  that  s c u l p t u r e  elementary  o m i s s i o n s have  made  i n t r o d u c i n g  to  made  a v a i l a b l e III  to  as the  i t  only  secondary  (consult  be  S e c t i o n  and  i s  the to  i n t r o -  the  quan-  students  may  be  of  at i n t -  u n d e r s t a n d :  p l a c e d were  are  on  used  for  r e p r e s e n t e d  downtown was  l o c a l  given  s c u l p t u r e the i n  c r e a t i o n the  of  the  a r c h i t e c t u r a l  works r e l i e f s  on  Vancouver to  the  work  as  it  was  o r i g i n a l l y  un-  -  what  notice  (newspaper ide' -  is  given  clippings,  to  the  city  sculpture  archivists  at  and  the  present  librarians  time  can  prov-  information)  what  the  weather,  our  climate,  our  population  do  to  the  sculp-  tures -  how  upkeep  the of  sculptures outdoor  are  maintained;  sculpture.  does  the  city  tend  to  the  60 . Section It ents  III:  Area  would  be  who  have  British  graduates The  to  also  by  this  area  be  would  majority the  of  but  campus found  post  secondary policy  has  only  not  as  donor's  Department's  local  the  University  of  recall  than  forty  U n i v e r s i t y Endowment  Lands.  Most  that  a  this  by  a  not  is  the  institution  U.B.C.  overseeing  individually  collection  at  the  collection individual  B.C. by at  Faculty  contemporary  print  members  in  U.B.C. who  campus largest  the  the is  reported of  province.*  art  no  any A  cam-  budget  collection  administration, owned  Club,  collections the  teaching  late  collection, of  for  allow  but  researching  collection  the  figure.  students  When  files  and  of  begun  by  province's  in  number  collection  only  art  a l l gifts  situation.  international  more  reporter/art critic  managed  central  the  accepting  existing  U.B.C.  accept  of  university.  that  poorly  educational to  the  newspaper  most  Metallurgy's  one  of  apparent  ment  no  on  unnoticed  owned  is  years  goes  student  Centre's  stud-  they  the  work  the  are  graduating  the  kept  there  ask  difficulty  amounting  rather  of  on  Columbia  to  more  what  British  survey  have  exacerbated  are  or  of  probably  one  U.B.C. h a s  pus  University  incomplete.  that  the  four  administration  were  university  The  interesting  i t became  sculpture  files  an  spent  Columbia  sculptures  1 -  Fine aware  Arts of  Art  collection,  1950's, and  Fine  such  the  the  the  Depart-  Graduate  faculty. a l l the  art  There on  campus.  Art,  Information found The V a n c o u v e r S u n ,  i n Susan Merten's a r t i c l e , Friday, February 12, 1982.  Grounds  for  .6 1. Another  reason  sculptures. The  Miner,  Venetian, ted  on  these  the  be  brought  -  had  the  been  of  community  works  such  as  Jack  Harman's  Man,  The  to  Bergeron's  be  removed  to  public a  A  is  more  to  pride  taken  extensive  and  before  this  inflic-  works  attitude  and  The  damage  i d e n t i f y i n g other  necessary  the  Fertility  Robot,  respectful  in  on  have  behalf  vandalism  will  halt.  general  been  due  Plaques  removed.  University  i t has  lack  sculptures.  general  Some  the  Germaine  have  of  on  Several and  frequently  is  remarks of  can  British  commissioned  be  made  about  Columbia  or  the  sculpture  found  campus:  donated  by  private  individuals  or  group s -  only  one  -  there  work  are  -  works  Northwest ish  one  'in  the  were  art  chosen  in  a  sculptor  round' and  found  I n s t i t u t e , now  Columbia  by  fountain,  dimensional  five  done  twenty  sculptures, three  was  as  three  conjunction  totem the  result  called  the  with  residing  sculptures,  within a  not  twelve  poles  Museum  of  bas  of  the  Anthropology  competitions  Extension  relief  exclusive  of  Sculptors'  the  locally  held  Society  of  Department  by  the  Britof  the  university.  Classroom View variety ing  Activities  and  the  in  order  at  U.B.C.  of  slides  sculpture  Slide  Presentation to  familiarize Find  the  yourself  answers  to  with  the  the  follow-  questions: 1.  How  many  f i g u r a t i v e pieces  of  sculpture  are  there  on  campus ? 2. of  s tone ?  Which  four  sculptures  are  examples  of  the  subtraction  62 . 3. note  Name  the eight  the media 4.  Name  that  architectural/ornamental  were  r e l i e f s and  used.  t h e two s c u l p t o r s  who  depict  t h e mother  and  child  theme ? 5. Bela  Do y o u t h i n k  Bartok, Dr. MacKenzie,  appropriate (Show  the commissioned  memorials?  the slides  University  using  of B r i t i s h  Walter  State  your  the Slide Columbia.)  sculptures  Gage,  and K i n g  commemorating George  VI a r e  reasons.  Notes  Section  III:  Area  1 - The  r 9 i-< -i v  r ^ r t, • i  h •  m< r.37  1 -1 o  D A T E VIEW  i F R O M  DATE THIS  SIDE  VIEW  FROM  THIS  SIDE  SECTION  THE  UNIVERSITY  III:  OF  AREA  BRITISH  1 -  COLUMBIA  SECTION SLIDE  III:  AREA  SCULPTOR  1 TITLE  Walter Harris entrance Vernon Stephens doors E a r l Muldoe Art Sterritt 'Ksan Carvers (from Hazelton, B.C. ) Arthur Erickson archiectural firm  B i l l Reid, created the miniature version George Norris Garry Edenshaw George Rammell Jim Hart Reg Davidson assisted in the carving of the large work  The R a v en and The First Humans  THE PATRON  -Rayonier of Canada presented the red cedar  UNIVERSITY MEDIA  red cedar  OF B R I T I S H  TYPE  bas relief subtraction  T  SIZE  H. 10' 6" thick  COLUMBIA DATE  19741976  - UBC Grad. Class of •74 and the National Museum o f Canada helped finance the project  gift from Halter & Marianne Koerner  LOCATION  DESCRIPTION  Museum o f - Northwest Coast Indian Anthropolm o t i f s d e p i c t i n g the ori g i n o f the 3 main tribes ogy, 6393 the Upper Skeena River N.W. Marine of c a r v e d on b o t h sides; Drive t e l l s the s t o r y of Skawah an a n c i e n t myth of the Gitskan people. The myth r e c o u n t s how a y o u n g maiden married the man s p i r i t from the sun after the a n i m a l s i n the forest failed to gain her hand. Skawah had 6 c h i l d r e n whom t h e s u n d i v i d e d into 3 tribes - frog; wolf; firewood. - consult of Seeing  originally a 4>i T man-made block of laminated yellow cedar  subtraction "in the round"  |Apr. 1, 1980  The Pleasure 0136  -the specially designed rotunda of the Museum o f Anthropology  -Joan Lowndes' B i l l Reld which 1982, pp. 20-25 erstanding both  -unpalnted -as Terry Noble (Vancouv e r G u i d e l i n e , V o l . 10 No. 35, Jan. 23-29, 1981) states: ".. i t ' s a 3 dimensional story book for c h i l d r e n and adults alike. A giant raven is perched atop a colossal clam s h e l l , from which humanity struggles to free I t s e l f and enter t h i s w o r l d made f r e s h and new by t h e G r e a t Flood. A s t y l i z e d piece derived from Haida Legend." a r t i c l e C h i l d of the Raven: appeared i n the Vanguard Feb. is a useful resource for undthe s c u l p t o r and h i s work.^  SECTION SLIDE  2  3  III:  SCULPTOR  B i l l cont  B i l l  1  AREA  THE  1 TITLE  PATRON  UNIVERSITY MEDIA  OF B R I T I S H  TYPE  COLUMBIA  SIZE  DATE  DESCRIPTION  -the f i l m The R a v e n , i t s g e n e s i s and e v o l u t i o n Is a v a i l a b l e from the Canadian Filmm a k e r s D i s t r i b u t i o n C e n t r e , 5 2 5 W. P e n d e r St. V a n c o u v e r , V6B 1V5; 684-3014 - c o n s u l t The H a i d a Legend o f the Raven and t h e F i r s t Humans as r e t o l d by B i l l Reld, Museum o f A n t h r o p o l o g y , U B C , Museum N o t e #8.  Reld d  Reld  LOCATION  Halda Bear  bequest from Walter Koerner  cedar  subtraction  101" x50"  L, H,  1963  Great Hall, Museum o f Anthropology  -a contemporary "touchable" carving -note the characteristics of the bear (the heavy m u z z l e , t e e t h and tongue, square e a r s and massive body) -the textured surface is a result of the s k i l l f u l use o f the hand adze.  4  B i l l Reld assisted by Doug Cranmer  Canada Council Grant  cedar  -Haida house & totem pole -subtrac Hon  outside the - p a r t of a r e p l i c a of a including Great H a l l , Haida Village a dwelling house, grave Museum o f house, double and single Anthropolmortuary poles, memorial ogy p o l e and the sea wolf f igure. film - t h e r e i s a l s o a Nat l o n a l F i l m B o a r d color), entitled B i l l R e l d (106c0179 094 2 7 . 5 0 descrl p t l o n is u s e f u l : " B . C . The f o i lowing B i l l Reld, j e w e l l e r and wood Metis ait l s t Haida c a r v e r , a t w o r k on a t o t e m p o l e i n the The f i l m shows t h e gradual Indian tradltlon. into a transfot matlon of a bare cedar trunk p o l e , a g i f t of the a r t i s t to richly carved of S k l d ig a t e , Queen Charlotte the peop le (N.F.B. Catalogue, p. 50) Islands. " 1962  o> 00  SECTION SLIDE  5 10  III:  AREA  SCULPTOR  Mungo M a r t i n plus others; a "sampling" only of N.W. Coast Indian art  1  -  TITLE  THE PATRON  UNIVERSITY MEDIA  cedar  OF B R I T I S H  TYPE  totem poles  SIZE  COLUMBIA DATE  LOCATION  DESCRIPTION  on the f o r m e r l y found l n Totem grounds out-| P a r k . side The - f u l l views d i f f i c u l t to Great Hall photograph therefore deof The M u s - | t a i l s o f p o l e s presented eum o f A n ln slides. thropology - a f i l m recommended l n the A r t 8-12 Curriculum guide Is Totems N . F . B . A - R 141 1944 10 m i n u t e s colour - The Museum o f A n t h r o p o l o g y has been referr e d t o as a ' t r e a s u r e h o u s e t h a t teaches.' It houses not only a wealth of Northwest Coast art but a l s o p r e s e n t s o b j e c t s of cultural significance from around the world. N o t e t h a t as w e l l as v i s i t i n g t h i s museum and s t u d y i n g the a r t i f a c t s i n c l u d i n g the special t r a v e l l i n g e x h i b i t s , t h e museum a l s o offers videotapes. - two f i l m s t h a t m i g h t be h e l p f u l are: A V e r y S p e c i a l B u i l d i n g 18 m i n u t e s ; colour; Canadian Filmmakers D i s t r i b u t i o n Centre, 5 2 5 W. P e n d e r S t . , Vancouver. U . B . C . M u s e u m o f A n t h r o p o l o g y S O - 7 2 8 PEMC 1 9 7 6 30 m i n u t e s colour - consult the G u i d e t o the U . B . C . Museum o f A n t h r o p o l o g y by M a d e l i n e B r o n s d o n Rowan and Margaret A. Stott, pp. 13-14. i t becomes o b v i o u s t h a t a f i e l d t r i p to the Museum, Independent of v i e w i n g the sculpture on the r e s t o f the campus i s a d v i s a b l e because of the time necessary to a p p r e c i a t e the wealth that is contained within this museum.  SECTION SLIDE  III:  AREA  SCULPTOR  1  -  TITLE  11  Edward  Apt  Memorial to Sopron  12  Alfred  Carlsen  13  Jack  14  Gerhard  Harman  Class  THE PATRON  MEDIA  OF B R I T I S H  TYPE  COLUMBIA  SIZE  DATE  limestone  relief subtraction  Madonna of the Cedars  wood  subtraction  H.  Transcendence  bronze  sand cast fountain -4 f i g ures welded together  10' figure s total height 15*  Tuning Fork  -commiss i o n e d by a group of HungarianCanadians from the area of Sopron, Hungary  UNIVERSITY  Alfred Blundell $5 , 0 0 0 gift  corten steel  welded, freestanding abstract  24x3 x24"  H.  50"  23'  LOCATION  DESCRIPTION  2nd floor corridor, International House  -two hands c l a s p e d together -crudely carved letters "U.B.C. adopted Sopron 1956-1961" -References: Foresters in E x i l e , pub. 1970 Adamovich & 0. L z i k l a i Alumni Chronicle, 1961, pp. 24-25.  1968  2nd floor lounge, International House  -University Purchase Prize -small plaque identifying work - s t y l i z e d faces of a mother and child -frontal: low r e l i e f  May 1961  Thea Koerner Graduate Student Centre fountain stands in a pool at the southeast corner of the building  -the d e s i g n was chosen from 5 submissions -cast i n Harman's North Vancouver studio -4 s i m p l i f i e d and draped figures with outstretched arms face the respective p o i n t s of the compass; plaque in place  -formalist rationale of Bldg. -the winning design of a . c o m p e t i t i o n h e l d a t UBC -made at T r i M e t a l Fa b r i c a t o r s , Vancouver - l o w e r po r t i o n has he a v l e r gauge s t e e l due to wind fact o r -include s a well; particles a drain for rust that f o rm as t h e met a l w e a t h e r s q Sept. 1968  south Music  SECTION SLIDE  III:  AREA  SCULPTOR  14  Gerhard c o n t *d  15  C.  16  Jack  17  Sherry  18  Otto FischerCredo  1 TITLE  THE PATRON  UNIVERSITY MEDIA  OF B R I T I S H  TYPE  SIZE  Class  Vlncenzl  Harman  Grauer  COLUMBIA DATE  -the and  Untitled  Music Class 1974  Grad bronze of  Bela Bartok 18811945  presented bronze to U.B.C. and and people marble of the province by the HungarianCanadians of B . C .  The Musician  Asiatic Head  cast figure  LOCATION  DESCRIPTION  p i ece was w e l L r e c e i v e d by the is almost i m m u ri e t o vandalism  public  1974  inside the Music Bldg.  -self expression rationale -the upturned head, neck, shoulder, and arm of a man - i m p r e s s i o n i s t i c mode o f expression  bust substitution  H . 1%' plinth 4' H.  March 25, 1981  inside the Music Bldg.  -marks the century of the composer's b i r t h and the 25th anniversary of the e v e n t s o f 1956 i n H u n g a r y -naturalistic documentation  gift of Mr. Richard A. Wyllie  wire -manipumesh & l a t i o n auto putty  H . 3«j' approx.  June 1968  Chairman of the Music Department Office, Music Building  - t h e w o r k i s made o f different gauges of wire mesh - n o t e the i n s t r u m e n t It- : self and the f a c i a l features of the musician  wife donated the sculpture to U.B.C.  concrete  H. 40" 80" diam.  1958  under cov-shown at 1958 Sculpture ered walkShow h e l d a t U . B . C . by way near the N.W. I n s t , of S c u l p Lasserre & t u r e and the Extension south of Dept. the Freder- -large s t y l i z e d woman's i c Hood head Theatre  substitution  SECTION SLIDE  III:  SCULPTOR  19  Jack  Hartnan  20  Frank  Perry  AREA  1  THE  -  TITLE  PATRON  UNIVERSITY MEDIA  OF B R I T I S H  COLUMBIA DESCRIPTION  TYPE .  SIZE  DATE  LOCATION  1976  between Lasserre and the Frederic Wood T h e a t r e  naturalistic documentation  i n the corner near Room 4 0 1 A , 4th floor Lasserre Building  -rough finish appears t o be p a i n t e d b l a c k and varnished rather than left to patina naturally -exhibited in Centennial Sculpture 1967, Vancouver.  Dr. Norman A . M . MacKenzie  U.B.C. Alumni Assoc.  bronze  bust substitution  H. 30" plinth 52" H .  Florentine Door #2  plaque bronze states R o t h m a n '-8 of Pall Mall donor  substitution abstract  H. 4'  15%" base  jade-like -separi ited from 4 ' b a s e b y 1" stone rect-an i n ;h t h i c k arch i s a t t a c h e d to a is angula r base the "body" o f the d e s i g n aba c o m b :L n a t i o n o f ge o m e t r i c a n d o r g a n i c stract shapes. to the overall - n e g a t Lve s p a c e is important design of the piece  21  Jan  Zach  22  Robert Clothier  Reclining Figure  three Forms  g i v e n by the artist to Walter Koerner  red sandstone  freestanding subtraction  H. 22" x 3 6 " W.  cast concrete  freestanding abstract.  H. 5%" from base  1967  north side of the Lasserre Building  - s t y l i z e d figure; note t h a t the reclining figure theme was o f t e n u s e d by other a r t i s t s such as Henry Moore  -formalist rationale -won U n i v e r s i t y ' s Purc h a s e P r i z e i n 1st Sculpt u r e Show h e l d a t UBC i n 1956 ($400) - o r g a n Lzed by t h e N •W. I n s t i t u t e o f S c u l p Extension c o l l a b o r a t eon w i t h the t u r e i in Depart nent of U . B . C 1956  north side of the Lasserre Building  to  SECTION  III:  AREA  1  THE  -  UNIVERSITY  OF B R I T I S H  PATRON  MEDIA  23  George N o r r i s Univers- commissB i l l Reld ity Mace i o n e d by U.B.C. (designers and carvers)  yew with copper inset  bas rel i e f subtraction and addition  24  Gerhard  Configuration  sheet copper welded and soldered  wall relief  Monkey and the Bearded Man  stone  plaques subtraction  stone  plaques subtraction  SLIDE  SCULPTOR  Class  George Thornton Sharp, architect of the architectural firm of Sharp & Thompson  25  (perhaps Charles Marega was the sculptor)  26  George Norris  A.  TITLE  Mother and Child  donated by b r o n z e anonymous donor 1957 (could have been Charles F. Scott, principal of V,S,A,)  TYPE  substitution  SIZE  COLUMBIA  DATE  Oct.  1959  6-7' 1958 x78" W.  H.  19231925  47" 1955 (39" H .  H.  without base)  LOCATION  DESCRIPTION  -functional rationale stored in the Cerem- -made o f n a t i v e B . C . onies materials Office -Native Indian designs -copper insets used, not s i l v e r as o r i g i n a l l y proposed  exterior wall Main Mall Entrance, Buchanan Building  -Canada Council contest w i n n e r 1958 ($2000) - C o m m i t t e e c h a i r e d by B.C. Binning - p a t i n a the r e s u l t of weathering  Main Entrance of Main Library  -(too s m a l l and d i f f i c u l t to photograph) - r e m i n d e r of the famous 'monkey' t r i a l of 1925 and a c h a l l e n g e to reason and progress.  Main Entrance of Main Library'  -Crest, and h o r s architec -consult Seeing  be t w e e n Main Library and Physics Building  - e x h i b i ted and bought  at by  the the  4 f l o r a l emblems, e with rider tural ornaments, The P l e a s u r e of #134  -intended f o r the entr a n c e o f t h e new E d u c a tion Building along with a F a t h e r and C h i l d . The b u i l d i n g d i d n ' t get fini s h e d f o r 10 y e a r s after the commission. 5.C. S c u l p t u r e Show, 1958 donor. »j  SECTION  SLIDE  III:  SCULPTOR  John  Lees  AREA  1  -  TITLE  THE  PATRON  UNIVERSITY  MEDIA  OF B R I T I S H  TYPE  Crystal Tree  presented to the Dept. of Physics by M r s . D . T. Lees  glass  manipulation  SIZE  COLUMBIA  DATE  LOCATION  July 27, 1976  inside the main entrance of the Hennlngs Bldg.  DESCRIPTION  (too d i f f i c u l t graph)  to  photo-  Sherry  Grauer  Sky w i t h Swimmers  commissi o n e d by and l n the collection of Dr. F. A. Kaempffer  wire mesh & aluminum  manipulation  Part 5.5m . 84m 1.5m Part 5 . 5m  It x x  1972  R e a d i n g Rm. 0311, Hennings Bldg.  27  Sherry  Grauer  Bored Figure #2  c o l l . of Dr. F . A . Kaempffer  stuffed canvas, plaster wood  relief addition  188x71x 4 6 cm  1966  -standing figure encased Rm. 332 in a low r e l i e f 'stage'; Hennlngs one Bldg., Dr. hands l n pockets; Kaempf fer's f o o t on the s e a t o f a wooden chair office  28  E l l e n & Edward Thunder(John?) Neel bird Totem Kwaklutl  bought A.M.S.  cedar  subtraction  H.  - u n t i l 1976 t h e p o l e was dedifoot of ln front of Brock H a l l , cated Student in 1948 U n i o n B l v d . - t e l l s of the 5 t e s t s of Tslkumln, chief magician of the Red Cedar Bark Dance and founder of Q u i Owa-Sutinuk, ancestors of the carver, to w e a t h e r - d a m a g e d p o l e done by -repairs Doug C r a n m e r . their ne p h e w , removed -plaque ln place ^, -removab le wings  by  (too d i f f i c u l t to photograph) -placid premises - " t u c k e d away" location -2 sets of 4 v e r t i c a l II: panels x the o t h e r set 4 times deeper -1 set g h a l l o w ; cut-away sections of a swimming - s e r i e s of taking p o o l whe r e a c h a i n o f a c t i v i t i e s i s po s l t l o n s of the swimmer place - different crouch l n g f i g u r e i s s p l i t in presente d - a space two and s e p a r a t e d by n e g a t i v e  12'  *-  SECTION  SLIDE  III:  AREA  SCULPTOR  28  E l l e n & Edward (John?) Neel cont' d  29  Jack  30  Ellen Neel of A l e r t Bay  Harman  1  -  TITLE  THE  PATRON  U N I V E R S I T Y OF B R I T I S H  MEDIA  TYPE  SIZE  COLUMBIA  DATE  LOCATION  DESCRIPTION  -much o f the d e s i g n p a i n t e d on w i t h black, grey, turquoise blue, white, red and brown paint, - f r o n t a l p o l e - b a c k of the pole roughly shaped only. - p o s i t i o n e d f a c i n g the sea and back to the main e n t r a n c e of S . U . B . ln k e e p i n g w i t h the I n d i a n custom of placing their totems between their longhouses and the sea.  Walter Gage  presented to the School of Social Work by the B . C . Indian Arts and Welfare Society  bronze  bust substitution  H.  2 4 V  1972  main foyer of Gage Residence  - n a t u r a l i s t i c documentation - i n commemoration of W a l t e r G a g e ' s 50 y e a r s o f s e r v i c e to the U n i v e r s i t y  cedar  totem  H.  7-8  May 11, 1949  Student Lounge l n the basement o f the S c h o o l of S o c i a l Work  " . . . g i v e n as a s y m b o l o f the N a t i v e I n d i a n i n the field of higher educat i o n . " (information gained from a framed paper "plaque") - p a i n t i n g and c a r v i n g  -3 main -yellow,  well preserved as exhibited indoors, -wings have been removed and are s t o r e d in the Faculty Lounge, frontal pole.  figures; green, white  black,  brown  and  red.  Ul  SECTION  SLIDE  I I I :  SCULPTOR'  AREA  1  THE  -  TITLE  PATRON  The Lion And St. Mark  commissi o n e d by the architects Gardiner, Thornton, iGathe and Associates  UNIVERSITY  MEDIA  OF B R I T I S H  TYPE  SIZE  DATE  -includes the s t y l i z e d figure of St. Mark, the s u n , and a l i o n , symbol of S t . Mark the evangeli s t i c . -reflects the afternoon sun and g i v e s interesting shadow effects.  1967  Lutheran Student Centre Chapel  - r e l i g i o u s and functional rationales -3 dimensional cross above the a l t a r p l u s a crown of thorns m o t i f for the overhead light f i x t ures .  Christ The K i n g  bronze sheets  welded  Bisig  a Circular Altar  bronze sheets  welded  Bisig  The Twelve Apostles  fibreglass?  relief  presented at the opening of the centre  glazed ceramic  mural -manipulation  May 1971  Thomas  32  Tony  Bisig  33  Tony  34  Tony  35  Robert Weghsteen Langley, B.C.  gift the ist  from art-  plaque 8 tates: "presented by the Van. Alum. Chapter of the Alpha Omega Frat."  ,  DESCRIPTION  St. Mark's Theological College near Wesbrook Mall and Chance l l o r Blvd.  welded wall relief linear  ' Lionel  LOCATION  1957  bronze and go.ld leaf  31  15 xl2'  COLUMBIA  -symbols of the Holy T r i n i t y are s u b t l y embodi e d In the r e l i e f  - s t y l i z e d ures  McDonald Building, South Entr.  group  of  fig-  - a b s t r a c t shapes and textural variety -architectural/ornamental r e l i e f  CT>  SECTION  SLIDE  III:  SCULPTOR  AREA  1  THE  -  TITLE  Kinfi George VI  PATRON  presented to U.B.C. by the V a n . War Amps. A s s . ot Canada funded by Mr. P . A . & Mrs. M. Woodward Foundation  UNIVERSITY  MEDIA  bronze  36  Sir Charles Wheeler  37  George Schmerholz  The Family  Centre f o r wood Human D e velopment , Gov't of Canada, Dept. of Public Works, 1976 Habitat  38  Paul Deggan, o f L i o n ' s Bay  Untitled  .purchased for the opening of the new Education Building: the award of $2000 was given by the B.C. Teachers ' Federation  copper aluminum a n d brass  OF B R I T I S H  TYPE  SIZE  COLUMBIA  DATE  LOCATION  DESCRIPTION  statue substitution  H.  9'  J u n e 2 1, W o o d w a r d 1958 Bio-Medical Library, Main Entrance  s ub t r actlon  H.  5x3'  Sept. 1980  4th floor, Library Processing Building  -4 heads emerging from a chisel textured tree trunk -rounded, smooth, s t y l ized portraits - i m p r e s s i o n i s t i c mode o f expression.  Feb. 1965  Scarfe Building Exterior, North wall  -linear abstract shapes - d e s i g n was c h o s e n from a competition organized across Canada - J u r y c h a i r e d by Prof. Elmore Ozard - p r o b l e m was t o relate work to "unsympathetic" w a l l of l i g h t , glazed b r i c k & deep grey mortar & t o make t h e sculpture withstand possible vandalism  wall r e l i e f  3 pieces , the largest 9x5'  -naturalistic documentation - r e p l i c a o f the one on the m a l l l e a d i n g to Buckingham Palace in London . -was p r e v i o u s l y located at the S.E. corner of U . B . C . Memorial Gymnasium .  SECTION  SLIDE  III:  SCULPTOR  AREA  •  39  George N o r r l s and John Fraser  40  George  Norrls  Zeljko KuJundzlc, Kelowna  1  -  TITLE  THE  PATRON  U n t i t l e d Dean B l y the and (Man About to Mrs . Plant or Eagles Pick Alfalfa)  Thunderbirds  UNIVERSITY  MEDIA  OF B R I T I S H  TYPE  COLUMBIA  SIZE  DATE  LOCATION  DESCRIPTION  mosaic brick  brick wall mural manipulation  20'x50'  1968  Forward Metallurgy Building, north entrance, design on both sides of the wall  -multicoloured - a b s t r a c t of hexagonal symmetry, characteristic o f many metals. -some b r i c k s had metallic components pressed into them b e f o r e firing -architects asked the a r t i s t s to design a w a l l that would accentuate the e n t r a n c e w h i c h was otherwise d i f f i c u l t to locate  granite  subtraction  H.  1967  MacMillan Building, The Forestry and A g r i c u l t ural Quadrangle  -small curved s t y l i z e d f i g u r e o f man planting/ picking a seedling, -donated as a m e m o r i a l to Mr. and M r s . E a g l e s ' pare n t s who w e r e pioneers i n the s e t t l e m e n t of B . C . a n d as a t o k e n o f homage t o a l l who h a v e laboured to improve our agriculture .  plaster  substitution relief inscription  along 2 walls of the Boardroom  Room 3 4 8 , A g r i c u l t ural Bldg.  -this inscription states:: "Ceres f i r s t taught mort a l s to p l o u g h the land when a c o r n s and wild strawberries f a i l e d " Vergil, Georgies I, 147-9 (not photographed)  lightweight cast concrete  archieach 6' t e c t u r - x 6' ; al^ o r n - w e i g h t lb. a m e n t a - 1000 tion  12 T h u n d erbirds atop supporting poles of Thunderbird Stadium  - s t y l i z e d Northwest Coast Indian motif -Vladmir P l a v s i c , a f e l l o w H u n g a r i a n , was the architect of the stadium, (not photographed) £j  3*  1967  SECTION  SLIDE  41  III:  AREA  SCULPTOR •  Simon C h a r l i e , Salish  1  -  TITLE  THE  PATRON  UNIVERSITY  MEDIA  Han Meets plaque wood states Bear w o r k made possible by collaboration between the residents of Totem Park and the Housing Administration U.B.C.  OF B R I T I S H  TYPE  totem subtraction  SIZE  COLUMBIA  DATE  LOCATION  1975  Totem Park Residences  DESCRIPTION  -welcome pole -unpalnted; frontal -two s i m p l i f i e d figures.  VO  80 . Fieldtrip Now the  Activities that  you  University  have  of  been  British  'introduced  Columbia  range  a visit  to  the  campus  hand.  (Refer  to  the  introduction  to  view  locate  sculpture the  sculpture  recommended, 1. from  Draw  and  from  many  angles  that  flash  used  A wide done, in  to  3.  The  your Use to  respective  the  eye  are  Why  Raven.  of  the  buildings?  are  ar-  sculpture f o r the  first  reasons  to h e l p  you  activities  are  film very  of  near;  from  a  but  400  approach  is  be  as  advised  recommended.  I f drawing  and/or  i s to  lives  f a r away  be  x 60  photographing and  cm  this  who  would  you  like  critical  analysis  and  present  Class  1  Tuning  ceramic  murals  within  o t h e r by  Robert  Weghsteen.  share?  f o r each  (Another  from  to  sculpture?  Gerhard  'finish'  ground  i s a p p r o x i m a t e l y 45  that  to  they  Raven  i t i s requested i t  characteristics  this  The  point; camera  ASA  useful.  drawing  What  of  using  of  that  essay  vantage  museum,  friend  d e s i g n do  i s the  a  are  about  two  II  on-site  f a r and  level  the  paper  you  class  the  on  slides,  i s enclosed  a pictorial  I f you  for a  friend  Norris,  principles  created?  that  view  some  (from  prove of  Feldman's  There  George  use  sculpture see  critique  and  possible).  Imagine  never  2.  by  view  a h i g h e r than  the  sculpture  through  Section  map  and  the  following:  of  might  to  to A  photograph  points  lens  consider  convey  the  i s allowed within  angle  monumental  a  as  described  minimally, therefore  size.  may  as  and/or  different  level  be  such  campus  i n order  ' i n person.')  to'  ceramic  How mural mural  Fork.  this  was  area; What each  suitable that  one  done  elements mural for  would  the suit  such the  a comparison Seabed  West  mural  i s Jordi found  Find  o u t a s much  from  H a z e l t o n , B.C.  sult  Slide 5.  Begin  at -  Section  as y o u c a n a b o u t  Describe their  Section  III:  most  Area  and c o n t r a s t *  -  elements  -  historical  -  with  III:  Area  t h e 'Ksan  recent  3 - The  carvers  projects.  3 - The West  images  (Con-  End.)  o f the mother  and  child  Slide  context  content  -  symbolism  technique  -  style  -  imagery  an i n - d e p t h s t u d y  with  1500 b y  #43  Canadian  p.  55) . #44  site  of Mother  with  Infant  the a r t i s t  National  - Maternite,  Museum  - Mother  and C h i l d  tion  (Moore,  Moore.  Guite  George  and  contrast  examples: (Pitti  (Berti,  a carving  Suzanne  by H e n r y  Compare  by  T o n d o ) , SL m a r b l e  Michelangelo, located  sculptor  1956  and C h i l d  on c a m p u s .  the f o l l o w i n g  - Madonna  the Bargello Slide  - mood impact  #42  circa  of design  -  sculpture  Slide  and p r i n c i p l e s  at the sculpture  by  -  Notes  Richness of  Compare:  Norris  done  Notes  Compare  theme.  -  i n Slide  The F a t h o m l e s s  End.) 4.  this  Bonet's  i n Florence  1 9 6 9 , f i g . 12, p . 4 4 ) .  i n teak,  32" x 24", c r e a t e d ,  i n 1960.(Boulanger,  (no. 4 ) , a bronze  I t i s 17.2 cm h i g h  relief  cast  1973,  done i n  and i n a p r i v a t e  collec-  1966, p . 2 4 ) .  T h i s i s a s u g g e s t e d a c t i v i t y f o u n d i n t h e G r a d e s 8- 12 A C u r r i c u l u m G u i d e / R e s o u r c e Book, M i n i s t r y o f E d u c a t i o n , Pr ovi n c e o f B r i t i s h C o l u m b i a , S e p t . 1 9 8 1 , D r a f t , p . 177.  -  Slide  #45  Jacques Modern  Mother  Lipchitz. Art  6. the  -  and  This  Sculpture  Discover  Child,  sculpture  Garden  who  as  as  Bruce  George  Sawchuk,  appearing  Bill  is  bronze  located  in  created  the  by-  Museum  of  York.  Sawchuk  Lands.  useful  is  i n New  George  U n i v e r s i t y Endowment well  1941-45 , a  is  and  Newspaper  Ferguson's  article,  in  the  Vanguard,  of  the  best  what  he  has  clippings A  will  Natural  April  done  in  be  Politic:  1981,  pages  10-17. 7. works  in  Reid's  one  Northwest  a s s i s t a n t s used  carving found  the  Reid  in  of  the  the  four  Museum  Coast the  Indian  local  tradition.  miniature ton  known  and  a half  of  Anthropology.  raven  block  of  Reid  artists  Describe created  yellow  cedar  who how  for to  the be  MAP  STANLEY PARK VANCOUVER, CANADA  Lord Stanley, Governor General of Canada, dedicated Stanley Park in 1889. "...to the use and enjoyment of people of all colours, creeds and customs for all time..."  BOARD OF PARKS AND RECREATION 2099 BEACH AVE. VANCOUVER, B.C. V6G 1Z4 1982  ( U s e o f t h i s map p o s s i b l e t h r o u g h t h e p e r m i s s i o n B o a r d o f P a r k s a n d R e c r e a t i o n , V a n c o u v e r , B.C.)  of the  ( U s e . o f t h i s map p o s s i b l e through the p e r m i s s i o n of B o a r d o f P a r k s and R e c r e a t i o n , V a n c o u v e r , B.C.)  the  84 Section  III:  Classroom  any  world and  detail  one  the  do  you  slides  answers  to  1.  how  of  park  many  the  of  sculpture  visited  those  by  have you  thousands  visitors  sculptures  what  following  Presentation  is  twenty  of  Park  Slide  sculptures  remember  the  Stanley  and  the  What  of  -  famous  yet  boundaries? What  2  Activities  This annually  Area  could  located  you  carefully  saw?  During  found  within  people  describe  in  within  its  looked  at?  your  this  of  viewing  area,  find  of the  questions:  How  many  works  are  examples  2.  How  many  works  were  3.  Most  of  naturalistic  document-  ation?  works  that 4.  been  local by  the  include  Give  six  sculptures  bas  relief  examples  of  produced  by  the  bronze  5.  of  the  sculpture  Most  sculptors.  Charles 6.  two  Can or  you Elek  works  are  ' i n the  Name  three  work. statues  casting  name  round.'  has  and  plaques  that  have  method. been  other  designed  work  in  our  and  created  city  by  produced  Imredy?  would  you  classify  as  examples  of  sculpture?  the  Stanley  Marega  What  ab s t r a c t  (Show  of  commissioned?  slides  Park.)  using  the  Slide  Notes  Section  III:  Area  2  -  JJL° z'z p. 8 5 it  gT* 2-3  •  f < 0  S> n  * 1, a 0  s -1  z i  •  tUUt-CT  5  nun  M  . .  nr '1  g3  •usjtcr  UL'Z'lO  El'zm  -nr-z'iz  7 H : 2.:/3  M*2.*W  JJL'-Z'15  SECTION I I I :  AREA 2 -  STANLEY PARK  SECTION  SLIDE  III:  SCULPTOR  AREA  2  STANLEY  -  TITLE  PATRON  MEDIA  PARK  TYPE  SIZE  S.  DATE  LOCATION  DESCRIPTION  south 8'6" Mar. 10, t h e end o f the 1960 T. S t a n l e y Pk causeway  -arms spread l n welcome to a l l -naturalistic documentation -park dedicated i n 1889 by L o r d S t a n l e y , G o v . General of B . C . 1952 -s t a t u e commlssione d l n 1956 -the b ronze a r r l v e i i n c o n t r o v e i sy of where to p l a c e i t -a 4 year F o r the use and enjoyment of - i n s c r i ption: of a l l c o l o t i s , creeds, and customs people for a l l ;time .  1  Sydney and Vernon March of London  Lord Stanley  MaJ. J.S. Matthews, the City Archivist, helped to raise the money  bronze, granite base  statue substitution  2  George Lawson  Robert Burns  Vancouver Burns Fellowship  bronze ($5000) granite pedestal ($2000)  naturali s t i c documentation statue substitution  - o n e o f 4 c o p i e s ; one o f Aug. 25, Georgia St which Is i n A y r , Scotland, 1928 Burns' homeland. entrance, -3 bronze low r e l i e f close to plaques depict 3 scenes Lord from 3 of h i s poems; a Stanley fourth plaque bears the poet'8 name a n d dates.  3  Queen James Victoria Blomfleld Memorial -designed the bronze work on the memor1 al Thomas Brock, R.A., sculptor of the 1897 Jubilee coins -designed the medallion of the queen  school children raised part of the funds plus a patriotic concert was h e l d ln 1902  bronze -granite from Nelson Island  cast in Salford England  May 24, 1909  A.  l*i  commissioned sculpfaces Row- - f i r s t ture for Vancouver ing Club -right side of granite, the E n g l i s h c o a t o f arms -left side of granite, Vancouver schools' coat of arms - f o u n t a i n was i n t e n d e d to have water but vandals s t o l e the 2 bronze drinking cups - o r i g i n a l cost $1850.  oo  SECTION  SLIDE  I I I :  SCULPTOR  Charles  Marega  AREA  2  -  TITLE  Harding Memorial  STANLEY  PATRON  MEDIA  Kiwanis Club membe r s charged 50c e a c h  bronze, granite  TYPE  l a l  PARK  SIZE  DATE  Sept. 1925  LOCATION  I |near Bowl  DESCRIPTION  -honors American President's v i s i t to B . C . -Includes a record of some o f H a r d i n g ' s w o r d s spoken July 26, 1928; H a r d i n g d i e d one week later c o m p e t i t i o n f o r the design of  Malkin  -international the monument - b u i l t I n the shape of a s e m i - c i r c l e , the memorial contains spacious stone seats which are f l a n k e d by 2 bronze e a g l e s . In the c e n t e r , mounted on the p e d e s t a l between the b r o n z e f i g u r e s o f C o l u m b i a and Canada, i s a r e l i e f p r o f i l e o f the President.  from the Skeena River area  James Benzie, local architect designed the monument  Japanese War Memorial  Brockton Point Totem Park  donated by James F. Garden  cedar  totem figure subtraction  Canadian Japanese Association  granite  obelisk subtraction  1903  A p r i l 1920  opposite the bear pits  - s t y l i z e d but worn figure shrouded i n p l a n t growth  9,1 b e t w e e n t h e I Children's Zoo and the Aquarium  - t o commemorate those of J a p a n e s e e x t r a c t i o n who took part i n WW.I -at f i r s t the pagoda l a n t e r n on t o p was l i t at night 12 g r a n i t e p l a q u e s n a m e battles - o n e b r o n z e p l a q u e names t h o s e k i l l e d ; the o t h e r t h o s e who returned - o r i g i n a l cost $15,000 - c h e r r y t r e e s added i n 1932  A plaque Indians' unique to Alaska. c e d a r and mythical  states: "The t o t e m was the B . C . 'coat of arms.' Totem poles are the N . W . coast o f B . C . and lower They were c a r v e d from Western red each c a r v i n g t e l l s of a r e a l o r event, They were not i d o l s , noroo a  SECTION SLIDE  III:  AREA  SCULPTOR  2  STANLEY  -  TITLE  PATRON  MEDIA  TYPE  PARK SIZE  Waklus Pole  Rivers Inlet Kwaklutl restoration by Doug Cranmer  Yakdzi Pole  Kingcombe Inlet Kwaklutl  Tsa-weenoh House Post  DESCRIPTION  LOCATION  were they worshipped. Each c a r v i n g on each p o l e has a meaning. The e a g l e represents the kingdom of the a i r , the whale the lords h i p of the sea, the wolf the g e n i u s o f the l a n d , and the frog the t r a n s i t i o n a l link between l a n d and sea." (Consulf. the b r o c h u r e , Totem P o l e s of British Columbia, Series I: Stanley Park, by S.W.A. Gunn, for further information.)  Brockton Point Totem Park cont' d  Alert Bay Kwaklutl  DATE  Vancouver Jubilee Committee  cedar  totem subtraction  cedar  totem subtraction  cedar  horizontal beam subtraction  40'  1899  Brockton Point  top  1936  Brockton Point  - r e p l i c a o f 1894 o r i g i n a l -top Eagle Yakdzi (Chief) Sea Monster Whale Grizzly Octopus -the Yakdzi pole appears second from the left in the slide  1927 iBrockton placed IPoint near Lumberman's Arch; 1963 moved  Thunderbird K i l l e r Whale Wolf Uan-wa-kawle Mythical Bird Grizzly Raven  -made f o r C h i e f Tsa-weenoh - T h u n d e r b i r d and Grizzly h o l d i n g a woman  oo vo  SECTION  SLIDE  III:  SCULPTOR  AREA  2  -  TITLE  STANLEY  PATRON  MEDIA  TYPE  10  Nhe-isSee-wit of Blunden Harbour blk (TethKwakiutl ering Pole)  b o u g h t by Golden Jubilee Committee  cedar  totem sub t r action  11  Charlie James, Si-saYaakutlas kaulas Kwakiutl Pole -minor restora t i o n by Doug Cranmer i n 1963  bought in 1936 by the Art, Scientific and Hist o r i c a l Society of Vancouver  cedar  12  Queen C h a r l o t t e Skedan Island, Halda Mortuary Pole  obtained from Chief Henry Moody by the Golden Jubilee Commit tee  cedar  PARK  SIZE  60'  DATE  1892  LOCATION  DESCRIPTION  Brockton Point  'How t h e s a l m o n came to Rivers Inlet' top Thunderblrd Chief Raven Salmon Wolf Whale Grizzly Monster of the forest  totem subtraction  Brockton Point  top  totem subtraction  Brockton Point  Sister of Thunderbird Ancestor of Sl-sakaulas K i l l e r Whale Sea Otter Sea Bear. Human h e a d (the Sl-sa-kaulas Pole appears i n the centre of the slide)  - o l d e s t i n the group -for Chief Skedan -hieroglyphics on the back t e l l of the cost -top Moon Mountain goat Human faces Grlzzly K i l l e r Whale -other totems i n S tanley Park are found at railway Prospec t Point and in the park circuit  to o  SECTION SLIDE  III:  SCULPTOR  AREA  2  STANLEY  -  TITLE  PATRON  13  14  15  16  Elek  Imredy  MEDIA  TYPE  stone  petroglyph bas relief subtraction  Chehalis Cross  erected by friends and crew  concrete cross on stone base  memori a l  Girl ln Wetsuit  brainchild of Vancouver Harbour Improvement S o c .  bronze on boulder  figurative^ substitution  Empress The P r o v of Japan ince , a FigureVancouver head newspaper restored It  fiberglass  PARK SIZE  DATE  LOCATION  DESCRIPTION  animal  1906  350  lbs.  shapes  driveway - i n memory o f 8 p e o p l e lives on p a s t B r o c k - who l o s t t h e i r the steam t u g Chehalis ton Point July 21, 1906  - l i k e Copenhagen's mermaid -represents Vancouver's dependence on the sea -cost $25,000 -cast in Italy humanthe m a i ms t r e a m o f b u s t l i n g "Just c ff a a c o n s t 'a n t a m i d s o m u c h f l u x , l t y , sh e ' s a calm g u a r a n t e e a m i d s o in u c h u n c e r t a i n t y , existence." amid such irantic reality ( V a n c o L i v e r S c u l p t u ire w i t h T e r r y N o b l e , Jan. V a n c o u v r e r G u i d e l i n es , V o l . 1 0 , M o . 3 5 , Do y o u a g r e e ? Give 1981, p. 20 .) 23-29, your re as o n s . June 10, 1972  1960  between Brockton Point and Lumberman's Arch  -the ship passed this p o i n t many t i m e s between 1891-1922 -figurehead restored ln 1928 -fiberglass replica in 1960 - o r i g i n a l In Van. M a r i time Museum, vo *—•  SECTION  SLIDE  III:  SCULPTOR  AREA  2  STANLEY  -  TITLE  17  Charles  18  ThunderChief Joe bird Capilano Squamish t r i b e Dynasty Pole of the Coast Salish  19  designed by James McLeod Hurry  PATRON  concrete  Marega Lion ' s Gate Bridge lions  Pauline Johnson Memorial  MEDIA  cedar  Women ' 8 Canadian Club  natural rock f rom a r ound S i wash Rock  TYPE  stylr lzed substitution  PARK  SIZE  each 6 V T.  DATE  Jan. 1939  LOCATION  on t h e east and west side of the! southern end of the bridge  DESCRIPTION  - b r i d g e opened i n 1938 -last pieces of sculpture done by M a r e g a - t h e r e was p u b l i c c r i t i c i s m that the lions were too s t y l i z e d and too c l o s e l y resembled the sphinx  Prospect Point  totem  -the only pole that stands at the original site on w h i c h I t was raised top Son o f T h u n d e r b l r d Daughter of Thunderblrd Mother of Thunderbird Giant Dragon -commemorates meeting of Squamish people with Capt. Vancouver i n Burrard Inlet in 1792 .  cairn -low relief of poet and crossed feather and arrow subtraction  May 19, 1922  1936  her p o r t r a i t , a crossed between Third B e a c h f e a t h e r a n d a r r o w on one s i d e , and a canoe on the and F e r g o t h e r , i s carved i n low uson P o i n t r e l i e f i n t o the natural rock - d e p i c t s one o f her p o e m s , S o n g My P a d d l e S i n g s . and t i t l e o f her b o o k , F l i n t and Feather -Includes a s h e s and books -inscription: " E . P. Johnson 1861-1913 Tekahionwake"  SECTION  SLIDE  20  I I I :  SCULPTOR  Charles  AREA  STANLEY  2 -  TITLE  Marega David Oppenhelmer  PATRON  money raised from general publ i c as a tribute  MEDIA  TYPE  PARK  SIZE  bronze bust Us on gran- subs t i - times l i f e ite tution size pedestal  DATE  LOCATION  DESCRIPTION  Dec. 14, n e a r B e a c h - w a s s e c o n d m a y o r o f 1911 Avenue V a n c o u v e r and a l s o the exit of main force behind reservStanley i n g the l a n d f o r the park Park  \  94. Fieldtrip In  Activities  order  sculpture, place  or shortly  Draw  and/or  ular  sculpture  from  ground  from  the s i d e s ,  you  black of  that  was  4. are  honoured  The m a j o r i t y  commissioned  documentation Northwest  Coast  the totems  House  Posts?  the  What  various  could  of a  partic-  f a r and  vantage  are:  near;  points;  of the s c u l p t u r e ) . setting  'blown  If  and n o t e t h e  prints, up.'  the e n t i r e  to c r i t i c a l  slides  Include  sculpture  or 'shots'  and de-  Pauline  Harding?  i n Stanley  famous  The K w a k i u t l , similarities  present  Johnson?  David  Oppenheimer?  Queen  Victoria?  found  people  i s also  What  and  Park?  of the s c u l p t u r e s  art.  analysis  sculpture.  Stanley?  at Brockton  examples?  take  suggestions  (from  higher  Burns?  and p o r t r a y  Indian  be  activity  essay  coloured  of a p a r t i c u l a r  manner b u t t h e r e  among  ented.  taking  approach  President are they  Some  particular  only.  Robert Lord  Why  the l i g h t  and i t s s e t t i n g ;  to the class  Who  purposeful  of view  and the r e a r  Consider  'see' a  a pictorial  and from  change  Use F e l d m a n ' s  3.  some  points  eye l e v e l ,  prints  on and  a fieldtrip.  different  of the s c u l p t u r e  critique  after  the f r o n t ,  results.  the s c u l p t u r e  2.  focus  photograph  a camera  and w h i t e  tails  a  from  level,  are using  different  students  i t i s recommended t h a t  during 1.  to help  Point? Tlingit,  What  Park  i n the nat u r a l i s t i c  a good  figures  i n Stanley  r e p r e s e n t a t i o n of  can you  recognize  do y o u know  and H a i d a  bands  about are  a n d d i f f e r e n c e s do y o u n o t i c e  represamong  95. 5. erion  The -  Compare  such -  elements and of d e s i g n  -  historical  -  content  -  style  -  imagery  within  only).  -  of  bust  (Slide  #21);  California, -  Lord  entrance  to  with  David an  are  recommended  The  Mermaid  a variety  f i g . 6,  with  the  area  with  completed p.  Ronald  play  -  technique  -  mood  -  i mp a c t  -  symbolism  of  crit-  this  study  activity:  of  this  is possible  Edward in  famous  through  Kienholz's  1959.  a  John  (Assemblage  Doe in  18.)  McDonald of  for  (the  harbour  Oppenheimer  assemblage  1968,  Stanley  principles  Copenhagen's  photograph the  using  context  examples  i n Wetsuit  landmark  c o n t r a s t * images  as:  following  Girl  and  the  No.  (Slide  #22)  3 Road  as  seen  at  the  restaurant in  R i chmond. -  the  at  lions  at  the  south  site  of  the  new  the  ade  (consult 6.  Section  Produce  three  to  ture  commemorates  7. be  of  Make  interest  of  Lion's  Vancouver  III:  rationale that  a  a  end  Area  Art 4  dimensional  s c u l p t u r e admired  notes to  a  on  an a  -  event group  friend  Gate  Gallery, Downtown art  within such  of  Bridge  as  Georgia  you  form  that  This i s a suggested a c t i v i t y found Curriculum Guide/Resource Book, M i n i s t r y o f B.C., S e p t . 1981, D r a f t , p. 177.  park:  the  Japanese  in of  lions  Street  has  the  from  the  fac-  A).  sculptures that  visiting  with  out  a  e.g., War  you of  a  sculp-  Memorial.  think  town.  the Grades Education,  similar  might Prepare  8-12 A Province  material that  enabling  friend:  e . g . , be  poetry;  know  Empress  of Japan  8. U.B.C. further  you to give  an i n f o r m e d  familiar  the h i s t o r y  with  behind  boundaries.  of Robert  the Chehalis  Environment  p u b l i c a t i o n S t a r t i n g with study  a r t tour f o r  Cross  Burns' and/or th  figurehead.  Use t h e V a n c o u v e r  your  some  mini  of the park  Educational  Monuments:  Project,  Stanley  and the landmarks  Park,  within i t s  t  Section  III:  This  A r e a 3 - The  area  - Burrard  S t r e e t on  - Stanley  P a r k on  - Burrard  Inlet  Classroom A c t i v i t i e s When you ation notes,  are the  fieldtrip,  c o v e r e d i n the is  to d i s c u s s  viewing  of t h e  on  and  Slide  questions  d e t e r m i n e how t i m e you  can  city  bounded  by:  east  west  the  the  previewing  of the  the  the  on  recommended t h a t you  try  End  r e f e r s t o the p a r t  - E n g l i s h Bay  the  West  north south.  Presentation  the  slides,  t o ask  the b a c k g r o u n d  i n the  classroom  and  informduring  much m a t e r i a l c o u l d be s u c c e s s f u l l y a f f o r d to s p e n d on  this  cover l e s s m a t e r i a l w e l l ,  a l l the  sculpture  slides,  find  the  rather  i n t h e West End. a n s w e r s to the  area.  It than  During  your  f o l l o w i n g quest-  ions : 1.  The  commemorative s c u l p t u r e  in this  do w i t h  l o c a l h i s t o r y than those i n Stanley  why  Joe  the  Fortes  B e n t a l l bust,  and  M e m o r i a l , the the  sculpture  area  has  Park.  more t o  Give  s u n d i a l at E n g l i s h Bay, on  Burrard  Bridge  reasons the  were commis-  s i oned. 2. End?  Where w o u l d you  go  What images w o u l d you 3.  Why  i s Lutz  to f i n d  Inuit sculptures  expect to  i n the  West  find?  Pi's creation called  the  'Invisible  Foun-  tain' ? 4.  What m e d i a were u s e d t o c o n s t r u c t  found i n t h i s fountains?  area?  How  does our  Which m e d i a seem t o be  climate best  the  four  fountains  a f f e c t e a c h of  s u i t e d t o our  these  climate?  100. 5.  Compare  water.  How  6. III:  Lutz  Dr.  does  Columbia)  S tanley  Park)?  How  9.  (Show The  the  West  is  What  this is  have  are  the  Pi  and  Tsutakawa  fountain?  some  The  use  passerby?  fountain  (consult  elements  and  Section  principles  of  they? Bentall  III:  David  are  Lutz  Deggan's  Charles  Thomas'  slides End.)  and  How  Lionel  B)  (Section  British  mass.'  What the  affect  Paul  Downtown  MacKenzie  8.  use  and  common. How  c o n t r a s t how  this  Pi's  5 -  in  7. of  does  Area  design  and  the twin  Area  bust 1 -  differ  The  University  Oppenheimer  (Section  three  very  busts  fountains  accomplished  by  the  from  III:  the  busts  of Area  2  similar?  'resemble  a  swirling  artist?  sgraffito?  using  the  Slide  Notes  Section  III:  Area  3  -  -  SECTION  III:  THE WEST  AREA  END  3 -  SECTION  SLIDE  III:  SCULPTOR'  AREA  3  TITLE  -  THE WEST END  PATRON  MEDIA  TYPE  SIZE  DATE  LOCATION  DESCRIPTION  1  Greta Dale, designer and carve r  cement  4 sgraffito panels subtraction bas rel i e f murals  1960  2033 Comox, The W h i t e House  -4 s t y l i z e d f i g u r e s depicted i n 3 outdoor s c e n e s ; 2 o f the figures are shown l n the s l i d e . The shadows and plant growth tend to obscure the r e l i e f m u r a l . Which t o o l s do y o u t h i n k were used to c r e a t e the linear relief?  2  Jordl Bonet, Gerald Hamilton and Associates, architects  cast concrete  bas rel i e f wall panels  I960  845 Chilco, Lost Lagoon Terrace  linear; ornamental architectural r e l i e f : repeated motif from ground to top f l o o r of the h i g h - r i s e apartment building. - c o n s u l t The P l e a s u r e of Seeing #116  3  Lutz K. Haufschlld  815  - l i n e a r ; textural -organic shapes -metallic colours  4  Gerhard  Class  aluminum , machined & etched  presented bronze by Cungranite ningham Store L t d . whose first s t o r e was opened at Denman & Nelson ln 1911  door panels, bas relief  cast sun- granite dial columns carved 5' base  1967  Chilco  E n g l i s h Bay - " T h i s s u n d i a l commemorates three English greenbeach, horns—Samuel Brlghouse, Beach Ave. John Morton & W i l l i a m H a i l s t o n e who i n 1862 f i l e d the f i r s t claim and planned the f i r s t home and I n d u s t r y , In the then h e a v i l y w o o d e d a r e a now bounded by B u r r a r d Inlet, S t a n l e y P a r k , E n g l i s h Bay and  Burrard  St.,  to  which •—*  o  to  SECTION SLIDE  5  III:  AREA  SCULPTOR  3  -  TITLE  THE PATRON  MEDIA  Gerhard cont'd  Class  the -erected ti n d e r the auspices c>f Comm. Centennial o f V a n c o u \r e r i n c o o p e r a t l c >n w i t h the Parks Board  Charles  Marega Joe Fortes Memorial  Kiwanis organized a public subscription -raised $5,000  6  Egon  7  Lionel  M i l l n k o v l ch  Thomas  concrete bronze relief  WEST END  TYPE  SIZE  DATE  LOCATION  DESCRIPTION  they r e c e i v e d t i t l e in 1867." ( i n s c r i p t i o n on a plaque on site) -straight and c u r v e d geometric designs have been carved i n the granite base which i l l u s t r a t e sunr i s e , midday, sunset and midnight -the s u n d i a l i s on a raised c i r c u l a r platform.  drinking fountain  Feb. 15, A l e x a n d r a Park, 1926 Beach Ave.  piaque  -depicts "Joe's" portrait & 3 children splashing ln the waves i n the bronze low r e l i e f plaque -honours Seraphin Fortes, Vancouver's f i r s t l i f e guard at E n g l i s h Bay - f u n c t i o n a l as w e l l as documentation rationales  -solitary figure hand behind i t s stylized  Tom Campbell  limestone painted white  subtraction  1962  1255 B i d w e l l , Imperial Apts.  Block Bros .  steel twin tubing fount& brazed ains copper water jets  1965  1600 Beach - c u r v i l i n e a r Ave . , -resembles a Beach Tow- mass ers  one head:  s w i r l i n g  o UI  SECTION  SLIDE  8  9  III:  ABEA  SCULPTOR  3  -  TITLE  THE  PATRON  MEDIA  WEST END  TYPE  SIZE  DATE  LOCATION  DESCRIPTION  The Swimmer  welded stainless steel, bronzecoloured  free standing abstract  Nov. 1977  1050 Beach - w e l d e d s e c t i o n s from give Ave., Van- c i r c l e s o r g a n i z e d to the i m p r e s s i o n of movecouver ment t h r o u g h water Aquatic -rises out of a rock Centre garden  Charles Marega art 1st, J.R. Grant engineer, Sharp & Thompson consulting architects  Coat of Arms, 16 lion's heads , Capt. Vancouver bus t , Capt. S i r Harry Burrard bus t  cement  partial relief architecture 1 adornment  1933  Burrard Bridge  Chief Walter Harris, Chief Alfred Joseph, Earl Muldoe Ken Mowett Art Sterrltt  'KB an Mural  George  Norris  Royal Bank  Western red cedar hand painted  bas r e l i e f mural  (not photographed) -the same images at both the n o r t h and s o u t h ends of the c e n t r e s e c t i o n of the bridge - c e n t r a l work l s Vancouver's s e c o n d c o a t o f arms - c o n s u l t The P l e a s u r e of Seeing. 0124 & 0126  120' x 8'9 panels , 3 massive central designs flanked on each s i d e by 3 subsidiary panels -each panel cedar framed  1972  Burrard & Georgia '. m e z z a n i n e • floor of : the Royal Bank  -depicts the many explo i t s o f W e g e t , o r Man Raven, the legendary cult u r e - h e r o of the G l t k s a n -the largest s i n g l e work done i n H a z e l t o n ; i t took 5 carvers 3 months to complete - c o n s u l t The R o y a l Bank of Canada's brochure The iKsan Mural, avallahle at the site  _  —  SECTION  SLIDE  10  III:  AREA  SCULPTOR  Jack  Harman  11  George Tsutakawa, Seattle  12  McCarter and Nalrne architectural firm  3  -  TITLE  Charles Bentall  Fountain of the Pioneers  THE  PATRON  MEDIA  WEST END  TYPE  commissioned by his sons  -bronze -slab of marble  bust substitution  Bentall family firm, Dominion Construction  - s i l i c o n bronze plate -water  fountain  SIZE  DATE  Dec. 4, 1977  15'x9'  built by b r i c k bas relief Stlmsons 8 tone archiOffice bronze tectural Holding plaster ornamenCo. wood atlon clay -stained glass windows - l n t r l c a te w o o d - i n l a y elevatori3  LOCATION  Bentall Centre, 500 B u r r art Street  June 12, 5 0 0 ard 1969  DESCRIPTION  - n a t u r a l i s t i c  tion  documenta-  -unique-for-Vancouver m o u n t i n g o f the b u s t on a large horizontally placed marble slab  -the a r t i s t ' s 27th fount a i n , his 4th fountain in Canada -"tribute to those people who p i o n e e r e d this great p r o v i n c e and whose vision courage and h a r d work harnessed the mighty r i v ers and husbanded the towering forests, t h a t we who f o l l o w m i g h t e n j o y a truly bountiful land." the metal s c u l p t i» w i t h w a t e r ; -the ar t l s t f o r m s h :L s s h a p e s heaven, "A f o u n t a i n i n v o l v e; s 3 e l e m e n t s : water. Heaven i s where everyearth, iu n d material thing i t3 — s p a c e ; e ii r t h i s w h e r e t h e or s t o n e ; what really comes f r o n — b r o n z e the most elusive makes a f o u n t a i n i fi w a t e r , e l e is e n t o f a l l . " — t h e arta n d mys t e r l o u s ab<) u t t h e f o u n t a i n (The i s t ' s s it a t e m e n t 12 P r o v i n c e i ( V a n c o u v e ir ) , A p r i l 3 , 1 9 6 9 , p p . and 13)  19291930  BurrStreet  Marine Building, Burrard & Hastings -exterior and i n the lobby  -Art Deco p e r i o d ; carvings depict the history of t r a n s p o r t a t i o n and d i s c o v e r y on the Pacific coast & marine motifs - o v e r the a r c h of the main e n t r a n c e the sun is portrayed setting over _ the L i o n ' s Gate Bridge °  SECTION  SLIDE  III:  SCULPTOR '  McCarter Nairne cont'd  13  AREA  Jordi  3  -  TITLE  and  Bonet  THE  PATRON  WEST  MEDIA  END  SIZE  DATE  LOCATION  -ornamental plaster celling -terra cotta friezes -sand cast doors made ln Vancouver -metal g r i l l work  The Fathomless Richness of the Seabed  glazed ceramic  mural manipulation  18'x32  and the O r i e n t , w i t h w i l d geese and a f u l l y - r i g g e d s h i p as p a r t o f t h e scene -total cost $2,500,000 -1933 Guiness bought the building -Heritage status 1975 -consult The P l e a s u r e of Seeing #1-9  Oct. 2 2j 1 0 5 5 W e s t 1969 1Hastings, Guiness Tower, Main Lobby  "By the a b s t r a c t treatment o f h i s s u b j e c t the s e a , w i t h c o l o u r and text u r e , he h a s p r o d u c e d as he s a y s , 'the textures and r e l i e f s o f waves of r i p p l i n g sand, the delicate branches of coral reefs, the a i r y l i k e n e s s of a sponge, the s w i f t s t r e n g t h o f the u n d e r w a t e r currents," ( i n f o r m a t i o n on site) -the m u r a l i s made approx. 14x20" -glazes are i n the  14  Jordi  Bonet  Resurg-  aluminum  substitution mural  DESCRIPTION  1977  Oceanlc Plaza, 1066 West Hastings ln the Main Lobby  up  of  beige  rectangles and  blue  of range  -'depicts the driving force of man's creativity, natural forms and remnants are symbolically resurrected through the ascending central figure to the g r e a t inspirations of the m i n d . It is cast i n t h e same a l u m i n u m m a t e r i a l as the building's cladding' (information on site) .  SECTION  SLIDE  15  III;  AREA  SCULPTOR  PATRON  TITLE  MEDIA  WEST END  TYPE  SIZE  translu-l founcent tain p l e x i glass  "Invisible Fountain"  Lutz P i , designer -built by Hartmut Krieger  McCleary Winnipeg (#16-22)  THE  3 -  DATE  LOCATION  Sept. 1974  1050 West Pender  -the into -poll come -cost  water q u i e t l y a small pool u t i o n has caused yellow $25,000  1111 West Hastings, Plaza of the Baxter Building  Drope  16  Homage Helios  to V  17  Homage Helios  I  18  Homage Helios  to II  19  Homage Helios III  to  DESCRIPTION  -triangular and 4-sided planes of plexiglass Joined to form geometric columns flows over these surfaces the  plexiglass  to  be-  - w o r k s were c h o s e n by the architect and p a t r o n from some 20 p i e c e s the artist completed from 1966-67, t o be p l a c e d i n this planned rest area - a l l 7 sculptures are i d e n t i f i e d by plaques  V - " s t a n d i n g l n r e a d i n e s s for tomorrow he w i l l a g a i n t r a n s v e r s e the heavens" -one of| a s e r i e s of totemlc-like figures - s l i g h t l y less than l l f e s l z e -set in shallow holding trays f i l l e d with s t o n e s so t h a t the p a t i o around the b u i l d i n g does not get stained from the corroding steel I-"the watchful present"  to  R. C. Baxter Collection  corten steel  7 free vary standing] from sculptto 7' ures -welded and cast!  1967  giver  II-"each day is renewed"  of  the  light  is  struggle  forever  to  arise  I I I - " t h e wings are spread to bear the l i g h t across the heavens"  SECTION  SLIDE  Ills  SCULPTOR  AREA  3  THE  -  TITLE  Homage Helios  PATRON  MEDIA  corten steel  22  Love rs  cast concrete  24  E. Schulte Becham  25  George  Norrls  SIZE  Eskimo Family w i t h Owl  DATE  LOCATION  DESCRIPTION  "The s c u l p t u r a l forms have e v o l v e d through the a r t i s t ' s close r e l a t i o n s h i p w i t h the materials used. The f o r m s a r e i n f l u e n c e d by the geometry of nature sometimes reflecting the f o r m a l a s p e c t s but more o f t e n revealing the i n n e r c o r e . A constructive monumentality transcends a l l forms."  Untitled  Tunu Kangeak, Baffin Island  TYPE  to IVI  21  23  WEST END  Board Trade  of  stone  bronze commissioned i n 1914 by • Scottish National and Union Insurance Co.  copper panels  -an art c r i t i c describes them as s p i k e y configurations of organic growth reminiscent of the forms i n the p a i n t i n g of Graham Sutherl a n d (The Sun ( V a n c o u v e r ) , A u g . 2 5 , 2967, p. 4a.)  free standing sculpture  -2 i n d i v i d u a l forms, "combined l n a state  abstract  three repousse murals  10'xlO 6'x8' ; 9'x8'  twists,  1177 West Hastings, inside the building  -simplified figures -frontal; shallow relief  1969  1155 West Pender, Royal General Insurance Co.  a pair of lions guarding the entrance - o n e paw r e s t s on a a shield bearing a coat o f a r m s , atop- o f w h i c h i s a crown -the w e l l known turquoise p a t i n a has coated the bronze  1964  1201 West Pender, inside the lobby of the East Asiatic Building  -sealife and b i r d themes r e l a t i n g to the shoreline and the l o c a t i o n of the building  subtraction  substitution  r e d and b l a c k of oneness."  o ce  SECTION  SLIDE  26  27  III:  SCULPTOR  Gerhard  Glacomo  28  Robert  29  Mia  AREA  '  3  -  TITLE  THE  PATRON  Class  Manzu  Murray  Westerlund  MEDIA  p reconstituted marble cast in a plaster mould-a similar material to that used in the facing of the building  WEST END  TYPE  free standing abstract sculpture within a reflecting pool  The Skater (Grande Pattinatrlce)  purchaaed bronze by a r c h i tecta  figurative cast ln Italy  Pueblo  permanent collection , Vancouver Art Gall.  uelded  Corner Series  permanent copper/ 8 teel collecsheets, tion , Vancouver concrete Art G a l l . & acids  steel, painted yellow  SIZE  DATE  7'  1966  LOCATION  East Asiatic Building  DESCRIPTION  -organic, flowing curvilinear lines -negative s p a c e an i m portant part of this sculpture -the pyramidal shaped sculpture has rounded edges  4'7V plus pedestal  1957 (placed in present site in 1968)  off  1075 West Georgia, MacMlllan Bloedel Building, ln the south-west corner of the lobby  -impressionistic -eyes closed, d i f f i c u l t to d i s c e r n f a c i a l expression - p l u s there are 60 w o r k s i n t h i s b u i l d i n g done by a r t i s t s from a l l the major c r e a t i v e centres of the Canadian A r c t i c (not on p u b l i c display).  1968  1145 West Georgia  - i n storage June, 1982 as the upkeep when outdoors ls a problem ( i t needs to be p a i n t e d regularly).  1978  1145 West Georgia  -does not consider herself t o be a m i n i m a l i s t even though her shapes are geometric solids and l i k e "primary structures." »—•  o  SECTION  SLIDE  III:  SCULPTOR  AREA  3  -  TITLE  THE  PATRON  MEDIA  WEST  TYPE  George  31  McCleary  Norrls  Drope  SIZE  DATE  LOCATION  DESCRIPTION  -she "paints with materials" and works from maquettes s m a l l enough to h o l d i n your hand -her work has a presence I t w o u l d be o f i n t e r e s t to c o n s u l t Ann M o r r i s o n of the E d u c a t i o n Department for more i n f o r m a t i o n r e g a r d i n g the s c u l p t u r e in the Permanent C o l l e c t i o n of the Vancouver Art Gallery.  Mia Westerlund coat' d  30  END  Coat Arms  of  Crown Life Insurance  1550 West Georgia Crown Life Insurance Building  concrete  corten steel  welded free standing sculpture  just vest of the Bayshore Hotel  -minimal figures  •solitary  r e l i e f ;  totemic  stylized  figure  113, Fieldtrip i  Activities  In order  particular activity trip  Art  place  during  place.  1.  Heritage  Which  motifs?  i t s leading  other  objects 2.  year? Consult  modern  Giacomo  time  exponents?  Do y o u t h i n k  you f i n d that  and development  -  substitution  Why  do y o u t h i n k  a  field-  o f a r t most  architectural  What  Who  reliefs,  no m a t t e r title?  what  what  time o f  Why?  Why  not?  other i m p r e s s i o n i s t i c  do y o u c o n s i d e r  of image,  expressive  t o be h i s intent,  o f image?  (it i s possible on r e l i e f  the Royal  f o ri t s  did i t originate?  o u t what  selection  lesson  after  i s known  'school'  The S k a t e r  has c r e a t e d .  Mural  'focusing'  design?  to f i n d  composition,  the  Where  area  i s an a p p r o p r i a t e  regarding  The 'Ksan  some  or shortly  this  Besides  'trademarks'  3.  was  artists  a r t texts  Manzu  that  'see'a  suggestions are:  In Europe?  would  on a n d t r u l y  Building i n this  d i d these  Where  a fieldtrip  Some  A t what  i n Canada?  focus  i t i s recommended  has taken  popular  work  the students  sculpture,  take  Deco  were  to help  Bank  to l i n k  this  mural  with  i n Section IV). o f Canada  commissioned  this  work ? -  How  -  What  stories  -  What  other  their of  was  i t crafted?  What  escapades.  white  paper  would  and would  for  the mural  c u l t u r e s have  folklore?  their  does  and b l a c k  the c a r v i n g  tell  mischievous  are their Plan line  names?  a relief  away  panel.  Weget?  creatures Briefly  f o r one s u c h  and shaded  n o t be c a r v e d o f a wood  about  areas  as p a r t o f describe legend  some  using  t o i n d i c a t e what  i f y o u were  t o use t h i s  plan  114. -  What  other  -  What  elements  this -  Which  Why  stories?  and p r i n c i p l e s  creatures  among  of design  are obvious  within  a design  within could  panels  4.  the s i x smaller  o f an a n i m a l  a similar be  format,  do y o u c o n s i d e r  f o r a wooden  What  'fathomless  Jordi  Bonet's  -  I n what  other  -  Are you s a t i s f i e d  (i.e.,  ceramic ways  most  i s i t shown i s Jordi  clients  i n the c i t y  i n some  i n mind  that  stylized?  detail, such  a  draft  carving.  richness  of the seabed'  can you  find  mural? motifs  i s this  the p o s i t i o n i n g  to best  Bonet?  a r e so h i g h l y  studied  keeping  relief  besides with  panels  you have  again  used  in  Who  the nine  recognizable? do y o u t h i n k  Draft  -  tell  work?  easily -  a r t forms  mural  of this  rich? mural?  Why?  advantage?)  What  other  of Vancouver?  works  d i d he  (Consult  complete f o r  Slide  Notes  of  this  area.) -  What  -  How  does many  this  mural  people  add t o the lobby  using  this  building  of t h i s  seem  building?  t o be  aware  of  this  mural? Perhaps see  i t i s p o s s i b l e to conduct  what  people  know  about  this  interviews with  mural.  Possible questions  ask a r e : -  What  i s t h e name  -  What  i s the t i t l e  -  What  year  -  What  imagery  -  What  media/technique  was  of the  artist?  of the  i t placed c a n be  seen  relief?  on t h i s  site?  i n the mural?  has been  passersby  used?  to to  -  What  What  How -  purpose  skills  East  and  setting. 5.  What  i t was  and c o n t r a s t  the  Asiatic  How  changes  the mural  are evident  do y o u t h i n k  Compare  does  i n the c o n s t r u c t i o n  The  would  of this  relief?  fabricated? this  building  does  serve?  mural  with  regarding  Swimmer's  y o u make  George  imagery,  setting  Norris' media,  affect  i f y o u had enough  the  located i n technique  sculpture?  money  t o make  some  alterations ? 6.  Next  present. ing  time  What  art left  conclusions 7.  Who  Helios  originate?  -  What  i s corten  -  Why  -  Scale  i s important  gained  or l o s t  depth?  Why?  8.  How  the s i g n  #32),  noting  i n scale?  i f this  and  from  was  he w o u l d Where  c a n i t be  Do  s e r i e s was  contrast  outer  that  on  -  -  format  of e x p r e s s i o n  -  bridge?  our c u l t u r e ? to  used? sculpture? Can y o u i m a g i n e something  i n height,  width,  technique  be and  Bentall  i n Richmond  media  setting  this  would  of Charles  f o r each t h e :  modes  the  think-  t h e t h e m e Homage  restaurant  -  space  does  doubled  -  images a r e  about  you think  -rationales  what  from  the s c u l p t u r e  the McDonald's  note  make  f o r outdoor  to a l l sculpture.  larger  Compare  a creature  Drope?  i s i t a s u i t a b l e media  being  with  steel?  Bridge  i n the world  do y o u t h i n k  i s McCleary  series  Burrard  can you imagine  i f the only  What  you cross  (Slide  Section  III:  This  area  to  -  Burrard  Street  -  Burrard  Inlet  -  False  again  whether  Another  be  honour  be  within  Classroom  1. War  the  north  south.  i s large  and t h e v a r i e t y  It i s necessary would  be  these  i t would  geography,  group  decided  of expression  to view  part  determine a part  class.  within  to the  organized  being  people  of a program.  incorpor-  The  would this  sculp-  then  be  area.  More-  on t h e t e c h n i q u e ,  media,  and/or  rationale  of the s c u l p t u r e  and s t u d y  teacher  events  worship  notable  and s t u d y  has a l r e a d y  to  become  i n a humanities  to view  i n an  or current  of hero  and commemorate  mode  could  sculpture  interest  be h e l p f u l  science,  i s the t o p i c  o f most  of  f o r the  sculptures  of the s c u l p t u r e s  advisable  examples  (see Table .unit  of such  then i t  sculpture  area.  Activities  During following  on  i n the productive  this  the west  on t h e  regard  sculptures  concept,  east  to v i s i t  a discussion  used  would  World  best  i f the teacher  theme,  on  sculptures  possibility  appropriate  to  which  In t h i s  that  the  substantial.  history,  into  over,  Creek  o r n o t any  reading,  on  the area  a n d how  fieldtrip.  tures  Street  A  by:  Main  determine  ated  i s bounded  i t slimits  students  4 - Downtown  -  Once within  Area  and S l i d e  the viewing  Presentation  of the s l i d e s  find  the answers  to the  questions: Name  t h e two  I and I I .  memorials  that  honour  those  who  died i n  I)  2. human are  Few s c u l p t u r e s  figure.  i n this  C a n y o u name  of s p e c i f i c  people,  area  five  realis tically  that  do s o ?  i.e., naturalistic.  depict the  Only Name  two  figures  these  two  s culp tures. 3. in  Where  a r e t h e two l o c a t i o n s  of the birds  t o be  found  Downtown A? 4.  Why  5.  What  sculpture 6: sculptors  (Show  There that What  8.  Why  created  Norris'  have  Bridge o f Arms  Marker  'work'?  and N o r r i s '  Untitled  i n common? within  Downtown  A.  Name t h e  them.  do y o u t h i n k  do y o u c o n s i d e r  groups  a sculpture  using  Coat  fountains  s i xs c u l p t u r e s  donate  A.)  Centre  are four  the s l i d e s  Downtown  George  do t h e C a n a d i a n  at P a c i f i c  7.  Committee  doesn't  gift  the S l i d e  such  abstract?  as t h e G e r m a n - C a n a d i a n  to the c i t y ?  Notes  Section  III:  Area  4 -  W ^ 3~•  nV¥5i  P 119  "^[Jul DATE V I E W  . F R O M  THIS  SIDE  TJL-q*5 11 '  t CI  mm  o  f  o  o  VIEW  F R O M  THIS  SIDE  SECTION  III:  DOWNTOWN  AREA A  4 -  SECTION  III:  AREA  1  Lionel Thomas assisted by F. Lachnit  -  DOWNTOWN A  TITLE  SCULPTOR'  SLIDE  4  PATRON  Symbols paid for from t h e b y 75 c i t Cuneiizens & forms the Library Board  MEDIA  TYPE  SIZE  DATE  LOCATION  bronze with parts of the surface covered with gold leaf & plexiglass  illuminated nural  5'xl6'  1961  750 B u r r a r d , Vancouver Public Library  DESCRIPTION  -consists of 6 upright forma to which are atta c h e d 45 b r o n z e planes, s y m b o l s o f man s p e a k i n g - b a s e d on the ancient Babylonian & Assyrian cuneiforms -cost $7,000; work executed i n Venice, Italy  2  Mike  Banwell  Primary No. 9  welded multicoloured (painted) steel sheets  May 1981  Robson Square  - m a n u f a c t u r e d by Ebco Ind. L t d . -geometric shapes negative space important to the work - can walk into and through the piece  3  Alan Hung  Chung  "Spring"  red painted steel  May 1981  Robson Square  - m a n u f a c t u r e d by Ebco Ind. L t d . -attached to P l a z a at 3 points, this colled s p r i n g i s an example of monumental abstract sculpture - i t is also minimal-like in style  4  -small piece by I n u i t arti s t Etungat (16 3 / 4 " i -Jack Harman'8 foundry cast the enlargement  Bird of Spring "pregnant bird"  Devonian bronze Foundation of Calgary financed the project  s t y l ized substitution  5  Jack  Themisbronze Province Goddess of British of Just- Columbia  substitution  Harman  welded  ice  1  '  :  r  Aug. 3, Robson 1979 Square  H.  9'  1982  Robson Sq. 4th floor of Law Courts  -copy also Calgary  made  for  -cast i n Herman's N . Vancouver foundry -on a 1 metre base ^ -figurative, r e a l l s t i c i o and s i m p l i f i e d !°  SECTION  SLIDE  III:  AREA  TITLE  SCULPTOR  Charles  4  -  DOWNTOWN A  PATRON  Marega King Ed- donated the ward V I I by Fountain Imperial Order of the Daughters of the Empire  John Bruce, assisted by Timothy Bass -F.M. Rattenbury, architectural firm  R . H . Savery of the P r o v i n c i a l Dept. of P u b l i c Works made t h e maquette -work carried out by Count  2  MEDIA  SIZE  concrete facade bronze relief of the King  DATE  LOCATION  DESCRIPTION  May 6 , 1912  -Inscription  granite from Nelson Island  lions  TYPE  reali s t i c subtraction  west of the - o r i g i n a l l y facing Georgia Street Courthouse/ A r t G a l l e r y - f o u n t a i n no l o n g e r l n use (1983) -includes 6 Tuscan columns a n d a lion (-behind the construction Edward V I I f e n c e as o f J u n e , 1983)  In Memory o f 1841-1910 Not monumental stone preserves our fame N o r s k y - a s p i r i n g p y r a m i d s o u r name The memory o f h i m f o r whom t h i s stands S h a l l o u t l i v e marble and d e f a c e r s hands, Shakespeare IS t o n s leach  1911  800 West Georgia St,  -graceful flow of line g i v e s the f e e l i n g of rhythm and movement -symbols of B r i t i s h Justice  - c o p i e s o f those at T r a f a l g a r Square -made at the w o r k s h o p o f J . A . and C A . MacDonald, 1571 M a i n Street - h a u l e d to the C o u r t h o u s e by h o r s e and set i n p l a c e w i t h a 20 t . d e r r i c k and a steam engine -on Sept. 8, 1939 t h e l i o n s were desecrated with painted swastikas - o n N o v . 3, 1942 one l i o n was b l a s t e d with dynamite; i t s h i n d q u a r t e r s were destroyed but the damage was r e p a i r e d by H e r b e r t Ede and James H u r r y - c o n s u l t The P l e a s u r e of Seeing #92 gift from the Prov. Gov't to commemorate B . C . Centenl a l  black Carrara marble mosaic tiles -represents the ocean  subtraction fountain with carved p i l l ars  fountain Oct. 1966 complex is 72' x 36' ; the center baIsln 10' diameter  800 b l o c k W. G e o r g i a  -symbolic; r e a l i s t i c f i g ures i n r e l i e f -roughly carved like B.C.'s coastline -The c a r v i n g s are "based on l e g e n d s o f the Celts or G a e l s , the forebears^ of e a r l y B . C . " u>  SECTION  SLIDE  I I I :  SCULPTOR  AREA 4  '  -  TITLE  DOWNTOWN  PATRON  MEDIA  TYPE  A  SIZE  -the 2 main p l l lars 17' ln ht. & 8' l n clrcumference at the base  LOCATION  DESCRIPTION  - t h e r e was controversy over whether or not there s h o u l d be a B . C . a r t i s t chosen to d e s i g n the memo r l a l -one such c r i t i c i s m : " I t h a s t o be t h e most over programmed fountain l n the w o r l d r e p l e t e with changing jet patterns, elaborate mosaics highlighted with g i l t , heavy s y m b o l i s m and h y d r a u l i c bombast." "From a d i s t a n c e y o u see 2 rough-hewn c o l u m n s , seemi n g l y as a n c i e n t as S t o n e h e n g e . B u t up c l o s e , looki n g t h r o u g h the foam and s p r a y , y o u ' l l d i s c o v e r : a wizard, a dagger, a nymph o r 2 , a m y s t e r i o u s o r b , an i m m o r t a l , a j e s t e r , and numerous creatures from . . . somewhere! This l s a work of magic & mystery, whimsy & wonder." (Vancouver Sculpture with Terry Noble. Vancouver G u i d e l i n e , v o l . 10, no. 35, J a n . 23-29,  A l e x a n d e r von Svoboda of Conn A r t Studios, Toronto cont' d  1981, anonymous stone masons Archibald and Schofleld, architectural firm  DATE  block granite from Queen Charlotte Islands  subtraction  p.  '  19)  -architectural ornamentation -include eagles, lions, g r i f f i n s , g o a t s - many o f these f i g u r e s are reproductions or adaptations of 11th & 12th century cathedral carvings. Thomas G a r r o w , S c o t t i s h s t o n e c a r v e r , d i d gargoyles only - i n the G o t h i c R e v i v a l t r a d i t i o n . Czechoslovakian, Welsh, Armenian, Scottish & Turkish c a r v e r s e n r i c h e d c a p i t a l s on the p i l a s t e r s of the b r a c k e t s "and volutes -a helmeted head of Turkish i n s p i r a t i o n , winged dragons e a t i n g f i r e , a f e s t o o n e d b e a r and I n d i a n portraits a r e among t h e o t h e r r e l i e f carvings - c o n s u l t The P l e a s u r e o f S e e i n g #79-87 . £ 1929  900 West Georgia Hotel Vancouver  SECTION  SLIDE  10  I I I :  AREA  SCULPTOR '  4  TITLE  DOWNTOWN A  PATRON  MEDIA  brick, terra cotta, 8tone , plaster  anonymous artists  TYPE  manipulation & subtraction bas  SIZE  DATE  11  George  Norris  tive  925 West s y m b o l i c o f the m e d i c a l Georgia and d e n t a l profession Medical -other scenes are depicD e n t a l B i d . t e d above the d o o r . What around the do t h e y r e p r e s e n t ? (workentrance ing chemists, winged doors and h o r s e s &• a caduceus) on the sides of the b u i l d ing  19281929  10th floor corners  s t y l i z e d n u r s e s I n army uni form -Seattle firm worked from maquettes - c o n s u l t The P l e a s u r e o f Seeing #75-78  corner of Georgia and Granv i l l e , P a c i f i c Centre  -complete contrast to surrounding high rise buildings; a r t i s t wante the p i e c e to say something s p e c i a l to each v i e w e r -feeling of excerpt by A.D. Hope:  figura-  Untitled  purchased polished by Pacif- stainic Centre less steel Ltd.  linear abstract^ welded  DESCRIPTION  19281929  r e l i e f plus : J.F. Watson, C. Young and J.D. Hunter, artists -McCarter and Nalrne, architectural firm  LOCATION  Sept. 1974  fish while i t dies, «: a n , the hook e d threshing in terror and p a i n , f< grl t l n Its delicate eyes, ]l a r c h e d , again, pc? o l poet, b l i n d , betrayed, c ii n t h e among the j o s t l e of t lie g r o a n i n g m i l l slaves, the c l a l: t e r , t h <i c l a s h o f t r a d e , son g • taps t h e! p u r e si) u r c e o f 'The r o l e of art -Norris says: i n architecture is to c l a r iL f y , h e i |; h t e n a n d ex t e n d t h e s p i r i t s o f the is situated." surrounc lings i n which i t " R e ly on y o u r gut c o n c e r n ! Lng t h e |> i e c e : reactions . . . a ri d don't worry about any s e l f - c o n s c i o u s analy s i s , " "As w e l : as i t li gasping for Its t o r ii m o u t h t h i n k s c>f i t s As w e l l as he d i s t r a c t :ed by  SECTION  SIIDE  11  III:  AREA  SCULPTOR'  4  DOWNTOWN A  -  TITLE  PATRON  MEDIA  TYPE  SIZE  LOCATION  DESCRIPTION  "Norris left t h i s work u n t i t l e d purposely to allow our minds to l a b e l and d e f i n e i t . Studying i t - - t a l l pedestal legs, a spindle body, expansive, delicate wings, a spiney t a i l l o o p i n g out b e h i n d — i t calls to mind a m a j e s t i c , glistening, giant dragonfly, bowing gracefully t o a l l who p a s s . " (Vancouver Sculpture w i t h T e r r y N o b l e , Vancouver G u i d e l i n e . V o l . 10, No. 35, Jan. 23-29, 1981.)  George Norrls cont'd.  sisal wool (mirrors )  P a t r i c i a Wheeler  1976 wall & ceiling hanging wrapped, bound, bundled additio i soft scu l p t u r e a r c h i t e c t u r a l o rnamenta t  12  Jack  Harman  Horse  bronze  substitution  13  Paul  Huba  The Pos tman  red granite  bas r e l i e f subtraction figurative  16'  14  Pearson Works  Canadian Coat of Arms  cast aluminum  substitution linear  H.  Iron  DATE  19'  Capitol 6, 820 G r a n v i l l e St.  -linear: colourful - f o c u s o f the theatre l o b b y ; the hanging is co-ordinated with the c a r p e t s and the drapes -Hopping, Kovach and Grinnell Design Consultants L t d . (not photographed)  ion  June 1976  475 West Georgia B.C. Turf Building  "2 l e g g e d " abstract figure - c a s t by the Osborne Propeller Co. -shrubbery has a l m o s t obstructed the sculpture from view  1956  Homer St. entrance  Why ist  300 b l o c k West Georgia, Main Post Office  What 2 a n i m a l s & other emblems/symbols do y o u see? Who d e s i g n e d the C a n a d i a n Coat o f Arms and when?  do y o u worked  t h i n k the artln this scale?  ro  SECTION SLIDE  III:  SCULPTOR  15  Frank  16  Gerhard  17  AREA 4  Perry  Class  Richard Hunt Tim P a u l  -  TITLE  DOWNTOWN PATRON  Florentine Door & W a l l #3  centenni a l gift from German C a n adian Committee to the city  MEDIA  TYPE  blackened bronze  free standing substitution  bronze , stainless steel and water  cast fountain  commiswood s i o n e d by t h e CBC & the Provi n c i a l Museum  totem subtraction  A SIZE  20'  DATE  LOCATION  1967  600 b l o c k Hamilton  Dec. 19 1971  200 b l o c k West Georgia, Queen Elizabeth Theatre  A p r i l , 1982  700 b l o c k Hamilton, CBC Building  DESCRIPTION  - f i r s t p r i z e at the Centennial Sculpture Show 1967 - p o s i t i o n e d at eye level, t h i s work has 2 faces, the depth of the sculpture is less significant  -curved steel ribs - p o l e and c i r c u l a r centre made o f bronze -a balance of positive and n e g a t i v e space cast in Strassaker, Germany -"The concept, which resembles nothing as much as a g i a n t g y r o t o p , assumes an added respectability since it incorporates a fount a i n as a s o r t o f u t i l i t a r i a n a d j u n c t to compliment the s c u l p t u r a l theme.' This symphony of water wheels w i t h i n wheels performing around the c l o c k , w i t h i t s pedestal firmly implanted i n i t s watery stage, is in complete a c c o r d w i t h the m u s i c a l and live stage presentations t r a n s p i r i n g nightly w i t h i n . " (Vancouver's Public Sculpture: P e r s o n a l V i e w p o i n t s by L e o n a r d M e y e r s . A r t s West. V o l . 6, No. 6, June, 1981, p. 31. - T h u n d e r b l r d and 3 other figures are represented -brown, black, red, turquoise, green, y e l l o w and the unpalnted wood are the colours - t h e r e are 4 negative spaces carved into each wing -the back of the totem is minimally decorated w i t h b l a c k & brown paint -new p o l e has large £ cracks -J  SECTION  SLIDE  18  III:  AREA  SCULPTOR  Norman  Bob  White  Davidson  19  George  Norris  20  anonymous artists -W.T. Whlteway architectural firm  4  TITLE  SpllshSplash  DOWNTOWN  PATRON  commissioned by the CBC  MEDIA  light  wood I n t e r p r e - commistation sioned by - R e a l i t y the CBC  TYPE  A  SIZE  DATE  LOCATION  DESCRIPTION  kinetic  lobby of the CBC Building  bas relief subtraction  in a s e c o n d - n e c e s s a r y t o make an appointment to view the floor offwork ice, the CBC B l d g . -N.W. Coast Indian motifs -in the p a s t CBC has also "rented" sculpture from the A r t Bank and displayed the works i n and around t h e i r building, (not photographed)  p l e x i glass bronze  H. addition geometric abstract  terra cotta  "art nouveau" figures manipulation  8'  -the s o u n d was turned off soon a f t e r SplishS p l a s h was installed  1972  -beacon-like bridge marnorth-east k e r made o f g l a s s spheres corner of l i q u i d Georgia and c o n t a i n s - p o l l u t i o n makes the reBeatty, flection of t r a f f i c imAbutment possible Park -the c i t y r e n e g e d on its promise to m a i n t a i n the sculpture  19111912  100 West Pender, Sun Tower  -the upp -each he arms ral -lower p - s a m e cc -highly -consult  -9 s c u l p t u r e d maidens (caryatids) support the base footing for the tower of this Heritage Building (8th floor) -5 are found on the Beatty St. side of the building  er torsos o f the maidens are depicted bent, Ids a drape r y ; both elbows are sed column art of " b o d if" b e c o m e s a f l u t e d building l o u r as b r l :k adorned t o w iir The P l e a s u re o f S e e i n g #71. M  oo  SECTION  SLIDE  III:  AREA 4  SCULPTOR  21  -  TITLE  DOWNTOWN  PATRON  Cenotaph  22  Jack  23  Gerhard  24  made l n the March brothers foundry ln England  25  Vern  Hambleton  Class  Simpson  Province Newspaper Memorial  MEDIA  SIZE  DATE  LOCATION  DESCRIPTION  granite  obelisk  1924  Has t i n g s -sword, laurel, poppy and Gamble,wreath i n t e r t w i n e d with Victory maple l e a v e s p l u s W.W. I Square helmets  Mrs. Donald Stewart, honouring her son, Norman  stone  memori a l drinking fountain  1960  Victory Square  functional  Province Newspaper  solid cas t aluminum granite pedestal  1967  south-west corner of the Square  -a styrofoam pattern was used f o r the l e t t e r s V and P - d e d i c a t e d as a memento to the e a r l y days of the s q u a r e a n d t h e 67 years of p u b l i s h i n g , 1898-1965 l n t h i s area of the city  bronze  "Gassy Jack"  TYPE  A  total H. 5'  bas r e l i e f plaque  a Valenwelded H. 7' copper t i n e Day bronze gift to the p e o p l e f r o m T o i* n G r o u p L t d . C4 a r e a b u s i n e s s t n e i O  south-west corner of Hamilton & Hastings  -commemorates the spot where Lachlan Hamilton began h i s survey f o r the C . P . R . i n 1885 — " i n t h e s i l e n t s o l i t u d e of the p r i m e v a l f o r e s t he drove a wooden s t a k e i n the e a r t h and commenced to m e a s u r e an empty land i n t o the s t r e e t s of Vancouver." -forests representee on e i t h e r s i d e o f this i n s c r i p t ion are l i k e columns -the erest " B y s e a a n d l a n d we p r o s p e r " is also inscribed i n t o the plaque 1970  C a r r a l l Water, Powell Mapletr Square  , and St, ee  -memorial to C a p t . John Deighton -erected without permiss i o n o f c i t y o f f i c i a l s <-  to  VO  SECTION  SLIDE  26  I I I :  AREA  SCULPTOR  C o u e r de McCarthy  Lion  4  -  TITLE  DOWNTOWN A  PATRON  Angel of Victory  MEDIA  bronze marble and B tone base  TYPE  war memori a l  SIZE  DATE  13'x5' 3500 lbs.  LOCATION  A p r . 28,1600 C o r d 1922 |ova S t . , C.P.R. Station  - d e p i c t s an a n g e l carrying a soldier hesvenward -a tribute to the C.P.R. employees l o s t l n W.W.I (and W.W.II dates added) -chosen from a competition for Canadian sculptors -cast l n M t . V e r n o n , N . Y . , i d e n t i c a l ones i n Montreal and Winnipeg - i n 1967 c i t i z e n s 'cleaned' the "dirty" s c u l p t u r e and b a d l y s c r a t c h e d the surface C.P.R. Station  27  Michael  Phlfer  C.P.R.  columns of squared timber  DESCRIPTION  - c l a s s i c a l plaster work at the top of the walls of this Heritage Building n e w l y p a i n t e d as o f June 1982 -hidden lighting; even so, too d i f f i c u l t to photograph -recessed ceiling panels divided into 6 sections  n o r t h end -a geometric abstract of Granof the f o r e s t s in B . C . v i l l e S t . , -the wood columns are cut P l a z a 200 at d i f f e r e n t angles - s i g n s t a t e s t h a t the s c u l p t u r e i s dangerous to c l i m b — p e r h a p s t h i s p o s s i b i l i t y should h a v e b e e n a. c o n s i d e r a t i o n o f t h e sculptor; the p l a z a does need more s e a t i n g arrangements f o r busy l u n c h hours - I n c i s e d and f e l t penned g r a f f i t i marks are evident - l i g h t i n g equipment is incorporated into the piece i -the 3 t a l l e s t poles are m i n i m a l l y designed at the t o p . What do y o u t h i n k t h e s e marks represent? »—• .  u> O  SECTION  SLIDE  AREA  Elza  29  Sorel  4  Mayhew  Etrog  R o b e r t Dow Reid, Kelowna  anonymous masons  PATRON  MEDIA  commisbronze sioned by architect W . W . Renri i e o f Thompson, Berwick and Pratt  11 Tranquillo  bronze  fibreglass  stone  «  DOWNTOWN A  -  TITLE  SCULPTOR  28  30  III:  TYPE  high relief panel substitution  SIZE  DATE  LOCATION  13'2" x Apr. 21, 900 West 9'2" x 1968 Hastings, 14" Bank of Canada, end wall of lobby  800 West Pender, Guaranty Trust  abstract in the round sculpture but frontal  19671968  figurative s t y l ized  1976  700 West Pender, Pender Place  points No. 6,  by L e o n a r d June 1981,  architectural ornamentation  DESCRIPTION  abstract totemic columns -the artist states, "Although i t is abstract i t i s about people; where they l i v e and g o . " (The Sun ( V a n c o u v e r ) , April 22, 1968, pp. 1&2) -cast i n Eugene, Oregon -interlo I n t o an -smooth faces -curves piece a  cking links set organic shape & textured sur& bends feeling  give the of motion  "Canada geese i n m i g r a tory formation startled from t h e i r i d y l l i c watery feeding ground & taking t o t h e a i r f r o m an illuminated rectangular pool, the is i n t r i g u i n g because This sculpture detract s l l g h t l y abstract t reatment does not There from th e r e a d i l y re c o g n i z a b l e f o r m s . obi s no my s t i c symbo] i s m , o r s u r r e a l i s t i c concept scurity here. It boasts a conjoined of a f light of grac e f u l b i r d s , w i t h wings being extende d, t a k i n g tc the a i r w i t h o u t a l l e g o r i c a l . " unduly symbolic or e x c e s s i v e l y Personal View(Vancou ver P u b l i c S c u l p t u r e : Meyer. p. 31.)  Arts  West,  V o l .  6,  -4 muses are portrayed 576 Seymour, A r t s on the c o r n e r s of the 6th & Crafi s B u i l d i n g f l o o r of the building (too difficult to photograph) -the mu s e s are whit e i n c o n t r a s t to the res_t of the j r i c k c o l o u i ed b u i l d i n g ; b u i l d i n g u> u n a d o r n ed e x c e p t f c>r t h e s e f i g u r e s . J""  132. Fieldtrip In  Activities  order  sculpture place  i t is  during 1.  to  the  or  shortly Norris  His  work  can  Unti tied  noteworthy  contemporary  -  of  naming  Describe  ting. -  not  How  Why  is  the  remind  texts  that  describe  that  and  rhythms  that  Wheeler's  Seymour  contrast are  wall  2. 800  Two  most  Vancouver  be  one  of  Do  you  agree  prolific  and  the  Vancouver's with  most  Norris'  Why? the  sculpture  steel  a  and  its  particularly  or  make  you  welded  linear  forms  Richard  kinds  of  think  set-  suitable  such  lines,  the  artists.  with  these  welded  critical  as  Lippold  these  to  of?  sculpture.  by  approach  opposing  block Do  -  are  example,  created  Columbia's  are:  Find  George and  work  Rickey,  Herbert  movement, Compare  linear  analysis  done  Ferber.  and  the  Patricia  forms.  to  analyze  Norris'  sculpture.  notes. There  the  suggestions  sculpture?  Lipton,  hanging  Feldman's  Un t i t l e d  create  take  other?  stainless  this  a particular  activity  Some  throughout to  'see'  purposeful  British  sculpture?  form  Lassaw,  of  sculptures.  affect  and  fieldtrip.  said  the  Compare  the  one  polished  sculptors  Use  been  does  Consult  some  seen  for  -  -  be  use  What  Ibram  one  to  -  a  focus  r e l a t i o n s h i p between  does the  material  by  the  has  the  that  after is  province.  idea  students  recommended  George  sculptors.  help  West  you  Robert  Georgia  agree  other  views  with  regarding are  presented  either  controversies  Murray's  the  Cumbria  Centennial within  position? regarding sculpture  the  fountain  descriptive  Why? local on  sculpture,  the  way  in  to  for  133 Vancouver's Vanier  Park.  involved  ture  in  Why such  3.  The  at  Plaza  because  he  views  on  issue  has  other  ery?  What  issue  slide,  1967,  60). Arthur  #31,  at  amongst  the  landscaped  design of  can  on  be  a  your  particular  what  your  idea  Venice  different  a a  Be  to  indicate  would and  be  would like  and  was  first?  his  in  has  (This  setting  help front  1966  A  many  you of  the  potential and carefully  mind.  The  maquette  made  photograph  of  classmates  Use  (Withrow,  location in  imag-  work?  in pools,  this  scale.  to  in  three-dimensional  in  your  his  Child  work  your  citizens  describe  levels,  enable  are  sculp-  sculptor.  complex  specific  or  sure  you  Examine  wooden  Canadian  Biennale  Courthouse  gets  well.)  'recognize'  Mother  drawing  setting  Compare  could  gardens.  as  would  What  artists  known  particular  sculpture with  plasticene.  6.  you  arts  the  Vancouver  sculptor.  Canadian  How  43rd  Erickson's  sculpture:  a  some  Moses,  the  for  design  by  This  'sites'  and  criticized  done?  public  at  art? create  well  Gateway  apathetic  to  fairly  think  question.  Pavilion  5.  he  Hung's  Phifer  Canadian  a  Chung  often  over  performing  is  you  Alan  the  supporting  the  has  Canadian p.  been  of  in  makes  Michael  local  Etrog  work  this  a  suppose arguments  of  has  i s not  enclosed  answer  200  Sorel  you  heated  arisen  What  do  choice  the  4.  the  International Airport;  to  'picture'  situ.  c o n t r a s t * images  using  a  variety  of  crit-  erion:  This i s a suggested a c t i v i t y found i n the Grades 8-12 A C u r r i c u l u m G u i d e / R e s o u r c e Book, M i n i s t r y of E d u c a t i o n , Provi n c e o f B.C., Sept. 1981, D r a f t , p. 177.  '  .  The  -  elements des i gn  -  historical content  -  technique  graphed)  of  soft  x  (Constantine  wrapping  Christo of  nylon  days  in  Sonoma  sculpture  the  Gallery,  7. Splish  impact  -  symbolism  -  style  -  imagery  -  mood  are  recommended  for  Gallery  Splash  of  hanging  of  Marin  wool  1981,  24%  (not  photo-  created 9'8"  in x  6'  41).  miles  Magda  #32)  polyester;  Fence  Counties,  and  and  p.  Running  x  (Slide  (Slide  long,  #33)  California  Wales,  in  is  the  basic  d i f f e r e n c e between  and  a  for  in  three  (Constantine  Abakanowicz's Sydney  created  installed  South  Canada,  have  a  William  created of  fluorescent Ottawa  and  contrast  bronze  technique, preference?  by  Ockham)  light;  8'  (Geldzahler,  (photograph  Harman's  media,  sculpture  (to  white  Etungar  ence  hemp,  #4  New  Compare  Jack  18'  234),  three  cool  with  you  p.  What  8. Abraham  6 wall  &  E x h i b i t i o n , at  1976  (Slide  #34)  47).  nominal of  Cinema  Series  & Larsen,  and  1981,  p.  natural  canvas  Larsen,  (Ibid.,  Coil  (Javacheff's)  1976  Art  Wheeler's  Zeisler's  by  Do  -  with :  1978  1963  of  context  examples  Patricia  Claire  the  principles  activity:  Compare  5'  and  -  following  this -  134.  the  high,  1969,  cast,  Bird  scale  and  of of  The  on  reasons.  Dan  Flavin  created  in  National  74).  Bird,  Spring,  White's  #35)  p.  green  setting  your  artist  (Slide  original  enclosed)  State  the  Norman  created  stone, noting the  two  by  height the  16", influ-  sculptures  MARION SCOTT LTD.« GALLERY OF THE ARTS  OCTOBER EXHIBITIONS  <2)  O C T . 1 - O C T . 14  OCT.8 - NOV.4  Lee Byng &  Bill B r a n d t  Phyllis M a r g o l i n  Photographs  Watercolours  OCT. 22  NOV.4  Arctic show paintings  by  N a n c y W r i g h t , Doris M c C a r t h y & V a l e r i e Hassell, P h o t o g r a p h s by R i c h a r d H o l d e n a n d n e w Innuit S c u l p t u r e  K E N S I N G T O N  FINE A R T  Drawings and Paintings by KEN THURLBECK October 11-30,1981  GALLERY  Gallery 0 589 Markham Street Toronto, Ontario Tel: (604) 534-2141  006, 513 - 8TH A V E N U E S.W. C A L G A R Y , ALBERTA T2P 1 G 3 (403) 2 6 6 - 7 5 6 5  When in Montreal Visit: DOMINION  DOUG BIDEN  GALLERY  The Dominion Gallery with Rodin's "Burgher of C a l a i s " a n d Henry Moon's "Uprighl Motive" in front of its building, has 17 rooms on 4 floors  " H I E R O G L Y P H I C S " C O L O U R E D INTAGLIO &  O  C  T  O  B  E  R  COLLAGRAPHY  2 0 - 3 1  PAPERWORKS 1944 West 4th Avenue. Vancouver. B.C. V6J 1M5 - 732-7033 Gallery  Hours:  Tuesday  to Saturday. 11 a.m. to 5  p.m.  GREAT E U R O P E A N ARTISTS 19th A N D 20th C E N T U R Y OLD MASTERS OVER 200 C A N A D I A N ARTISTS  CANADA'S LARGEST ELECTION^ FINE PAINTINGS ANDCULPTUREIN CANADA'S L3GEST £ ART DEALER GLLERY CABLE: DOMGALLEF, MONTREA. 1438 Sherbrooke W., Mrtreal H3G 1K TEL: (514) 845-747 845-7833 r  137. Section  III:  This  area  Classroom As visit  Area  5 - Downtown  i s bounded  -  the F r a s e r  -  False  -  Blanca  -  Boundary  by :  River  Creek  B  on  the  and B u r r a r d  Road  Activities  you can see from  Presentation  t h e map,  several  Downtown  fieldtrips;  It i s therefore  necessary  ermine  what  are closest  sculptures  of sculptures within  close  i.e., a to your  following  school  suggestions,  o u t a s much  look  at this  in  order  about  within would via to  area  A  could  this  1. these  also  area.  use T a b l e  what  'your'  help  utilize  o f what  to v i s i t  to preview the viewing  Downtown  you  Moreover,  Section III  c a n be III:  asked Area  sculptures  4 found  you study i t  B sculpture find  i n general t h e answers  questions:  T h e human  figure  i s depicted  i n eight  sculptures.  works. 2.  The b u s t  to  i n the  to help  within  of the s l i d e s  'clus-  sculptures  mentioned  sculptures  det-  feasible  sculpture.  areas  a wide  or which  be m o s t  of questions  teachers  such  to  to e i t h e r  I as a g u i d e l i n e  five  kinds  Regardless  During  the f o l l o w i n g  B would  The i n t r o d u c t i o n t o S e c t i o n  be p r o f i t a b l e  slides.  to her s c h o o l  are not s p e c i f i c a l l y  and t h e o t h e r  to determine  i t covers  I f you choose  as y o u c a n a b o u t  sculpture.  Downtown  that  B i s impossible  f o r the teacher  Downtown  'mini-tour.'  find  o n t h e no r t h  on t h e e a s t .  and S l i d e  i n one o r e v e n  visit,  Inlet  on t h e w e s t  area.  ter'  south  of Gerald  Grattan  McGeer  i s very  much  like  Name  138 other Dr.  within  MacKenzie,  West and  busts  End.  the c i t y :  David  Oppenheimer,  U n i v e r s i t y o f B.C.; a n d C h a r l e s  What  words  describe  these  Stanley  Bentall,  busts?  Consult  history  has P a u l  Park; The  Table  I  the g l o s s a r y . 3.  depicted 4.  What  i n h i s mural What  Vancouver Alan  events  a t Cambie  i s the major  as c r e a t e d  Chung  i n Vancouver's  12th?  d i f f e r e n c e between  by C h a r l e s  Hung's M e m o r i a l  and  Marega,  to Capt.  Deggan  found  Cap t .  George  at City  Vancouver,  found  Hall, at  and  Vanier  Park?  town  5.  Describe  the mood/impact  6.  There  B.  What  i s h e r name  7.  What  five  i s another  works  woman  of Letha  Continuity.  sculptor represented  and where would  Keate's  i s her mural  you c l a s s i f y  i n Down-  t o be  as b e i n g  found?  commemorat-  ive ?  (Show town  slides B. )  using  the S l i d e  Notes  Section  III:  Area  5 - Down-  ZED5-2 —  P-  L 2  >?  ZQ:-5-3  |  \ •o  o  < o  S > <  PI  31  0  z  H  X iii  u  5  n  VIEW  F R O M  :  <  F R O M  THIS  SIDE  221 5'1  nr.-s-i  VIEW  THIS  0  SIDE  77D 5 - f O  '.0  V I E W  F R O M  THIS  SIDE  wo UL' 5*.2I  O » TI V I E W  F R O M  THIS  SIDE  DATE V I E W  F R O M  THIS  SIDE  UL  0  n  S-2.1  T77-5-28  o  0  BP  5-3>«  TIT'S'- 3 2 .  JUT* 5 * 3 4  SECTION  III:  DOWNTOWN  AREA B  5 -  SECTION  SLIDE  1  I I I :  AREA  SCULPTOR •  Gerhard  2  Leonard  3  Jack  Class  5  -  TITLE  Hastings M i l l Commemorative  Epp  Harman  Roger Banniste r John Landy  DOWNTOWN  PATRON  Vancouvei Historical Society Centennial Project  MEDIA  B.C. granite  TYPE  bas relief on a free standing 3 piece sculpture  B  SIZE  DATE  LOCATION  DESCRIPTION  3 forms varying from 5%' to 8'  1966  north end - l i n e a r , s t y l i z e d designs of Dunlevy representing 3 stages of St. adjac- the m i l l s o p e r a t i o n are ent to i n c i s e d i n t o the 3 geom e t r i c forms of t h i s landNational mark Harbours Building -commemorates the 100th anniversary o f the building of the H a s t i n g s M i l l , w h i c h was one o f the f i r s t b u i l d i n g s to be constructed in Vancouver  1969  803 East Hastings, Gulf & Fraser Fisherman'E Credit Union Bldg.  3 panels of prestressed concrete  mural  each panel 16'x 9'  r e p r e s e n t s the 3 main types of commercial flshi n g - - g i l n e t t l n g , seining, t r o l l i n g -feeling of kinetic motion - d e s i g n choaen by the architect R . F . Harrison and A s s o c i a t e s from a closed competition - f i s h , flshboats, nets and f l o a t m o t i f s are ln bas r e l i e f of var y i n g depths which create lnteres ting shadow e f f e c t s on the white concret e - c o n s u l t The P l e a s ure of S e e i n g #64  bronze  substitution  -base 10' - f i g ures 10'  Sept. 27, 1967  3100 East Hastings, B r i t i s h Empire Stadium  -Harman worked from a photograph taken by Charles Warren at the B r i t i s h Empire Games, 1954 -the sculptor cast the over-lifeslze figures in h i s own foundry  4  Elek  Imredy  cast aluminum figure  approx. H. 4'  1970  1457 E.1 Our Lady Fatima Church, Bide wal  3th of outl  -linear Lady  of  oortraval Fatima  of  Our »—' *»  ro  SECTION SLIDE  I I I :  AREA  SCULPTOR  5  Sam  6  Jack  Carter  5  -  TITLE  Flower Totems  Harman  Gerhard  Class  PATRON  Neighborhood Improvement Project for Kensington  MEDIA  TYPE  Horizons  B  SIZE  DATE  metal brightly painted with 3 primary colours, yellow, blue and red  LOCATION  DESCRIPTION  Klngsway & an open a i r competition K i n g E d w a r d was held -the upper p a r t of the 3 "totems" were removed as of Sept. 1, 1982.  bronze welded wall mosaic t i l e In- sculpture sets ; gold painted highlights  7  8  DOWNTOWN  approx. H. 8'  1962  6350 N a n a i mo, Corpus C h r l s t l , exterior  represents  the  Apostles  sgraffito  bas relief  i n t e r i o r walls  r e p r e s e n t s the Gospels -beige w a l l s ; brown line drawings with painted gold highlights  bronze  substitution  above altar  -a c r u c i f i x ; l i f e s i z e r e a l i s t i c ; not photographed  commisfabrics i o n e d by a t e d F. Camer- corten on Wilksteel inson  welded geometric  20' x 26' 7000 lb  the  -cubism in metal; 3 dimensional geometric symb o l i s m on a l a r g e scale - a b s t r a c t study of line, form & geometric proportion simplicity - s y m m e t i l e a l & g r a c es f u l out-3 large wings s t r e l: c h i n g u p w a r d s a n d The w i n g s rest wards In g e o m e t r i e s L p l a n e s . on 3 poi n t e d t i p s wtl i c h a r e s e c u r e d t o a c o n grass. c r e t e b e s e h i d d e n i iI t h e - p l a q u e p r o c l a i m s "<t r e a t e d t o c o m m e m o r a t e the 6 0 t h Ann i v e r s a r y of the W i l k i n s o n Co. Ltd.'^ June 15, 1970  888 S . E . Marine Dr., WiIklnson Co. L t d .  *-  SECTION  SLIDE  I I I :  AREA  SCULPTOR  5  -  TITLE  Knife Edge  DOWNTOWN  PATRON  gift to the city from Mr. and M r s . Prentice Bloedel  MEDIA  9  Henry  10  George  11  Elek  Imredy  sgraffito  12  Paul  Deggan  pre-cast concrete & glass mosaic t i l e s  Moore  Norris  Stations of the Cross  TYPE  bronze  free standing welded  lead  substitution molded figures s t y l ized simplified  B  SIZE  12' long  DATE  LOCATION  1962 (placed on present site Dec. 6, 1969)  H.R. MacMlllan Conservatory , Queen E l i z abeth Park, near 33rd & Camble  -2 piece monolith -blomorphic shapes -rounded and sharp edges -over l l f e s l z e -scarred surface ls scratched, cut, drawn on, scribbled, jaggedly Inc i s e d w i t h the a r t i s t ' s personal calligraphy -one of 3 casts -a favourite 'plaything' of the young  4925 Camble H o l y Name Parish , placed before the windows  -plus j a d e - l i k e marble altar r e l i e f t h e same as exterior design C h r i s t on c r u c i f i x ls elongated & emancipated  1964  1969  r e l i e f mural addition  9'6" 60'  x  1970  DESCRIPTION  Heath- -symboli ' 4950 er, near care of 33rd A v e . , hand w i t Youville palm—bo Residence c l e d by exterior Camble & 12th, Plaza 500 H o t e l  c  of the Sister's humanity—open h man s t a n d i n g on th shapes encira ring  depicts the e v e n t s of Vancouver's history -the artist states, "the site called for a richly sculptured r e l i e f to take advantage of slanting sunlight throughout the morning.  " P l a z a 500" becomes l e g is o b s C li r e d . T h e wc t k dimensic nal; c l o s e , It i c a l mot i f s i n m o s a J. c ; an absttact r e l i e f ; and  i b l e o n l y when the sun is conceptually three is a series of histormiddle distance i t ls far distance i t £ •c-  SECTION  SLIDE  III:  SCULPTOR  AREA  5  ~  DOWNTOWN B  TITLE  PATRON  MEDIA  TYPE  SIZE  Paul Deggan cont'd  Yank a Gerald Brayovitch, Grattan from Y u g o s l a v i a McGeer  14  Gerhard  15  LOCATION  Lover  commisbronze sioned by g r a n i t e a group of businessmen as a tribute to McGeer  II  Vancouver s Coat of Arms 1  Oct. 18, 1948  donated bronze by the artist to City Hall  stone  l i f e size  subtraction. sural  Das  1972  Camble and - n a t u r a l i s t i c documenta12th, City tion Hall, - M c G e e r was t w i c e mayor south side of Vancouver during which t i m e he was responsible for the b u i l d i n g of the p r e s e n t C i t y H a l l ; was a member o f the B . C . l e g i s lature; a member o f the House o f Commons; and a Senator Camble St. side of City Hall  the sculpture was f i r s t placed without permission by the a r t i s t on Parks Board property between Sunset Beach and E n g l i s h Bay -City Hall provided a permanent base ; the S.S.B.C. provided a plaque identifying the sculpture  north and south side of City Hall  l i n e a r and depression reliefs of the Coat of Arms, plus a depiction of the City Hall Building clouds, mountains and birds with 2 trees 'bordering' this mural  relief  16  Charles  Marega  DESCRIPTION  becomes a s i g n r e a d i n g t h e name o f t h e hotel" ( l n answer to D o r i s C. Munroe's questionnaire as a p p e a r s i n h e r A p r i l , 1972 t h e s i s , Public Art in Vancouver.)  13  Juchum  DATE  Capt. George Vancouver  campaign bronze 20, n o r t h f i g u r a - 8' f i g - Aug. side for funds g r a n i t e t i v e ure 1936 of City mainly substi7' base Hall the efftution ort of Senator G . G . McGeer t then mayor of Vancouver  naturalistic tion; erected  documentaby the c i t -  izens of Vancouver to commemorate the G o l d e n _ J u b i l e e of the city *•  SECTION  SLIDI  III:  SCULPTOR  AREA 5  •  —  TITLE  DOWNTOWN  PATRON  plus : A l l a n C. Kelly, designer, Fred Townley & Matheson, architectural firm  17  Beatrice  Lennie  commiss i o n e d by the Dominion Construction Co. , architectural firm  MEDIA  TYPE  metal  relief panels doors  cast atone  5 panels, mural bas relief  B  SIZE  DATE  19  Paul  George  Deggan  Norris  cast concrete units  fountain  stainless steel rods  welded  DESCRIPTION  A r t Deco s t y l e o f sun rays, flying seagulls, mountains, water and the forests - c o n s u l t The P l e a s u r e of Seeing #143 #144 - a n A z t e c w i n g & wave c r e s t frieze outlines the shoulders of the building (not photographed)  7' x 30' ; 6 tons  1949  -the this r i a l -cons 18  LOCATION  1980  307 West Broadway, Labour Temple, above the main entrance  -the central focal point is a great wheel of industry -other motifs include a b e a v e r , a maple leaf, " T . L . C . , " 2 figures shaki n g h a n d s , war and peace, c i t y and c o u n t r y symbols, a z e p p e l i n , Canada and t h e U . S . A . , a map o f N o r t h A m e r i c a , and " A . F . L . "  s u ii ' s r a y s frs gment re i l i s t i c port rayal l a ls o u r u l t The P l e a s ui r e o f  the background in of Canadian industSeeing  601 West Broadway, Broadway Plaza  -totemic -geometric -architectural ation  720 West Broadway, Heather Medical  a linear medical symbols  #139  ornament-  abstract of profession's  the  SECTION  SLIDE  20  21  III:  AREA  SCULPTOR  5 —  TITLE  Lionel Thomas, A.R.C.A., Architect, C.B. K. van Norman and A s s o c i a t e s  Nature's Own Geometry  Jack  The Family  Harman  DOWNTOWN B  PATRON  MEDIA  commiscopper s i o n e d by bas the arch- relief itect  -bronze -black marble base  TYPE  SIZE  welded  relief mural 11'i 9'; entrance wall 7* x 6'; 2 pairs of push plates 7" x 7"  substi- father tution 12'5", 1700 l b . mother with baby 11 • 6 " ; 1600 l b . son 9': 900 l b . -4 f i g ures r e s t on 6' square marb l e base  DATE  LOCATION  June  DESCRIPTION  2695 Gran" A l l solid inorganic matv i l l e , t e r f o u n d on e a r t h , whatBlock Bldg. ever i t s s i z e , belongs to on e x t e r i o r one o f the 7 basic types. wall above These t y p e s a r e as f o l doorway lows: cubic, tetragonal, rhombic, monoclinic, t r l c l i n i c , trigonal & hexagonal. T h i s l s the theme f o r the bas r e l i e f & the e n a m e l l e d g l a s s on the copper w a l l . " (plaque on site)  11, 1965  1966  2250 G r a n v i l l e , Pacific Press Bldg.  - l a r g e r than l i f e figures are r e p r e s e n t a t i o n a l but elongated. "This gives them more s p i r i t u a l i t y ; stops them b e i n g dwarfed by the m o n o l i t h i c s t r u c ture behind." (Western Homes a n d Living/Vancouver L i f e , A p r i l 1969. p. 18.) - f i g u r e s were cast in H a r m a n ' 8 own N o r t h V a n couver foundry - d e s i g n chosen from a competition before the b u i l d i n g was f i n i s h e d -some f e l t the sculpture appropriately depicted the r o l e of a newspaper i n the f a m i l y and the i m portance of the family in the community  -others felt rlate, e . g.,  1  that t ie the n u de  1  s c u l p t u r e was Inappropboy was damaged  SECTION  SLIDE  I l l s  AREA 5  SCULPTOR'  22  B i l l  23  George  24  George N o r r i s , artist -Gardiner, Thornton & Davidson, architectural firm  TITLE  Koochin  Norris  DOWNTOWN  —  Spirit of Communication  PATRON  MEDIA  TYPE  black granite  carved fountain  -beaten copper figure -a canopy o f brass  free standing sculpture welded  "castFederal Gov't. 1% i n place" building cost for art  B  DATE  SIZE  DESCRIPTION  LOCATION  organic part of the - a b s t r a c t ; -no l o n g e r f u n c t i o n s garden at a fountain the main entrance of the Pacific Press Bldg.  leans i n the l o b - "a male f i g u r e h e a v i l y backwards & sideby o f the w a y s , as t h o u g h to resist Pacific the Press B l d g . b e i n g c a r r i e d o f f by b i l l o w i n g openwork canopy t o w h i c h he i s attached by a h a r n e s s . " (The Province, Vancouver, A p r i l 17, 1966, p. 13) -the f i g u r e ' s m o u t li i s o p e n i n a c r y w h i c h vendor the v i e w e r of a news reminds Vancouver p l a l: e s f r o m e a r l y -typogi aphical photo-enl a n g u a f;e n e w s p a p e r s , and foreign > form a c o l l a g e ; the cani n c o p p e r t c graved -up m a t s ; f o u n d r y cast cutopy i s made o f id f o r the torso & overis also use -"type' :he figure arm o f 1 sieed ] eft c o u l d be t h o u g h t o f as said, '' I t -the aitist of 3 dimthe non e - t o o - g e n t 1 < ! t r a n s f o r m a t i o n p r i n t . " into 2 dimensional enslone 1 l i f e 2.) {The Sun , V a n c o u v e r , M a r c h 1 4 , 1 9 6 6 , p . 1966  8'  5'x bas relief architectural border under the cornices  as  95'  1966  240S Pine St. , Postal Station 'D'  -abstract -consult The P l e a s u r e of Seeing #131 -"moulded vortex frieze shows c o n s t a n t change"  1  SECTION  SLIDE  III:  SCULPTOR  AREA  •  5  DOWNTOWN  —  TITLE  PATRON  MEDIA  TYPE  mural bas relief  B  SIZE  2000  l b .  DESCRIPTION  DATE  LOCATION  1951  1807 West 10th A v e . , Academy of Medicine  medical symbol of healer holding a sceptre & drake -consult The P l e a s u r e of Seeing #129  2 organic golden yellow shapes plus negative space  25  Beatrice Lennie Hippocrates a r t i s t -Mercer 4 Mercer, architectural firm  cement, marble dust, sand, & waterproofing  26  Lutz  fibreglass  19 75  13th & F i r , southwest corner  27  Edward  cement f ondu  1961  controversial Burrard and - a most p i e c e when i t was unCornwall veiled -simplified figure  H a u f s c h i l d Wind Blown Mounds Apt  G i r l Waiting for Schoolbus  29  30  Parkview Towers, Burrard and Cornwall  concrete  28  George  George  Norris  Pratt  The  welded 22'x 17' foun- s t a i n Crab t h i s Ih tons fountain less tain sculpture steel was comwater missioned Jets by the group Women's Act i v i t i e s Committe e of the Cen t e n n i a l a gift to of V a n c o u v e r as the c i t i z ens o f Van c o u v e r . ($27,000) - $ 2 0 , 0 0 0 Ce n t e n n i a 1 Committee  "Children Climbing Rock"  stone  subtraction  the the  largest city  sundial  in  -a competition with a 6 Planetarium held and M u s e u m , man J u r y was c u r v e s of the crab Vanler Park -the echo the curves of the Planetarium Jets r e f l e c t ing p o o l and 7 s p r a y -include s a Beneath t h i s plaque i s a time inscript ion: Bicentennial opene d on C a n a d a ' s c a p s u l e to be the The c r a b was l o o k e d on by July 1, 1 0 6 7 . harbour the g u a r d i a n of the Haida In d i a n s as zodiac for the s i ga of the and i s a l s o the b i r t h J ul y 1st - C a n a d a ' s p e r i o d fa e g l n n l n g 1968  day. Vanler  -slmpllfled  Park  1  figures  JS.  SECTION  SLIDE  III:  AREA  5  —  TITLE  SCULPTOR  31  D18CU6  DOWNTOWN  PATRON  donated by Gladatone chapter CJ-6 , Order of A l p h a on behalf of the  MEDIA  bronze  TYPE  substitution  B  SIZE  DATE  LOCATION  Nov. 1969  northeast side of the nuseutn -within a reflecting pool  June 1980  Inorth o f |the museum, Vanler Park  DESCRIPTION  a r e p l i c a of the classi c a l Greek discus thrower  "Helenes" 32  Alan  Chung  Hung M e m o r i a l to Capt, Vancou-  ver "The Gate to the Northwest Passage"  Mungo  Martin  -a winning entry l n the competition -abstract arch plaque s t a t e s : "Capt. G. Vancouver, R . N . 17581798. A veteran of Capt. Cook's voyages o f 1772-,1775 and 1 7 7 6 - 1 7 8 0 , V a n c o u v e r went on to become one o f the most important explorers of Canada's west coast. I n 1791 he was g i v e n command o f an expedit i o n to the N.W. coast of North America for the purpose of e s t a b l i s h i n g B r i t i s h sovere i g n t y h e r e & e x p l o r i n g t h e p o s s i b i l i t y of e northwest passage. On t h i s v o y a g e 1792-94 he c h a r t e d much o f the coast north of the 3 0 t h p a r a l l e l , s a i l i n g up t h e i n s i d e passage, c i r c u m n a v i g a t i n g Vancouver I s l a n d & exp l o r i n g many o f t h e g e o g r a p h i c features of the area."  Historic corten Sites and s t e e l Monuments Gov't of Canada  cedar  totem  Oct. 1958  Maritime Museum, Hadden Park) north end of Cypress Street  -the highest in Vancouver - a r e p l i c a of the pole is ln England - i t honors the Kwaklutl nation  Ln O  SECTION  SLIDE  III:  SCULPTOR  AREA 5  —  TITLE  DOWNTOWN  PATRON  MEDIA  TYPE  B  SIZE  DATE  LOCATION  Mungo M a r t i n c o n t *d  33  Letha  Keate  DESCRIPTION  from the top: Chief with hat Beaver O l d Man Thunderbird Sea Otter Raven Whale Doubleheaded Snake Halibut Cedar Man (not photographed) Continuity  bronze  substitution  Sept. 1978  3975 Pt. Grey Road, Brock Rouse  f i g u r e s of a young boy and g i r l w a l k i n g on a l o g  152 . Fieldtrip  Activities  Some 1.  suggestions Study  following  Compare with  the  Jack  for  on-site  Harman's  The  activities Family  are:  taking  into  account  the  criteria: -  e l e m e n t s and of design  -  historical  -  content  -  technique  and  examples  Daughters  (Slide  a  to p. v  one  sun-disc parents  -  symbolism  -  style  -  imagery  family:  his  Wife  #34),  whose  of  Egyptian,  and  of and  "family happy  unpleasing systematic  his  daughters,  out  symbols  children"  Harman's.Family  (Nofretete)  with  hold  about  and  circa life  1360 depicted  moments. physical  Here appear-  exaggeration, while of  (Bazin,  rays  life 1976,  (the  from ankh)  f i g . 74,  113).  Henry led  impact  the  relief  i s evoked  embraces  -  learned  intimate  Pharaoh,  ance  the  with  carved  i t s most  the  mood  have  of  IV  in  b)  you  Amenhotep  B.C.,  -  context  c o n t r a s t * what  succeeding a)*  principles  Moore's  in  1945;  Edition Moore  of  4  looked  Family cast  in  (Read, at  a  Group  (Slide  #35),  1949,  bronze  60"  1965,  real  f i g . 139,  family  and  This i s a suggested a c t i v i t y found i n A R e s o u r c e Book, D r a f t of S e pt. 1981, p. 177.  p.  used  modelhigh 161). his  Curriculum  Guide/  153. imagination has  of a family  experiences  i n order  What  makes  the mother  What  makes  you think  the  child?  might c)  and what  What  depend  Marisol's  to create  and f a t h e r that  makes  they  this  seem so  might  you think  work. strong?  protect  that  the  child  on h i s m o t h e r ?  (Escobar)  construction done  you the viewer  The  Family  of painted  i n 1962.  The  wood  sculpture  of  Modern  A r t , New  York  p.  3 7 ) , a n d i s an e x a m p l e  (Slide  #36)  and o t h e r i s from  (Childcraft  materials  t h e Museum Annual,  of the a d d i t i o n  1968,  tech-  nique . 2. that found  Another  appeared  i n #1  within  Downtown  3.  (above)  Ho r i z o n s by  b)  Knife  Draw  Edge  and/or  best  Class  by H e n r y  Moore  from  a s many  possible.  Consider  sculpture  that  taking  could  be  and i t s s e t t i n g s ;  George angles  a camera  • t.:  six  two  coloured 'blown  criteria  sculptures  o f one o f  Norris'  The  and p o i n t s  prints,  up.'  the e n t i r e  9 8  essay  use d i f f e r e n t  only.  k  t h e same  between  a pictorial  landmarks;  I f you are using  prints  using  be made  Gerhard  possible.  white  could  photograph  known  the sculpture  and c o n t r a s t  B:  a)  Vancouver's Study  comparison  ., p.  slides  Include  Crab.  of view lenses  when  or black  'shots'  sculpture,  as  and  and  of the details  -  Find  out  about  had  throughout  him  visiting  work  in  a  a  reliefs 6. Hung's  your  Art Use  critique 5.  the  school  Vancouver 4.  George  province. school  could  Feldman's the  Briefly found Where Memorial  Those  of  describe  do to  you  The  a  in to  Downtown in  B  this  presentation  the  of  a n a l y s i s and  Kni fe  I  controversy  Vancouver?  of  of  his  the  present  Edge.  as  your  over  guideline.  Alan  Chung  Why?  Those  of  possibility  has  regard.)  Table  for  history  a  he  architectural/ornamental  using the  commissions  Department  critical  Moore's  eight  is  slide  help  - T h i s m e m o r i a l was chosen o v e r 32 o t h e r d e s i g n s ; i t was judged to b e s t r e p r e s e n t the i d e a t h a t 'the p i e c e i s not t o be a s t a t u e i n t h e l i k e n e s s o f t h e man but s h o u l d clearly be a c o m m e m o r a t i v e s c u l p t u r e . ' - The f o r m s u g g e s t s Capt. Vancouver's accomplishments; he was t h e one t h a t d e t e r mined the discontinuity b e t w e e n the P a c i f i c and the At 1ant i c. - It symbolizes the search f o r t h e N o r t h West P a s s a g e - The a b s t r a c t a r c h - g a t e w a y i s i n t h e f o r m o f two 18th century navigation i n s t r u ments . - Supporters maintain that i t i s a s i g n i f i c a n t work b e c a u s e i t i s open to i n t e r p r e t a t i o n , making the s c u l p t u r e s e x c i t i n g (as i n Norris' Untitied sculpture at P a c i f i c Centre).  7.  i f there  Education  the  Captain  other  (The  Henry  stand  what  giving  approach  class  within  and See  and  assembly.  Gallery  to  Norris  against  - "Looks l i k e a c h i l d walking pigeon-toed" f r o m an article w r i t t e n by P e t e M c M a r t i n ent i t l e d " S c u l p t u r e i n V a n i e r Park a P u z z l e to Most," ( V a n c o u v e r S u n , A p r i l 22, 1980, p. A3). - A " b i t b l e a k " s t a t e d Andrew S c o t t i n The V a n c o u v e r S u n , Nov. 10, 1979, p. DI. - M i c h a e l Duncan, C h i e f C u r a t o r o f t h e M a r i t i m e Museum h a s call e d i t "a b l o o d y monstrosity" ( A i l e e n Campbell's a r t i c l e i n The P r o v i n c e , Mar. 18, 1980, p. A5). - M i k e T y t h e r l e i g h q u o t e d some Vancouverites' responses to the sculpture: "squashed MacDonald a r c h e s " ; " f o u l e d up anchors"; "a p e r c h f o r s e a g u l l s " ; "a b l o o d y w a s t e o f money"; " N e l s o n would h a v e t u r n e d a b l i n d eye t o i t " ; " O t t a w a ' s revenge",, ( P a t C a r n e y , a C o n s e r v a t i v e , won a s e a t i n the f ede r a l e l e c t i o n ; n o t A r t P h i l — l i p s ) ; " a b i l l c l i p " ; "4 t o n s o f red r u s t . "  relationship  between  sculpture  and  154. architecture  is  a  fascinating  learn  how  closely  past;  how  integral  different  times  ians,  Gothic  the  between  the  part  and  George  Station  'D'?  between  Chung  a  sion,  in  wall  -  in  the  Consult  Canadian Make  -  and/or  note and  of  at  the  work  as  the  Equinox,  Centre, Marion lery, Art work of  the  might  9. with  the the  also  exhibition  sculptors' Compare the  Coat  of  to  worked has  in  the  been  at  Assyrians, is  the  Egypt-  relationship  seen: Barry  and  Arthur  the  C.P.R.  in  Downes  Erickson  in  Postal  in  the  Station?  Maritime  Building  order  learn  to  recognized  Ask  Art  have the  in  order  Artists'  ;  Charles  Richmond  Arts  some  catalogues  Focus  of  expres-  from the  see  Local  H.  the  Fine  Arts  photographs galleries  Scott  Centre, Gallery,  assistance of  or  to  local,  such  G a l l e r y , ICarnegie  Gallery,  of  modes  Gallery  ten  sculptors.  assistance  exhibited.  in  lobby?  about  women  imagery,  for  Library  Women  be  recent and  the What  as  Vancouver  Street  Front,  have  texts  sculpture  e.g.,  and  the  Bau-xi,  Western  building  Europe.  use.  sculptors  the  sculptor  techniques,  Public  Gallery,  and/or  in in  they  Scott  the  Arms  these  history  complex?  media,  Main  Cartwright  Gallery  Hung  appendix  either  the  in  internationally the  of  the  Norris  ceiling  rationales  librarians Division  of  and  history,  reliefs  the  Consult  architecture  Courthouse  8.  of  cathedrals  between  -  architect  throughout  sculpture -  a  one.  local  Gallery,  Surrey and  the  regarding  artists  Art  and  the Gal-  Burnaby  slides reviews  shows.  contrast Arms  the  we've  1886-1936 adopted  as  Vancouver of  1969.  Coat  of  of  10. III:  Area  examining  Compare  and c o n t r a s t  3 - The W e s t the:  End) w i t h  -  content  -  mood  -  i mp a c t  -  McCleary  symbolism.  Drope's  Gerhard  Lovers  Juchum's  (Section  Lover I I ,  Section  III:  While city  Area  i n which  Gardens the  Area  5 - Downtown  to plan  siderable  to see with aesthetic  particularly  nique,  ab s t r a c t  First  came  Construction marble  little  Specialities  known  then  within  donated  i n t h e open  some  time.  Seventeen  year  supply  f o r students to seven  international  stone  of the B r i t i s h  panel  chose seven  portunity  Carr  bank  split  Sculptor's  Society  gain  and w i f e  pieces team  a valuable  for cultural  of sculpture  artists  and a e s t h e t i c  blocks  f o r a ten  5'  x  Paul  6' f o r an  Ochs,  and a  pres-  small  sculptors July  (one work  collection took  Turkish  Creek f o r  during  Kubach-Wilmsen).  permanent  the p a r t i c i p a t i n g  worked  design.  These  available  Columbia  sculptors  of  up  Fifteen  Peter  These  of  Debro  of F a l s e  made  tech-  o f A r t and  symposium.  countries.  field-  setting.  of A r t .  were  con-  of the  blocks  College  School  each—were  of  eleven  p a r t i c i p a n t s f o r the symposium—twelve  the husband  sculpture,  superb  sculpture  o f 1975 on e l e v e n  Vancouver  and p r i n c i p l e s  at the c o l l e g e .  tons  sculptures  thirty-two  blocks  enables  the s u b t r a c t i o n  this  the south  of these  chunks—three  ident  on  that  o f how  of the  Botanical  recommended  account  as t h e V a n c o u v e r  stored  by  studying  a brief  t o be p l a c e d  were  August  It i s a highly  need  area  Oak  area  6 - VanDusen  outdoor  and t h e e l e m e n t s  5251  difficult  'contained'  and t r a v e r t i n e t o t h e E m i l y  Design,  from  Area  effort  f o r students  form,  Gardens,  B i s t h e most  It is a  value.  o f a l l , we  sculptures  Botanical  a fieldtrip,  i s the e a s i e s t .  viewer  trip  6 - VanDusen  and  was  done  Not o n l y d i d of large  advantage  interchange.  outdoor  o f an o p -  157. Two  references  The  Vancouver  let  that  where  I n t e r n a t i o n a l Stone  provides  they  itions.  are  information  from,  I t has  Vancouver  are:  their  The  Province  Vancouver  the  of  the  Art  at  the  Curriculum  Library  at  25  are  and  also  Sculpture  minutes  tures  Carr  Diana  are  and  the  of  by  the -  of  Art  and  Education,  Fine  Arts  are,  exhibartists.  includes  columnist  Caldwell,  verbal  book-  previous  of  co-ordin-  documentation  a v a i l a b l e from  College  Faculty  from  and  and  a  sculptors  Symposium  artist,  visual  booklets  Emily  and  a  done  -  Gerhard  Design;  The  Class,  from  University  D i v i s i o n of  of  the  of  Main  U.B.C.)  There 10-1  plus  Library,  Columbia;  writer,  the  their  work  Sculpture  Symposium  who  and  recent  newspaper  (These  British  Art  Perry,  symposium,  symposium.  instructor the  of  I n t e r n a t i o n a l Stone by  ator  concerning  education,  photographs  introductions  Sculpture  colour how  two  excellent  VT.1-3.6  Stone  int-jh-sh.  they  were  films available: Sculpture  This  created  film  for  Symposium  depicts  the  VanDusen  the  1975  AC  stone  sculp-  Botanical  Gardens. Vancouver  I n t e r n a t i o n a l Stone  documentation (A  362  30  Classroom  the  min.  the  same  Activities  and  your  viewing  gardens  find  the  to 2.  What  words  describe Name  event  from  a  a  PEMC  different  film,  is  a  perspective  col/sec).  During  1. use  of  Symposium,  many  the  Slide of  answers found of  in  the to  Presentation slides the  Table  of  the  following I  and  the  forms  you  sculptors  whose  work  see is  the  sculpture questions: glossary  within a  within  the  would  you  gardens?  particularly  good  158. example  or  of  (Show  o f one  o r more  the elements  line  shape  texture  value  mass/volume  line  colour  time  the p r i n c i p l e s  of  of  economy  harmony  proportion  variety  movement  using  Botanical  design:  design:  balance  the s l i d e s  VanDusen  of  the S l i d e  Gardens.)  Notes  Section  III:  Area  6 -  l5<?  0  o  o  o  •  HE  CO  M'L'ID  to  f  r  SECTION  VAN  DUSEN  37th  III:  AREA  BOTANICAL  A v e . a n d Oak  6 -  GARDENS Street  SECTION  SLIDE  1  III:  SCULPTOR  Per  AREA  .  6 —  VAN  TITLE  Swedish  3  A l of the G i s pudwada Blackbear (Al] Crest of the K i l l e r whale Tribe  Arthur Sterrltt  George  Norris  PATRON  BOTANICAL  MEDIA  GARDENS  TYPE  -  37th  SIZE  donated R bronze s u b s t i by the panels tution Swedish founCommunity tain " I n memcut out ory of g r i l l the Swedwork ish pioneers of this great province"  Nllsson  Uat,  2  DUSEN  -commiss i o n e d by the Vancouver Botanical Gardens Assoc. -unveiled during Habitat  cedar  B.C. donated by G o r d o n , J a d e Kathleen & Sheila Farrell  totem subtraction  Ave.  and  DATE  Oak  Street  LOCATION  Aug. 30 e n t r a n c e to the 1975 garden  10'  June 2, 1976  entrance to the garden  DESCRIPTION  depicts Swedish i n v o l v e ment i n B . C . ' a industries. Which industries are depicted? -cast i n Sweden  " t h i s p o l e c a r v e d by Arthur S t e r r l t t , a Gltksan from the Upper Skeena River area of B . C . i n c o r p o r a t e s the f o l l o w i n g 4 figures:  t h e t o p — m a n who w e n t into -human form at h u n t goat and was c a p t u r e d by a m o u n t a i ns t o form. b l a c k be a r and a s s ij t h e d t h e b e a r -human lead i n top f l g u r e ' a stomach—friendly v i l l a g e r who t o t3 k t h e b e a r m a n i n a n d helped tiim w h e n no o n e e l s e would. - b e a r f i g u r e at b o : t o m — r e p r e s e n t s b e a r man before form, being t u r n e i i n t o human -human stomach indicates head i n bea r ' s that b e a r f i g u r e i i9 b e a r m a n . " (information g i v e n on the top l a q U <; a t t h e b a a e o f t h e tem.) -unpain ted; the f r o n t a L; h o l l o w e d o u t f r o m back—a ttached t o the c o v e r e d w a l k w a y -what do y o u think is the purpose o f h o l l o w ing out the pole? fountain subtraction  F a r r e l l Pool  -2 a b s t r a c t , forms  organic  ON  to  SECTION  SLIDE  III:  AREA 6  SCULPTOR  4  Dave Backstrom designer, formerly with the Parks Board  5  Gerhard  Juchum  6  Gerhard  Class  -  TITLE  VAN DUSEN  PATRON  in memory of Mabel Whiting Young  The Fisherman ("Fisher")  MEDIA  drinking fountain  bronze?  substitution?  B.C. commissioned by Jade and a gift bronze from Mrs. Hazel Kitchen  9  10  Sasquatch Ogopogo  TYPE  B.C. Jade  7  8  BOTANICAL  GARDENS  SIZE  DATE  1976  sundial  1975  - f l o r a l  Sept. 1979  topiary  wood stained black  subtraction -carved with a chain saw .  1979  substitution fountain replica  1980  Wolf  donated b y Tommy Tompkins, naturalist  Andrea del Verrocchlo (1435-1488)  Puttino  Mr. & Mrs. bronze P. Pitcher  DESCRIPTION  -geometric abstract -functional sculpture -water runs over the asymmetrically angled planes of jade  Aug. 28 1976  wire frames  Unknown  LOCATION  - s e a t e d male nude highly textured  the o r i g i n a l form wood and t h e n the was sandcast  was sundial  of the 9 The Child- - l n celebration Y e a r of the Child and ren ' B the Family in B.C. Garden -are J u s t 2 o f the examples (informative plaques in place) inside the kiosk (gazebo)  -painted black -open mouth -Do y o u f i n d h i m friendly? Why d o y o u t h i n k he i s i n the garden?  -bronze o r i g i n a l at Palazzo Vecchio, Florence Italy -infant holding fish that has a water spout ln Its mouth ON lj  SECTION SLIDE  11  III:  SCULPTOR.  Sebastian  Mathlas Austria  -  TITLE  The Throne of Wezahual Coyott  12  13  AREA 6  Hletz,  VAN PATRON  from Mexico to the people of Vancouver  DIISEN  BOTANICAL  MEDIA  TYPE  red painted metal  welded geometric  The Maze  2000 Eastern Arborvitae  In Memorlam Tellhard de Chardin  marble sewer grid  SIZE  GARDENS DATE  DESCRIPTION  July 1978  100' i n June 20 diameter 1982  subtraction + addi t i o n  July to Aug. 1975  - c o u l d be c o n s i d e r e d a p a r t i c i p a t o r y a n d / o r an e n v i r o n m e n t a l sculpture -the best view i s from the top of the t e r r a c e . What i s the history of the Maze? Why w a s o n e constructed at Van Dusen Gardens?  1  Vancouver International Stone Sculpture Symposium (V.I.S.S.S.) 31 - 1 2 s c u l p t o r s from 7 countries a r o u n d the w o r l d p a r t i c i p a t e d i n the 2 month event -11 stone s c u l p t u r e s were created The f o l l o w i n g n o t e s are t a k e n from the symposium catalogue: -the s c u l p t o r had no r e a d y made d e s i g n but s e v e r a l ideas -the sewer g r i d i s pure chance; i t represents incarnation, imprisonment, a b a r r e d way -the black sphere suggests eternal mystery -the 2 openings are l i k e the light that Chardin brought to bear through the 2 s c i e n c e s -the e n c l o s i n g form suggests inner values f o u n d i n man -the colour, l i n e , form are similar t o o u r own e n e r g i e s and sensations  14  Joan D. Gambloli, Vancouver  Trave r tlne marble  subtraction  1975  V . I . S . S . S . - c o n c e r n e d more w i t h human interests; desires more human s c a l e to some o f o u r i m p o s i n g b u t often overwhelming buildings ~ *»  SECTION  SLIDE  III:  SCULPTOR  AREA 6  -  TITLE  VAN DUSEN  PATRON  MEDIA  BOTANICAL  TYPE  GARDENS  SIZE  DATE  - p e o p l e who o c c u p y b u i l d i n g s should experience a sense of belonging - e x p r e s s e s h e r own t r e m e n d o u s excitement i n the power and b e a u t y o f natu r a l and human forms and composition, balance, r h y t h m , and space -works both from m a t e r i a l to subject or vice versa  Joan D. Gambioli, cont'd  15  Kiyoshi Takahashl, Japan  16  (Plqtoukun) David Ruben, N.W.T.  Observing Your Society  marble  subtraction  1975  V . I . S . S . S . -believes stone sculpture should merge w i t h the e n v i r o n m e n t , e.g. put casually i n p u b l i c gardens ". . . s h o u l d be an I n f o r m a l k i n d o f f o r m i n which the c h a r a c t e r of i t s medium t a k e s up t h e e n v i r o n m e n t ' s spatial energy and then l e t s i t s e t t l e into the ground upon w h i c h i t i s placed— a sense of f a m i l i a r i t y r a d i a t i n g an intimate atmosphere, a mysterious potentiality and m a g i c a l c a p a b i l i t y — a ' b e i n g ' w h i c h r e m i n d s one o f some s t r i c t austere order revealing a ' v e r t i c a l , centrifugal expanse."  marble  subtraction  1975  V . I . S . S . S . -memories of the a r t i s t ' s childhood and o f people in general -a northern o u t l o o k upon the way o f l i f e i n the south -3 f a c e s / d i r e c t i o n s - - s k y w a r d , east, west - w a t c h i n g the directions of growth and p r o g r e s s o f our s o c i e t y ; the eyes constantly observing  1975  V . I . S . S . S . - s c u l p t o r works with i n t u i t i o n , Ima g i n a t i o n , and v i s i o n . "I believe i n wisdom and B u f f e r i n g , s e l f - s a c r i f i c e and l o v e , modesty, and kindness.  \  17  Adolf Ryszka, Poland  DESCRIPTION  Travertine marble  subtraction  *— o\  Ln  SECTION  SLIDE  III:  AREA 6  SCULPTOR  -  TITLE  VAN  PATRON  DUSEN  MEDIA  BOTANICAL  TYPE  GARDENS  SIZE  DATE  Adolf Ryezka, cont'd  DESCRIPTION  -wishes to search f o r t r u t h l n h i s work - s c u l p t o r f e e l s the symposium i s i d e a l for i t enables him to concentrate in a proper atmosphere  18  Olga Janic, Yugoslavia  marble  subtraction  1975  V . I . S . S . S . -sculptor believes that sculpture is always a mystery e s p e c i a l l y If i t is d i r e c t l y done i n s t o n e ; the sculpt u r e s e e m s t o s t r i k e up a friendship w i t h the s u r r o u n d i n g c o u n t r y s i d e and starts a quiet l i f e o f i t s own  19  Wolfgang Kubach Germany Anna-Harla Kubach-Wilmsen, Germany  marble  subtraction  1975  V . I . S . S . S . -symposiums enable the s c u l p t o r to l e a v e the s t u d i o and work under the o p e n s k y t o make s t a t e m e n t s i n stone with p a r a l l e l concerns for landscaping; an e n v i r o n m e n t a l d e s i g n o f urban l i v i n g space  20  Hlroml France  marble  subtraction  1975  V . I . S . S . S . - s i m i l a r l y this art ated out of h i s s t u s y m p o s i u m s s u c h as the s c u l p t u r e from a p a r t i c i p a t i o n in vironment  subtraction  1975  21  Aklyama,  Jiro Sugawara, Italy  marble  ist feels l i b e r d i o and that t h i s one release museums; there is a r e a l human en-  V . I . S . S . S . -the sculptor feels that symposiums are an a r t i s t i c t e s t i m o n y to man's existence in nature; that they stimulate c u l t u r a l l i f e l n the community a n d may r e s u l t ln fine permanent sculpture; that there is a valuable interchange among a r t i s t s on how t o speak to s o c i e t y u s i n g works not words o\  SECTION  SLIDE  I I I :  AREA  SCULPTOR  22  Michael Prentice, France  23  David Marshall, Vancouver  6  -  TITLE  VAN DUSEN  PATRON  MEDIA  BOTANICAL  TYPE  GARDENS  SIZE  DATE  DESCRIPTION  marble  subtraction  1975  V . I . S . S . S . -discusses the d i s c o v e r i n g of forms and then the t e d i o u s d e t a i l s of perf e c t i n g l i n e s a n d t i g h t e n i n g up the sculpture -feels t h e r e i s an i r o n y o f b e i n g an a r t i s t ; of being both egocentric to maintain confidence versus humility and an o p e n n e s s to p r o d u c e good work -to him c r e a t i v i t y i s a form of r e l i g i o n , " e a c h new p i e c e i s l i k e a rite in its formation, development and e v e n t u a l l i f e -the artist is constantly being faced with decisions that render the p i e c e r e a l and integral - c a r v i n g stone i s gut l e v e l truthfulness Just because the p h y s i c a l effort i s so great."  2 red Travertine blocks  subtraction  1975  V . I . S . S . S . - t h e p i e c e I n v o l v e s many thoughts and f e e l i n g s about family l i f e and the F i b o n a c c i S e r i e s -there is a variety of plane and shape; a contrast rather than formal unity, e.g.: -the lower b l o c k s are v e r t i c a l ; the upper horizontal -the west/sunset--a flat wall with p r o j e c t i o n a and i n d e n t a t i o n s ; east/ sunrise—organic, round -bottom b l o c k 2 forms (1) geometric/ flat/masculine, (2) upper smaller form supported l i k e a c h i l d by Its parents - u n i f y i n g element 2 planes W difference therefore the p r o f i l e has an irregular rhythm -the s c u l p t o r has an I n t e r e s t ln stone v a i l constructions of the PreColumbians i n South America >ON  168 Fieldtrip It  is  ception 1978, on  a  Activities particularly  between  seeing  years  after  screen,  and  viewing  of  weathering. sculpture,  ivity  place  take  gestions  Draw  and/or  sculpture far  Consider  from  and  at  order  the  to  differences slides  were  the  now,  after  a  some  that  chalks  would  2.  cination 3.  be  many  the  be  to  the you.  Find  out  took  complete  as  of  much in  pictorial  a  as  the  vantage  slides,  and  and  Charcoal  Joan  information media  Gambioli  Columbia, address  is  921-7315; David  and  5245 6415  is -  about  on  a  act-  Some  sug-  to  sculpture  you  can  their  black  a  the  Avenue,  Wellington  and  possible only). white  coloured  analysis  that  about  held  the  Joan  training,  their  11th  as  details  and/or  critical  symposium:  of  a particu-  utensils.  techniques, member  of  points  two  present  special  local  sculp-  imagery,  their  exhibitions.  Delta,  B.C.,  West  Society V4M  of  1Z1.  Vancouver  Her  British studio  (telephone:  922-6437).  Marshall  is  an  Instructor  at  fas-  Marshall.  their  Sculptors'  Street,  a  and  Gambioli  David  chosen  eight  on-site  essay  sculpture;  up.'  approach  class  part  prints,  drawing  Feldman's  a  different  'blown  good  for  that  as  coloured  could  Use  critique  Include  in  focus  fieldtrip.  per-  projected  after  students  that  in  (taken  completed)  Gardens  help  shortly  the via  recommended  photograph  near;  taking  prints  tors  sculptures  them  or  note  sculptures  i t is  during  to  are :  1.  (from  the  In  particular  a  these  three  years  lar  valuable  Capilano  College,  North  Vancouver. ver  His studio  (telephone:  Sculptors' 4. in  435-5426).  Society  do  -  What  do y o u t h i n k  -  chose  good What  i t ssite  sites  live  How  A  large  door you  member  r e l a t i o n s h i p i s among  of the  the  best  i n a city  grid—in  percentage  locations  sculpture  such  as  Pick  one  i n Vancouver  that  have  particularly  'does  when  sculpture  been  used  t h e most  'open'  good'  to receiv-  f o r people  Vancouver? s e t t i n g i s to a piece  of s c u l p t u r e  but take  into  answering  this  you consider  Jiro  discussed  account  of  i n Se c t i o n  indoor  settings  sculpture?  I I I i s outas w e l l , i f  question. Sugawara's  piece  an example  of  Why?  Mathias  Hietz  h i s stone  famous  had i n mind  detail.  do y o u t h i n k  Minimalis t art? 6.  in  other?  sculptures?  Why?  c a n , when  each  f o r sculpture?  do y o u t h i n k  Do  for their  i n the future?  important  5.  and s e t t i n g o f f e r  being  sculpture  these  Vancou-  Columbia.  can you imagine  sculpture  -  other  advantage  Where  who  Avenue,  an a c t i v e  the i n d i v i d u a l s c u l p t o r s  the s i t e s  analyze  ing -  the s c u l p t u r e  C a n y o u name  to  i s also  40th  city.  What  -  He  of B r i t i s h  -  and  i s 2541 E a s t  The s e t t i n g / s c u l p t u r e  the  they  address  sculpture.  artists  -  Marcel  -  Man  -  of A u s t r i a  have  Duchamp  Ray  used  Name  a found  other  found  object—a objects  used: - Kurt  Schwitters  - Alex  Wyse  RauS/Chenburg  - John  Chamberlain  Joseph  - Louise  Cornell  Nevelson  sewer that  7. of  time  of  the  couver  How of  the  the  stone,  symposium  sculptors?  8.  this  the  affect  ( I t would  I n t e r n a t i o n a l Stone  answering  find  did  be  available the  tools,  and  d e c i s i o n s and  helpful  Sculpture  to  see  Symposium  the  the  the  designs  film  first  length  Van-  before  question.)  I n v e s t i g a t e the  history  of  stone  sculpture i n order  out: -  the  choice  of imagery  -  the  tools  -  the  international  that  and e q u i p m e n t trends  was  used  and  is  throughout  regarding  popular time  styles.  to  1.71.  References  Assemblage  in  California.  ' 60 ' s .  for  Section  Works  I r v i n e , Regents  from  of  the  III  the  late  '50's  University  of  and  early  California,  1968. Bazin,  G.  The  Books, Berti,  L.  history  Inc.,  Boulanger,  La  Editions  Toronto:  and  &  The  H.  pleasure art  New E.P.  Metropolitan Art  Toronto: Henry W.J.  Publishing  Suzanne  Bonechi  Guite.  Montreal:  1973. Toronto:  J.L.  The  Reinhold  of  in  York  the  Withrow,  Florence:  Field  Enterprises  art  fabric:  Co.,  seeing.  Mainstream.  1981.  Architectural  Vancouver.  Vancouver:  sculpture Skorba  1982.  York:  H.  Chartwell  1968.  Nostrand  New  Mentor-Unesco  de  again.  Larsen,  Van  Publishers,  Read,  Look  decorative  Geldzahler,  Secaucus:  Michelangelo.  Limitee,  Corp.,  M.,  G.  of  sculpture  Aquila  Educational  Formosa,  works  Annual.  Constantine,  sculpture.  1969.  R.  Childcraft  world  19 76.  A l l the  Editore,  of  painting  Dutton Museum  Book.  The  New  Co.  of  Henry American  Moore. Sorel  and  London:  Etrog, Ltd.,  and  Co.,  sculpture. Inc.,  Art,  1967.  association  1969.  Moore:  Mother  Library, Thames  sculpture.  in  1940-70.  and  child.  1966. and  Hudson,  Toronto:  1965.  Wilfeld  with  172.  SECTION  As  stated  IV:  THE  earlier  i t is  sculpture  'experienced'  screen  in  tion in  or  to  the  a  focus  of  reference  and  to  focus the  the  addition.  to  As  of in  being  i t is  technique  is  entirely  are  is  presented  this  study  in  ize that One  ture.  i.e.,  the  up  is  is is  so  can  form,  carving  are  work one  to  with  away  of  the  four  assist  body  of  While  i t is  necessary  a  number such  include form.  the  i t must isolated  be  an  using Such  producing to  categor-  acknowledged  from  each  techniques  as  manipulation,  technique  each  techniques  of  Another  is  information. what  and  parts,  Such  teachers  of  being  with  that  three.  ref-  main  into  believe  range  not  the  familiar  the  technique can  historical  divided  other  that to  technique  analysis,  substitution,  reader  the  reason  is  Section  compartmentalizing  the  from  as  IV  In  but  becoming  This  simply  vast.  IV  a  resulted  critical  This  Section  Section  a workable  necessary  the  on  introduc-  sculpture.  subtraction,  separate  according  of  in  an  that  at'  sculpture  sculpture.  make  in  Similarly  building  to  packages  local  sculpture:  III,  likely  categories  sculptor  experience  vocabulary, of  The  means  these  the  of  isolating  sculpture  to  being  erroneous.  categorization sculpture  of  self-contained.  as  assumption  component  manipulation,  hazardous  researcher  essential  developed  Section  this  'looked  III  p roduction  by  sculpture  domain  be  SCULPTURE  than  need  to  historical  the  part  This  made  continues is  an  OF  maintained  rather  Section  was  techniques  each  is  sculpture.  III  erence  book  TECHNIQUES  of  in  other.  one  sculp-  i.e.,  the  subtractionj  disadvantage  is  that  the  rationale  ing  becomes  —metal  welding jects in  are  both  where  the  also  the  for  and  has  information  ple,  fourteen  one  of  these  media  in  the  preparation  of  one  media  familiar  with  productive written nowned  in  a  similar Another  this  clay  than  in  rather  critical  a  part  IV:  this to  of  working  the  hope  with that  the  cattime  metal  ob-  included  'bodies'  technique  is  due  to  as  well  specific  teachers  will  as  of  of  teachers  in  examonly  limitations  development  historical,  still  for  development time  the  can  the  form  examples and  develop  use  become  critical,  media  of  information,  The  Assistance  resources,  be  therefore  artificial  whereby  the  material  same  whereby  transmitting  The  model of  the  1 - Manipulation,  project. a  At  is  each  listed.  sculpture.  visual  of  undertaken  be  one  weld-  techniques.  of  Part  media been  ease  of  as  therefore  process  addition  integration  audio  and of  of  re-  technique  other  media  fashion. model  the  table.  manipulation, The  the  information  rather of  meant  sculptors  provided  of  domains  and  is  the  is  has  could  Welding  such  use  manipulation.  additive  for  necessarily Section  It  the  i.e. creating  place  In  are  and  processes  often  assembled.  considerable. there  of  an  labelling, taken  is  example.  considered  though  categorize  technique  manipulation  information  to  Welding  sheets  combined  Even  the  or  within is  to  difficult.  rods  egorized  as  in  presented three The  than are and  the  any  form in  of  stated  the  of  for  I.  II  reorganizes  The  four  sculpture  have  the  other  within  historical  Table  Table  domains  reasons  of  four  media  thirteen  the  four  components  of  Table  of  techniques become  the  choices,  choices  parts  some  of II  i.e.,  listed this are  focus  in  section. a  result  of  an a t t e m p t  to i n c o r p o r a t e  at  least  elements  four  rationales  were the  chosen  because  sculpture  Table four other  done  II represents media.  as p o s s i b l e .  forms,  reliefs,  they  are highly  throughout only  modes  The t h e m e s  heads,  the ages  combinations.  to note  of  expression,  a n d as  many  animals,  a n d t h e human  representative  one a p p r o a c h  I t i s important  possible  different  and p r i n c i p l e s o f d e s i g n  of sculpture  s t r a c t s /b i omo r p h i c  four  figure  o f much o f  and t h r o u g h o u t  the world.  f o r the development that  there  ab-  are  of the  countless  Table I I A  Model  f o r Introducing  Manipulation  the Four  Techniques  Subtraction  of  Sculpture  Substitution  Addition  Productive -  clay  media  plaster  clay/plaster  'soft'  me d i a  Critical -  modes  of  -  concept  -  elements  -  expression  realistic/stylized animals ' i n round'  the  organic 'in  abstracts  the round'  impressionistic  r e l i e f human f i g u r e s ' i n the round'  heads/bas  colour,  space  principles  proportion  b alance  e conomy  rationales  formalis t  formalis t  ornamentation  animals  s tone  s ty1ization  biomorphic  texture  value  shape  His t o r i c a l  expressionistic  relief heads  v a r i e ty self  expression  soft  sculpture  human  figure -  plaster  Ln  176 .  Section  Manipulation by  one  port  pliable  most  Modelling  of  IV:  refers  to  refers  1 -  the  m a t e r i a l which  i t s weight  also  Part  technique  must  although  to  this  Manipulation  an  of  maintain  building i t s shape  armature  might  be  technique.  Media *1.  Clay  -  water  - o i l 2.  Doughs  3.  Wi r e  4.  Papier  5.  self-hardening -  bread  -  cookie  -  inedible  Mache/Paper  Pulp  Wax  6 .  P ap e r  7.  Metal  8.  Plaster/Plaster  9.  Acrylics/Plastics  10.  Glass  11.  Cement  12.  Air  13.  Light  14.  Earth  Refers  to  the  model  Bandages  lesson  developed  in  Part  1  up and  form sup-  needed.  177 . Part  1 - Manipulation  - Realistic, -  Within  the technique  substitution, Where four  does  one b e g i n ?  the  d e c i s i o n was  was  chosen  the  A single  as w i t h  choice  subtraction,  of media  h a d t o b e made  and b r e a d t h  of this  to use.  for a l l study  The a s t e r i s k i n d i c a t e s w h i c h  but  media  technique.  chosen  manipulation  animals  i s a profusion  due t o t h e l e n g t h  f o r each was  there  difficult.  clay  lesson  of manipulation  and a d d i t i o n  techniques  Clay  a model  stylized  a s t h e mo de1  technique.  t o be d e v e l o p e d  The r e a s o n s  i n depth f o r  f o r this  choice  are the  following: -  Clay  i s easily  -  Clay  i s a medium  cher, use  and s t u d e n t s ;  of (pinch  glazing  a c c e s s i b l e and r e l a t i v e l y familiar  the p r e p a r a t i o n  pot, coil,  of clay  t o most  slab  are s k i l l s  inexpensive.  teachers,  of (kneading,  this  wedging); the  methods) ; the d r y i n g ,  within  most  resear-  f i r i n g , .and  a r t teachers'  range of  e xp e r i en c e . out  Clay  time.  has been Clay  i s used  tors.  An e x c e l l e n t  able.  Examples  readily  second  imagery.  choice  For this  examined.  Animals  b y many  film  of clay  by p e o p l e  about objects  around  fine  local  the world  and C a n a d i a n  Joe Fafard's as w e l l  and  use o f c l a y  as c e r a m i c  throughsculp-  i s avail-  sculpture are  available.  The  were  used  One  purpose theme  - in relief -  concerns  i n the round  what  suggestion  t h e themes i s animal  used  t o make  throughout  imagery.  regarding  t h e ages  178, example that  used  gargoyles  guard  their  Animals modes  on r o o f t o p s deceased  created  of expression; Animals  man.  Animals  other  reason.  is  i n an a r c h i t e c t u r a l  a general  Pet ownership interest  dealing with  cover by  how  various  they  to s t a r t  have  artists  i n pairs,  i s common  i n stone  and media;  i na l l  i n groups,  and w i t h  theme  figurative,  assignment  depicted  throughout  there  i t was  realistic  imag-  motifs.  f o r students  i n different  time.  and  Further  abstract, non-figurative  been  f o r y e t an-  among s t u d e n t s  of a l l types.  with  be an i n t e r e s t i n g  animals  techniques  an a p p r o p r i a t e  i n animals  ery  would  carved  i n crypts.  figures,  considered  advisable  It  masters  pets  context, f o r  for a l l rationales.  considered before  or f a i t h f u l  i n a l l four  as s o l i t a r y were  and o r n a m e n t a l  to  dis-  c u l t u r e s and  In p a r t i c u l a r  suggest  that  look a t : Ancient  Near  -  Sumerian,  -  especially  Eastern Assyrian  art: (2500  B.C.; 800-860  the - earthenware -  glazed  from  bricks  Processional  the'. C a s p i a n  from Way  B.C.) region,  Nebuchadnezzar's  i n Babylon,  6th century  B.C. Greek  a n d Roman  Art,  -  a bronze  horse,  -  the H e l l i n i s t i c  -  t h e Roman  f o r example:  8th century  B.C.  period  equestrian  statues.  Egyp t i a n Islamic  - especially Iran.  the terracotta  animals  from  northern  Phoenician Benin  bronzes  Peruvian  gold  and s i l v e r  llamas.  Italian  - from  the 16th  century.  A.P.  Proctor  Gutzon  John  Borglum  Frederic  B.  Marino  Remington  Pablo  Elie  Nadelman  What  characteristics  Flannagan Marini  Picasso  Elizabeth of the animals  Frink  were  depicted?  exag-  gerated? Why  do y o u t h i n k  that  specific  a n i m a l was  chosen  by  that  s culp tor ? What Why  Slide  purpose  i s the m a t e r i a l  about  how  1. 1976,  f i g . 9,  closer  What  served?  appropriate?  This  bison  inappropriate?  5"  3. Burner  of From  relief,  ivory  a n d he  stylization  feeling  were  media,  i n the s l i d e s modes  of  you are  expression,  used? 13,000-10,000  B.C.,  23" L.  (Bazin  p. 9 1 ) .  t o o u r own  Paulassie  are portrayed  techniques,  and c o n c e p t s  Clay  2.  -  the animals  to s e e .  rationales  a  used  the animal  Presentation Note  the  do y o u t h i n k  time  Bear  has been  and p l a c e .  i s from  Lake  created  The  Inuit  Harbour.  and t h e a r t i s t ' s  feeling  by  a  sculptor  carver's  Notice  the  name i s  simplicity;  for scale :  there i s  monumentality. Inuit  to I s l a m i c  of the l l t h - 1 2 t h  i t has a f e l i n e  head  century  - a  11V  (Bazin,  L. b r o n z e  Incense  1976, f i g . 378, p.  215)  180. -  i t s mouth  -  the  ears  -  the  beast's  -  the  back,  stylized, -  on  the  power  is half are  pricked tail  neck  Here  is  out  up over  chest  are  i t s back a l l p e r f o r a t e d with  linear,  grillwork  chest  are  which  animal  imagery.  and  i t s tongue  there  i s an  inscription  meaning  "valour,  glory."  Calder  (11%"  and  decorative  and  and  i s bent  animal's  4.  open  L.)  demonstrate Calder  1918;  capture  3 horses  wax  the  a  c r e a t e d by  the  completely  different  has  cast  essence  used.walnut  into of  bronze  what  sculptor  (15%"  (8  1/8"  a horse  is  Alexander  approach  H.)  to  1928 ;  L.)  1944  (Lipman,  wire  to  try  1972,  p.  100). What  words 5.  It  This  is a  asty  accurately is  glazed  (618-907  the  d e s c r i b e each first  terracotta A.D.)  the  Persian influence  -  the  statuette of  6. bronze ated  a  The  more  notice  the  horse 7.  man  from  500  the  of  from  equestrian statues. the  f i g . 506, in  the  horses?  Chinese p.  T'ang  Dyn-  259).  rider's  robes,  proportions; i t is a  realis tic  de-  figure  is a  years  Again,  ago 1968,  sculptor  very  General by p.  the  different  stance.  Bartelommeo sculptor  This  Colleoni  Andrea  cre-  del  . _  153).  portrays  the  pride  and  dignity  of  both  rider,  whereas the  i s shown  i s honouring  (Look  and  1976,  accurate  second  than  how  series  these  horse.  monument  Verrocchio -  has  a  statuette  (Bazin,  -  piction  of  of  this  west'  and  bronze  equestrian statue portrays a  h i s horse  straining  every  muscle  to  'wild free  himself and  of h i s r i d e r .  i s entitled  Again, The  8. from  The B r o n c o  1968, p.  second  horse  is full  Buster,  of energy  and  life,  by F r e d e r i c R e m i n g t o n  (Look  152) .  series  on a n i m a l  The f i r s t  basalt  This  lion  during  imagery  i s from  i s about  northern  the 9th century  B.C.  the  lion.  Syria.  I t was  (Bazin,  carved  1976, f i g . 96,  p. 1 2 0 ) . -  Notice  similar -  that  i t s body  to the incense  It i s rather  body,  and l e g s 9.  as  was  part in  of a g i g a n t i c  forms  half  have  Hittite  overall  the b a s i c  formed  burner)  shapes  i s situated  no s o u l ;  have  no  feari  This  lion  with  Spain  and i s  lions  has  water  the i n s c r i p t i o n they  (Islamic  such  I t again  pose  neck,  relief.  by t w e l v e  undignified As  of the head,  i n Alhambra,  of the 14th c e n t u r y .  continually.  hieroglyphics  decoration.  i n shallow  fountain supported  and a r a t h e r  o f i t s mouth  lions  form;  with  1976, f i g . 376, p. 2 1 5 ) .  the incense  carved  burner's  are roughly  (Bazin,  the second  out  a crude  i s covered  built  roughly streaming  states,  can not assuage  "These  their  anger." 10. from his  (Weiss,  t h e T'ang ferocity 11.  This  Dynasty;  lions  he  pair  Section  stone  trying  of garden-variety  Why  on t h e i r  why  seated  appears  do y o u s u p p o s e property?  i n Downtown V a n c o u v e r .  determine Notes  This  lion  i s Chinese,  again  t o be a g u a r d i a n b u t  i s unconvincing.  neighbourhoods. statuettes  1956).  they III:  are placed Areas  There  lions people  choose  are at least  C a n y o u name on t h o s e  3 & 4).  c a n be s e e n  their  sites?  i n many  to place three  pairs  locations  (consult  these  and  Slide  of  What  characteristics  do y o u a s s o c i a t e w i t h  -  catlikeness  -  majesty  -  fierceness  -  intelligence  -  strength  -  dignity  -  energy  - r e p u t a t i o n as k i n g  -  grace  - usefulness  When y o u c h o o s e  your  characteristics  of that  exaggerate. Barr, ist  B.  Chase,  Two  own  animal  New  Looking  y o u want might  and B e a s t s  York:  at A r t .  as  to model  that  Warriors  His World.  A.E.  animal  references  Wonders,  Sees  lions?  beasts  'guardians'  i n clay  decide  to p o r t r a y ,  on  what  distort,  be h e l p f u l a r e : Abounding.  Doubleday New  of the  York:  How  the  Art-  and Co., I n c . , 1967; Thomas  Y.  Crowell  Co.,  1966. The  next  modelling  clay  animals  using  animals  be  12. is  very  dog,  51  This  cm  demonstrate  Feel  free  methods.  hippo  limited  t o model  simplified,  and  was  a  was  done  done  use o f p e l l e t s  entirely  It i s a suggestion  by  use o f d e t a i l s goat  one p o s s i b l e a p p r o a c h  an  different  only  that the  realistic.  13-year-old  (Rbttger,  by  to  student;  there  1962, f i g . 202, p. 7 2 ) ,  11-year-old  and appendages  student.  of clay  Note  (Ibid.,  248, p. 9 0 ) . 14.  shape  other  stylized,  student's  fig.  slides  animals.  This  13. the  seven  with  This  Haniwa  simplified  15.  Another  46.3  cm H.  16.  This  H.  figure details  Haniwa  (Miki, Haniwa  of a horse (Weisberg,  figure  demonstrates  a basic  1975, f i g . 7 9 ) .  i s depicted,  this  time  a  Haniwa  1974, f i g . 44, p . 5 3 ) . figure  represents  a wild  razorback  boar  Note 15  the  and  What 94 ,  similarities  distinguishes p.  The  Dog  time  the  staring  uction  eyes  a  desired, -  Knead  -  Form  and  seal  this  point.  from  the  other?  jug,  have  a  uncanny 13th  Genese  between  numbers  (Miki,  1974,  f i g .  imp.  slabs,  Combine body  entire  trapped  little  coils,  as  a  size  them  and  to  clay  with  and  form  or  neck,  holes these  possible.  the  same  their  of  clay,  1971,  Reprod-  have  this  a hollow  ball.  not  be  as  the  both  of  is  as the  \  Comclay  necessary  such  much  type  state.  Hold  tools  this  pinch  buttery  'pulling'  or  and  of  shape.  should  forming  miniature  after  by  fingers  etc.  made  animal  almost  circumference  accommodate  water  realistic  similar  tail,  at  Mex-  AD-17).  air facilitates  legs,  a l l forms to  Paris,  to  join  of  and  Mationaux,  soft  stick,  cut  Musees  clay  and  are  charm  vessel  the  spoon,  of  singular  procedure:  of  figures  which  following  E x t r a water  separate  tail  the  brush,  Shape  typical  storage  des  simplified,  pots  f i g . 6).  effect.  century  ball  (the  1976,  most and  hollow  can  the  ears  (Editions  hands the  of  erect  this  -  as  Iran  pinch  finger.  ball  is a  wedge  i n your  Shape  an  consider  your  -  differences  (Fernandez,  one  the  stylized,  two  pletely  The  have  This  are  of  interdite  If  you  art.  northern  board  animal  Colima  dogs  opening  18.  -  one  from  fattened Western  pots  subtle  92) .  ican  from  the  16.  17. -  and  a  with at  black-  body  as  shaping).  head  i f necessary,  out  pots.  been  additions.  cut  into  Join  the  hollow  thoroughly  using  184. -  Support  Dry  your  Bisque  -  Consider  -  Display  Apply  of  form  during  the  drying  burnish,  stain.  period  i f  necessary.  completely.  -  of  animal  fire  the  finishes:  glaze,  thoughtfully:  critical  peers,  greenware.  consider  strategies  relating  to  positioning,  s c u l p t u r e s * of  lighting,  one's  own  and  setting.  those  to:  -  expressive  -  selection  intent of  -  composition  -  development  -  completion  image  of  image  -  materials  use  -  tools  equipment  -  sequence  -  technical  -  experience  and  of  use  ,  processes  competence  G r a d e s 8-12 A C u r r i c u l u m G u i d e / R e s o u r c e Book. E d u c a t i o n , P r o v i n c e o f B.C., S e p t . 1981 D r a f t , p .  Ministry 183.  (85  185 cu  186 . 1.  Clay  - water,  Arundell, -  J.  "My  o i l and  Exploring  aim  in writing  effective  able  to everyone.  evaluations" includes  -  limited  Coleman,  of  proach a  C.  Part  modelling,  2 -  A  Brown  -  i s to e x p l a i n sculpture my  some  that  concern  Boon, of  are  t o make  1971.  the  availaesthetic  folding,  expanding,  sculpture  children basic  handbook  for  Publishing,  I've  found  1968.  - very  i n depth;  includes  students.  kinds,  systematic borders  on  qualities,  apbeing elements,  sculpture  technical  elementary  and  architectural  sculpture  'Bible';  of  Mills  casting,  and  Co.  books  studying  sculptor's  Bibliography  7.  the best to  book  I t i s not  f o r young  Wm.  principles -  p.  -  London,  of making  Sculpture.  Dubuque: one  ways  constructing,  use  R.L.  this  carving,  building,  -  sculpture.  easy  -  self-hardening  methods  - often  too  complicated  for  school  includes  papier  mache,  wax,  clay,  metal  and  a e r y l i cs Dawson,  R.  New Dawson,  York:  highly R.  Lane Eliscu,  F.  phia: -  Practical The  Viking  Creating  Press,  with  plastic  media.  1970.  recommended  & J.  Sculpture  Books,  with  simple  materials.  Menlo  Park:  1966.  Sculpture Chilton  f o r the  sculpture.  technique  Co.  amateur,  Book  in clay,  Division,  'Sunday'  wax,  slate.  Philadel-  1959.  sculptor  - not  for children  187. Gray,  J.  Elementary  ations . Lucchesi,  B.C.T.F.  B.  highly  ceramics:  Lesson  Terracotta  Publishers, -  school  Aid  Observations  No.  and  Explan-  9661.  sculpture.  New  York:  Watson-Gup t i l l  1977.  recommended  for  portraiture  and  hollow  ceramic  sculpture Marrits,  L.E.  Barnes Mills,  and  J.W.  Co.,  Head  Ltd., "My  Modeled  facts,  images  that  others"  Price,  -  to  modelling.  (p.  C.  Arts  of  encourage  that  truly  more  York:  A.S.  London:  B.T.  Batsford  the  confidence  student  reflect  his  might  own  by seek  confiding to  personality  tech-  achieve and  not  that  11). advanced clay.  students.  New  York:  Charles  Scribner's  the  text;  mainly  utilitarian  Sons,  (j).  drawings  that  only  with  incorporate E.  Corp.,  -  stresses  -  good  -  excellent R.  animal  Creative  lishing  Slade,  so  the  Rottger,  figure  is  for  1977  New  1977.  nical  -  sculpture.  1970.  and  objective  of  portrait  clay  order  of  in  Lothrop,  first  20  -  some  good  design.  New  York:  Reinhold  Pub-  activities to  possibilities  when  dealing  with  photographs  Modeling  -  imagery.  1962.  introduction  York:  objects  clay,  Lee  pages ideas  are  plaster,  and  Shepard  not  that  very  are  and Co.,  papier  mache.  Inc.,  1967.  inspiring.  merely  introduced  New  clay  Weiss,  few  photographs,  H.  Clay,  t ure.  wood  Reading,  Zaidenberg, York:  A.  The  World  no  drawings  and w i r e . Mass.:  new  and  A how  1956  i t book  sculpture  1972.  Examples: 1.  Local  sculptors  -  Persimmon Gathie Lyn  Falk  Michener  Phyllis 2.  Canadian  sculptors  - Victor Joe  Cicansky  Fillion  David Internationally  Green  Fafard  John  3.  Blackbridge  Graves  Sally  reco gnized  Gilhooly sculptors  —  Af r i c a n Chines e Iranian Japanese Mexi can Pe r u v i a n Prehistoric Robbia (Consult  the  appendix  fo r  family,  further  of  sculp-  (j).  classical  Publishing,  t o do  Italian  examples.)  methods.  New  189. Audio I  Visual  don't  Resources:  have  to  col.  N.F.B.,  "Joe  Fafard  to  also  of  farming  a l l in  work  has  in  (N.F.B. 'em  been  just  turn.  finished  the  comments  unusual  The  Doughs Consult  an  shapes  holiday -  bread,  Johnson,  baker's -  of  -  art.  New  excellent and  i t includes  and  forelegs  in  friends  Sask.  the  and  And  barn-  neighbors  he  sculpts  mini atures.  Western see  Joe's  Canada  what  as  well  he  does"  from  col.  106c  0179  Silton,  This  about  film  from  who  studio  react film  is  to  the  to the  shows  182  Sask.,  by  has  city Yuristy's  park  and  buffalo's  one  of  the  inedible N.S.  Reinhold  resource;  recipes  their  artists."  York:  rituals  27:20,  commissioned  trip  & Hazelton,  decorations,  in  romps  10:27,  lighthearted  cookie, I.,  his  you  film  bystanders  unusual  Fafard;  134).  Current.  This  most  calf  sculptor  mile  Joe  tuck  little  buffalo  150  the  looks.  prairie's  2.  Swift  of  a  Pense,  p.  funky  its  way  Here  N.F.B.  a wooden  buffalo,  they  throughout  1981,  the  of  of  York.  A  way  eloquent  exhibited  Yuristy,  ton  the  about  143.  p_e_op_le - - a 11  in  New  film  0173  community  and  councillors 3  knows  Catalogue,  a half  "Russ  106c  A  cows--the  clay,  Paris  big.  ruminate,  He  them  mm  knows  yard. the  that  16  l i e down,  as  Give  work  Cookies Publishing  i t focuses  long  and  on  the  surviving  and  breads.  Corp., visual  1967. interest  traditions,  and  190. -  Ruth  Asawa  fountain  Is  in  ing  dough  3.  Wire  Brommer,  San  as  -  a  the  G.F.  Wire  addressed  -  emphasis  -  excellent  -  -  R.  &  J.  a  of  community  the  a  bronze  project  us-  -  best  Sculpture 1966.  sets for  exploit  the  wire  most  techniques  J.  Building Co.,  wire moves,  i t also  that  can  be  problems art  materials.  Meno  Park:  basic  mache,  of  with  skills  element  each  new  plaster,  sculpture. good  suitable  craft  for  wire.  New  of  the  same  design  medium"  which  (p.  5),  clay.  York:  technical  the  at  Watson-Gupti11. drawings,  not  too  classroom  Toronto:  Van  Nostrand  19 72.  includes wire  that  a  introduction,  "recipes"  and  qualities  papier  many  simple  skills  will  excellent  sculpture  typical  secondary  with  presenting  Simple  in  1968.  experimentation  (while)  E.  P u b l i s h i n g , Inc.,  cons-  (Sunset)  design  wire,  dimensional  classroom  for real  book;  three  techniques  time  ture,  -  in  additive  Books,  Reinhold -  -  "(teaches)  Lidstone,  of  other  Davis  changing  springboard  e.g., Gallop,  s c u l p t u r e and  to  out  a  Lane  result  creation  model.  Worcester:  -  -  original  the  f o r her  Bibliography  carried  Dawson,  renowned  Francisco,  truction . -  sculptor  delineating  that that  includes  creates tells  space,  circles, a  examples  wire  used  shadows,  as  an  jewellry,  story from  Vancouver  arma-  schools  wire  1.91. Ullrich,  H.,  & Klante,  Batsford -  using  Ltd., wire,  D.  Creative  metal  craft.  London:  B.T.  1968. wire  fabrics,  working  with  t i n , solder  and  r i v e ts Weiss,  H.  Clay,  ture . "It  of  Reading:  shows  shows  you  many  Examples:  wood,  how  how  to  Alexander  Area  Wire  Visual  a  your  own  and  sculpture  i t out  3).  Circus  The  Sun Slide  Notes  Section  III:  U.B.C.)  an  col.  his  in  Ministry  human  13  Grades  min.  torch  head.  technique,  the of  1973  acetylene  lifelike  about  (Recommended Book,  s t a r t e d making (p.  sculp-  1956. sculpture,  (consult  PEMC A 3 7 4  into  comments  of  made  Calder's  s c u l p t o r with  wire  people  book  have  Lipton's  1 -  Books,  materials"  Grauer  how-to-do-it  Resources:  sculpture A  get  A  Scott  other  different  Sherry  wire.  Young  you  Seymour  Audio  and  Education,  shapes During  art  8-12  sec/post  form,  A  a the  and  Curriculum  Victoria,  B.C.,  sec  piece  of  process  steel he  philosophy. Guide/Resource Sept.  1981  Draft . )  4.  Papier  Dawson,  R.  Lane  Machg/Paper & J. Books,  Pulp  Sculpture 1966.  -  Bibliography  with  (Consult  simple Wire  materials. -  Menlo  Bibliography.)  Park:  19 2. Mills,  J.W.  Ltd., "My  Head  objective  ages  facts, that  others"  Slade,  i s to encourage so  that  truly  reflect  R.  i n clay,  Modeling Lothrop,  first  -  some  -  few p h o t o g r a p h s ,  20 p a g e s good  V.  The  Nostrand  Examples:  h i s own  ideas  that no  confiding  tech-  to achieve  im-  and n o t t h a t  of  Carol mache  Co.  mache.  New  I n c . , 1967. ( j )  inspiring introduced  drawings  a r t and c r a f t  o f handmade  paper.  Toronto:  Van  Co., 1977.  artists  - Diana  Caldwell  Sherry Anthony,  Lynn  Clapton  Howes  Margaret  Lawther  Cooper  an A m e r i c a n  artist,  creates  papier  dolls.  Bibliography R.L.  Dub u q u e : -  seek  personality  are merely  Deborah  Coleman,  might  by  p l a s t e r , and p a p i e r  are not very  Reinhold  Local  -  Batsford  students  Lee and S h e p a r d  -  Wax  B.T.  (p. 11). advanced  York:  5.  London:  confidence  the student  f o r t h e more  Studley,  modelling.  1977.  nical  -  and f i g u r e  one  proach  Sculpture. William  of the best  C.  Brown  books  to s t u d y i n g  sculptor's  A basic  'Bible'.  handbook  f o r students.  Co. P u b l i s h e r s ,  I've found;  sculpture  very  1968.  systematic  in depth—borders  ap-  on b e i n g  a  -  includes  kinds,  qualities,  elements  and  principles  of  s culp ture -  Part  2 -  Technical  elementary Eliscu,  F.  Sculpture  phia: -  Chilton  for  Miller,  school  the  R.  Co.  Examples:  Medaro Edgar  6.  Paper  Fabri,  -  R.  in  too  c l a y , wax,  Division,  'Sunday'  complicated  for  i n wax  slate.  Philadel-  1959.  sculptor,  Publishers,  and  not  children  plaster.  New  York:  1971.  Degas  Bibliography Sculpture  paper.  New  p r i n c i p l e s of  by  explaining  to  construct how  in  York:  Watson-Guptill  1968.  "fundamental  and  often  Rosso  Publishers, -  Book  sculpture  Watson-Guptill  are  use.  technique  amateur  Figure  Methods  to  i n words the  add  main  the  the  art  of  paper  and  pictures  how  forms  you're  ever  most  important  to  sculpture design  likely  i t ,  to  how  need  finishing  touches"  (p.  forms  variations.  2) . -  excellent  Johnson,  P.  Creating  Seattle: Lidstone,  illustrations  University  J.,  & Bunch,  environmental Co. , -  with  C.  paper. of  Basic  Washington  Working  sculpture.  big.  Toronto:  Press, A  and  1958.  teacher's  guide  Van  Nostrand  the  classroom  to  Reinhold  19 75 .  authors play,  maintain  the  more  "the  more  effective  art  i t is  in  likely  to  be"  (p.  is  like  10).  -  subjects: working work  Made  a i rart, building  walls,  working  with  paper.  ican  Craftsmen's  Ogawa,  with  a i r and  T h e Museum  America, H.  b i g outdoors,  cardboard, children  light,  and  artists  together  includes  of  working  b i g with  light  of Contemporary  Council.  New  York:  Crafts  o f t h e Amer-  Container  Corporation  196 7.  Forms  of paper.  New  York:  Van N o s t r a n d  R e i n h o l d Co.,  1971. -  superb  photographs  "This  book  paper  c a n be g i v e n "  -  includes  R'ottger,  E.  Visual  Designing  Corp.,  -  with  the q u i n t e s s e n c e o f forms  f o r a l l the  paper  which  design.  photographs New  York:  Reinhold  Pub-  1961.  everyday VA  materials:  3 8 a HRW  A N.F.B.  The J a p a n e s e skilled  film  fingers  anyone  from  the r e s u l t s figures  1971  17a GWF  8:35  corrugated paper  1968  being  17 m i n . c o l i n t / j r  c o l 106c 0167 folding,  and the l e s s  can l e a r n  PEMC  12 m i n . c o l i n t / j r  a r t of paper  That  and  background)  (p. 10).  i n a r t v i d e o t a p e VA  Origami.  on b l a c k  Resources:  Videotape Paper  into  patterns  Creative  lishing  Audio  inquires  (white  adept  120 as p r a c t i s e d hands  and e x p e r i m e n t  i s evident  from  of  by  children.  and take  the v a r i e t y  conjured out of coloured  both  pleasure of  shapes  paper.  195. 7.  Metal  Coleman,  -  Bibliography  R.L.  Sculpture.  Dubuque: Hale,  N.C.  Meilach,  William  Welded  D.Z.,  Inc., -  sculpture. D.  handbook  f o r students.  Co. P u b l i s h e r s , New  York:  Direct  and a p p r e c i a t i o n .  metal New  1968.  Watson-Guptill, sculpture.  York:  Crown  1968.  Creative Publishing  1966.  excellent; the  -  C. B r o w n  & Seiden,  techniques  A basic  includes  the h i s t o r i c a l  aspect  from  1914 t o  present  the "without  heat"  section  i s most  applicable  to the  classroom Ullrich,  H.,  & Klante,  Bats f o r d -  using  Ltd. ,  D.  Creative  metal  craft.  London:  B.T.  196 8.  wire,  wire  Anthony  Caro  fabrics,  working  with  t i n , solder  and  rivets  Examples:  Theodore Julio  Audio Hand  Visual  both  UC  1978 15 m i n . 1972  B.C., bronze -  13 m i n .  a r e recommended  Guide/Resource  The  Ibram  Lassaw  Gonzales  PEMC  welding -  Smith  Resources:  forging  Braze  Roszak  David  Sept. zoo  A warm  VT  Book,  1981 1-3.5  colour colour  i n the Grades Ministry  8-12 A  of Education,  Curriculum Victoria,  Draft. TF  and u n u s u a l l y  16 m i n . c o l i n t / j h / s h personal  introduction  to  sculpture  196. through  Shay  striking tural The  art -  of  metal  of  sculpture  design  VT  and  shopping  centre.  torch,  Tom  McClure  G.,  &  Nostrand -  good  under  anvil,  intense  and Dawson,  Co.,  W.  fantasy,  1958  PEI  of  tools vise  22  large  permanent  heat  -  A  and  sculp-  min. metal  display  employed and  being  col  sculpture at  a  include  hammer. worked  jh/sh  large weld-  Closeups as  a  fluid.  Bibliography  sculptor's  manual.  New  York:  Van  1968.  plaster,  R.  Sculpture 1966.  cement  and  ciment  fondu,  stone,  simple  materials.  Menlo  Park:  B.T.  Bats-  (Sunset)  on  plaster  Figure  Watson-Guptill H.  Art  dimensional  with  work  with  plaster.  London:  more  just  19 75 .  section  sional  Stevens,  on  Creative  Ltd. ,  good  Miller,  Reinhold  & J.  Farnworth,  -  S.  Books,  ford  animals;  wood.  R.,  Lane  Cornock,  sections  for  Creative  P l a s t e r / P l a s t e r Bandages  Clarke,  1-3.7  construction  handsaw,  metal  realism,  bronze  imagination.  by  show  8.  and  executed  ing  extraordinary  combinations  craft  Follows  Rieger's  in  armatures;  than  three  dimen-  work.  sculpture  i n wax  Publishers, the  round,  design.  New  and  plaster.  New  York:  1971. elements  York:  and  materials  Reinhold  of  Publishing  three Corp.,  1965 . Part  1 -  images  to  elements the  eye  of  form  that  convey  three  dimensional  197 Part  2 - ways  make  three  -  good  i n which  these  dimensional  photographs,  elements  c a n be  combined  to  statements  many  examples,  b u t no  step-by-step  recipes -  highly  Examples:  recommend  Claes  Giacometti  Alexander  Archipenko  Barbara  Hepworth  Armitage Segal  Elek  Moore Imredy  - Bibliography  f o r s c u l p t u r e and d e s i g n .  Reinhold  D.B.,  T.K.  and n a t u r a l  Nostrand  Reinhold  for creating,  Toronto:  Van  Co., 1972.  & Stevens,  technology  -  Henry  Miro  Acrylic  Nostrand  Van  Despiau  Alberto  Acrylics/Plastics  Chichura,  Charles  Frink  Joan  G.  book  Elisabeth  George  Bunch,  resource  Oldenburg  Kenneth  9.  this  Super  phenomena  sculpture.  Using  in sculpture.  science  Toronto :  Co., 1974.  understanding  and a p p r e c i a t i n g k i n e t i c  s culp ture Part  1 - background  development, Part -  application  2 - variety  f o r secondary  Coleman,  R.L.  Dubuque:  information, history,  of  classroom  approaches  and p o s t  Sculpture. Wm.  i n the  contemporary  C. B r o w n  secondary  A basic  use  handbook  f o r students.  Co. P u b l i s h i n g , 1968.  198 Examples:  Mike Max  Banwell Bill  Naum  Antoine  Audio  Visual  Plastic  Cesar Gabo  Pevsner  Resources :  and f i b r e g l a s s :  Fiberglass  I T E 1967 13 m i n . c o l o u r  A 356 Plastic  and f i b e r g l a s s :  Thermoplastics  I T E 1967 13 m i n . c o l o u r  A 357 -  both  recommended  Resource Sept.  10.  Book.  1981  i n Grades Ministry  8-12 A C u r r i c u l u m  Guide/  of Education, V i c t o r i a ,  B.C.,  Draft.  Glass  Examples:  Audio  Ed Z e l e n a k  Jamie  Kelley  Harvey  K. L i t t l e t o n  Larry  Bell  Robert  Morris  Lise  Sylvia  Stone  Visual  Resources:  Glassblowing -  S0-764  recommended Book,  Lemieux  PEMC  1978 13 m i n . c o l o u r  i n Grades  Ministry  8-12 A C u r r i c u l u m  of Education, V i c t o r i a ,  Guide/Resource B.C., S e p t .  1981  Draft.  11.  Cemen t -  consult  Clarke,  G.,  & Cornock,  S.  A sculptor's  manual.  199 New  York: -  Van  good and  -  An  sections  article  12.  52-66  on  Reinhold  Co.,  1968.  plaster,  cement  and  ciment  fondu,  stone  wood by  four-legged pp.  Nostrand  Olson,  figures,  is also  L.  Direct  from  Arts  cement  and  sculpture.  Activities,  Building  April  1979,  pp.  and  aes-  52  recommended.  Air - Bibliography  Hiroi,  T.  Kites.  thetic  Sculpting  guide  to  making  in  the  sky.  kites.  New  A  practical  York:  Pantheon  Books,  19 78. Lidstone,  J . , & Bunch,  environmental Co., -  authors  subjects:  work  Examples:  N. -  more  big.  A  Toronto:  "the  more  effective  art in  teacher's  guide  to  Van  Nostrand  the  classrooms  is  to  10).  i t is likely  air art, building  walls,  Reinhold  working  big  b i g with  outdoors,  be"  (p.  cardboard, children  like  light,  and  artists  together  R.C.A.T. their  Otto  Feldman,  sculpture.  maintain  the  working  -  Working  1975.  play, -  C.  Piene  E.B.  Vancouver  Art  Gallery  has  slides  are  artists  of  work) and  Dr.  Varieties  Abrams kites  (the  Inc.  flying  Billy of  Kluver  visual  experience.  Publishers,  1971  in  and  the  park  two  (p. at  519;  the  New p.  beach  cited  York:  523).  in  Harry  200 . 13. -  Light  Consult  guide  L i d s t o n e , J . , & Bunch,  to e n v i r o n m e n t a l  Reinhold  Georgianna Dan  Earth  Beardsley,  Feldman,  J.  Norman James  the earth.  D.C.:  Horshhorn  Varieties  Abrams  teacher's  Nostrand  White Turrell  Museum,  of v i s u a l  Inc. Publishers,  Contemporary  1971  land  projects.  Smithsonian  experience.  New  Press,  York:  1977.  Harry  (pp. 519-523).  Robert  Morris  Walter  Robert  Smithson  James  Visual  sand  Chappell  Probing  Michael  The  Van  A  - Bibliography  E.B.  Examples:  Audio  big.  Toronto:  Flavin  Washington,  N.  sculpture.  Working  Co. , 19 75.  Examples:  14.  C.  de  Maria  Turrell  Heizer  Resources:  castle  A N.F.B.  12 s e c . 1 0 6 c 0 0 7 7  050  film  MEC  1977.  35  and  16 mm  colour  13 m i n .  2.0 1. Section  Subtraction of  surplus  Carving  Soft  Media  *1.  Plaster  2.  Clay  3.  Wax  refers  material  achieved.  IV:  - water,  to  from also  Part  a  a  2  Subtraction  process  block  refers  o i l base  -  until  to  and  this  reduction, the  desired  the  Balsa  5.  Salt  6 .  Soap  7.  Polystyrene/Polyurethane/Plastic  8.  Chalk  9.  Apples  technique.  wood blocks  foam  Earth  Medium  -  Hard  11.  Wood  12.  Stone  13.  Building  Media  blocks/Bricks  Miscellaneous 14.  Bone  18.  Plastics  15.  Ivory  19.  Cement  16 .  Shell  20 .  Acrylic  17.  Horn  21.  Aerated  Refers  to  the  model  lesson  and  ciment  fondu  concrete  developed  in  Part  removal  shape  self-hardening  4 .  10.  of  2.  is  202 . Part  2  -  Subtraction  The  model  of  a l l , stone  to  VanDusen  for  the  ter  that  used  wood  is  a  has  been  carving  time  either  Stone  and  ence  taking  technique  the  wood  lesson  not  plaster  slides,  in  much  even time  The  but on  a  are  time  the  one. a  media  chosen  carving bags.  the  a  element  scale, to  is  carve  school  consuming,  students  plas-  Stone  time  small  in  First  fieldtrip  required  practical  less  gives  and  plastic  possible  usually  adequately  away  is  class  is  two-fold  i s , however,  carving, of  a  recommended.  classroom  span  in  pre-formed  Months  very  is  is  the  i t is  experi-  process.  Presentation First  an  general.  Prehistoric 1. 1976,  of  sculpture  lesson  is presented  and  time  inexpensive the  this  Gardens  consuming.  Carving  in  for  the  abstract  model  partially  situation.  Slide  a  part  in  media--a  of  -  Botanical  problem.  very  Plaster,  sculpture  production  or  -  The  introduction Throughout  man  carved  Venus  f i g . 15, 2.  (Bazin,  Venus 1976,  of  to  time  stone man  has  exquisite Lespugue,  p.  92),  of  Willendorf,  f i g . 14,  and  p.  and  s i m i l a r media  carved  wondrous  miniatures a  15  cm  such  ivory  sculpture shapes.  as:  figure  (Bazin,  the  92),  an  11.5  both  cm  limes tone  dated  statuette  approximately  21,000  B.C. Classical which  sculpture  a l l sculptors 3.  190  Greek  B.C.  The  should  Victory  (Bazin,  1976,  of  was  for  centures  held  as  the  ideal  strive:  Samothrace, f i g . 205,  p.  marble, 158),  Hellenistic,  and  ca  to  203. 4. B.C.  Laokoon  (Bazin, 5.  fig.  Pieta,  762, p . 346) i s p r o b a b l y  break  ture  marble,  Hellenistic,  1 9 7 6 , f i g . 2 0 8 , p . 1 5 9 ) , a r e two s u c h  Michelangelo's  sculpture to  and H i s Sons,  i n the Western from  t h e most  world.  the t r a d i t i o n  and experiment  H. 5 ' 8 " m a r b l e ,  with  I t took  o f such  modern  how  h e was i n f l u e n c e d by t h e s t r e a m l i n e d ,  2000  B.C. ( T h e B r i t i s h 7.  The K i s s  Britain, In  Figure  we h a v e  a rich  sculpart.  'new'.  Notice  refined  o f a Woman, H. 49 cm o f 2 5 0 0 -  o f 1908 l i m e s t o n e 54).  Brancusi  dimensional  not entirely  Museum P o s t c a r d )  1973, p.  Canada  were  like  19 76 ,  stone  realistic  three  Constantin  C y c l a d i c Marble  forms  realistic  figurative  abstract  examples.  1499 ( B a z i n ,  pioneers  But  6.  Brancusi's  famous  1st century  heritage  i n h i s work  (Arts  Council  of Inuit  of Great  sculpture, for  ex-  ample : 8. was  Bird,  carved  ticulars  a favorite  by Adamie  from  examples  found  i n the Northwest Some  Coast  used  as an a m u l e t .  (source:  streamlined, Indian's  stone  It  a calendar,  par-  the elements  jean  (Hans)  Here  a r e some  Arp, Henry  Moore,  i s referred  t o as a b -  of design,  worked  Barbara  with  this  Hepworth,  that  i . e . Formalis t. rationale are  and Isamu  Noguchi.  examples:  Woman,  p. 2 19).  have  forms a r e  biomorphic--sculpture  and p r i n c i p l e s  of the s c u l p t o r s that  refined  use o f a r g i l l i t e .  sculpture  non-figurative, organic,  Some  204,  Povungnituk  of simplified,  of the finest  celebrates  9.  here  unknown).  Other  s t rac t,  motif,  1957-8,  bronze  by H e n r y  Moore  (Read,  1965,  fig.  204, 10. 1965,  Composition,  f i g . 59, p. 11.  Armand  Forme  Filion,  Exemplaire 12. 1000,  John  Black  cm H.  Park, Co.,  We ganic, stone  (Section  Mounds  amples.  can  Notes,  now  create.  (Read,  1' i s by  Sculptors  Assoc.  1976, f i g .  H.  of the a r t i s t .  Noguchi,  16"  Photo:  1969, B r a z i l i a n A r t Museum,  published  to have  within  by  Granite  Volunteer  Ellis  Asiatic  III:  Building Kni fe  Postcard  Area  A possible  Class'  (Section  Edge , Queen  III:  of o r cast  Area  Elizabeth  3 -  Park  Haufschild's  Wind  5 - Downtown  B)  ex-  of eleven  about  Gerhard  International  at the VanDusen  III:  examples  B ) ; and L u t z  The V a n c o u v e r  Section  Vancouver  sculpture:  to the Gardens  to think  and s t r i n g s  98223).  i n the c r e a t i o n  Slide  x  (Bazin,  colour  of the S e a t t l e  o f 1975 h e l d  A visit  d i m . 2'  (Quebec  Coll.  5 - Downtown  Furthermore,  sculpture.  And  Isamu  Moore's  (Section  Symposium  resulted  East  Area  19"  1964, f i g . 210, p . 1 9 6 ) .  biomorphic  End) ; Henry III:  with  (photograph  are fortunate  We s t  Blown  (Read,  Wash.  sculpture,  marble  Quebec  Hepworth.  Wash,  abstract,  H.  Moore.  1934, m a r b l e  1946 , wood  Sun by  Arlington,  stone  Jean Arp.  i s i n front  Seattle,  Hornton  1970, p. 3 1 ) .  i s by B a r b a r a  Webb, L o n d o n  76.5  from  Concretion,  Pelagos,  14.  sult  162,  by  points  a sculptor  p . 4 3 7 ) i s by  (40.5)  ture  82) i s a l s o  sur trois  Human  13.  The  No.  1931, G r e e n  fine  Stone  Botanical  examples  i s highly  are three  of  Sculp-  Gardens abstract  recommended.  (Con-  Area 6 ) .  what  approach:  forms  the students  themselves  205 It ity  i s hoped  to carve  marble, is  that  stone  limestone  recommended  be i t s o f t  that  students  i t a much more  over,  simple  carve  most  plaster 1.  mixing  being,  however, i t involved  f o r the classroom. to enable  When  mixing  More-  them t o  and w o r k i n g  cold  water  and a t h o r o u g h l y  clean  i n a warm,  dry p l a s t e r  dry place.  that  has been  The s h e l f  life  kept of  i s limited. Always  'Sifting'  4.  add p l a s t e r  one h a n d f u l  plaster  Plaster  creamy.  The  milk  often  nizable  usually  carton  than  form  water  shapes  might  be h e l p f u l  should  while  carton.  plastic  bags  the p l a s t e r  pour  the p l a s t e r ,  the  other  to hold  ter  until  i t sets.  to p l a s t e r .  a t a time  be p o u r e d  minutes.  allows  while  The p e r s o n  i t is  for plaster  still  carvings. recog-  I t i s therefore  encouraged  be u s e d  pre-form  is still  to help  in a fluid  t o work  the p l a s t i c pouring  state.  i n pairs;  and t i e t h e bag c l o s e d w i t h  and s u p p o r t  Plas-  c a r v i n g has the r e a d i l y  f o r the students  and  fifteen  container  not the f i n i s h e d  transparent  water  the water  i n about  i s a common  of a milk  tract  into  never  naturally.  sets  f o r casting  and  to water,  of plaster  to absorb  t o be u s e d  sturdy  B.C. o r C a r r a r a  as t h e t i m e  are s u f f i c i e n t  use c o m p l e t e l y  and s t o r e d  3.  More  project  i n plaster.  use c l e a n ,  Always  plaster  thin  plaster  opportun-  container.  sealed  ter  forms  or hard  the  remember:  Always  2.  the  pleasing  tools  have  F o r the time  carve  feasible  everyday  will  soapstone  or a r g i l l i t e .  makes  with  one day s t u d e n t s  absIt  one t o mix  a twist t i e ;  bag f i l l e d  the p l a s t e r  that  with  plas-  should t r y  206 . to  avoid  side  Sketches  d e s i r e d would  bag the f i r s t  lows,  bean  quickly, Further cout  sketches  the shape Note  the  utensils  such  scoops, away for  you.  begins with  should could  books.  plastic  i s caught  decide  carve  into Here  peelers  Although  c a n be  with  surface  s t i l l  this  Remove  be m o i s t .  cut around  thereby  and D o r i s  Livingstone's Arte  Columbia:  with  both  five  sides.  gard.) ents  #15  positive  There  a n d #16.  and n e g a t i v e  (Modelling has been  and p r i n c i p l e s  Note  how  and f u l l y  of design.  attention Mind  design  that  bag of and  or  the p l a s t i c .  carving  done  100 s t u d e n t s  have  of  in Brit-  worked  designed  helpful  paid  best  work  The U n i v e r s i t y  t u r n t a b l e s a r e most careful  work  the p l a s t i c  the students  shapes  and c u t  the p l a s t i c  removing  Jim MacDonald's  ish  melon  before  of a b s t r a c t  of Education,  ac-  . I f a crease  examples  Faculty  ones  newspaper  excellent  A r t Department,  spoon,  cut into,  a r e some  the  into  i n the k i t c h e n —  ' d e f e c t ' i n your  point,  hours.  described i n  to see which  the p l a s t e r  at that  scrape,  purposes.  will  to i n c o r p o r a t e  found  with  sets  bag.  a grapefruit  tools  or  plaster  taking  of  Pil-  clay  f o r twenty-four  plaster-filled  f o r cleanup  within  form.  m a t e r i a l , even  point,  the b a s i c  or supports  the general  can shave,  t h e work  the form  the h o l d  at this  tools  down t h e  regarding  and c a r v i n g p r o c e d u r e s  Some  as t h e p l a s t e r  later  soft  b e made  Experiment  i s helpful  care  making  as a s e r r a t e d k n i f e ,  Coating  thoughts  be p o s t p o n e d  tools  the p l a s t e r  substances.  of the s o l i d  and p o t a t o  plaster.  foam,  support  the u s e f u l  reference  o r some  i n determining  bags,  a r e good  carving  by p o u r i n g  be h e l p f u l ,  step  or sand  plasticine  by  a i r bubbles  of the bag.  shape the  getting  a l l  i n this re-  to a l l the elem-  students  do n o t  carve  too  fragile  break best not  an  easily. to  be  be  a  300,  400,  and  and  600 to  shapes  at  least  ity  of  the  the  elements  be  that  grit  be  when  sealed  with  serious  is  dried by  polymer to  that  carving  the  break  occurs,  the  can  LePage's  Note  also  plaster  with  wool. advisable  diluted warm  would  i t is  plaster  plaster.)  i t is  dry,  white  air.  The  that  these  glue  only,  simplic-  s u c c e s s f u l i n c o r p o r a t i o n of  design on  are  steel  or  the  focused  extension  sanding  and/or  enhances of  they  plaster,  exposure  an  removed,  achieved  the  principles colour  a  sandpaper  plaster  and  thin  completely  can  a week's  of  and  thoughtful—once  'finish'  white  element  long  also  repair  finish  order  organic  too  ( I f , however,  can  smooth  In  after  slow  Glue  that  or  Remember  replaced.  Bondfast  (The  edge  found in  within  Section  the  IV:  form.  Part  3  -  Substitution.) -  Display  and -  your  background  Apply  those  of  work  advantage  peers,  strategies relating  expressive  intent of  image  composition development completion  considering height,  lighting,  material.  critical  selection  to  to  the  sculptures  image  one's  own  and  to:* materials  use  tools  equipment  and  sequence of  of  of  technical  use  processes  competence  experience  T h i s i s a suggested a c t i v i t y found i n the Grades 8-12 A C u r r i c u l u m G u i d e / R e s o u r c e Book, M i n i s t r y of E d u c a t i o n , Provi n c e o f B r i t i s h C o l u m b i a , S e p t . 1981 D r a f t , p . 183.  208  209  *1.  Plaster  Beecroft,  (and  G.  other  Carving  dry  mixes)  -  techniques.  Bibliography  London:  B.T.  Batsford  Ltd.,  19 76. -  detailed information  about  traditional  tools  and  tech-  niques -  good  diagrams,  -  includes  salt,  plastics,  new  plaster  pictures soap, b a l s a materials,  based  products,  w o o d , c l a y , wax,  stone,  wood,  foamed  chalk,  building blocks,  plaster,  brick,  acrylic  paste -  an  e x c e l l e n t book  England Leyh,  E.  regarding  Children  Reinhold -  shows  -  author  or  author  d o n e by  their  aesthetic D.Z.  "The to -  patterns methods  by 3-17  work  Toronto:  the  the  Van  Nostrand  sculpture  do  not  have  activity  child  year  of  olds  in their  (not  own  to  itself  form  children should  carving.  Chicago: to  be  artistic,  matters  and  and  materials  labelled) be  encouraged  way,  free  of  to  adult  Materials, techniques,  Reilly  f o l l o w ; none  shown  approach  includes  in  terminology  i n making  rather  that  own  Creative  the  for students  standards.  app r e c i a t i o n . no  and  sculptures  gained  concerned  produce  -  the  good;  knowledge  -  useful  1972.  believes  sculptures  Meilach,  suppliers  children involved  -  more  make s c u l p t u r e .  Co.,  finished, the  although  of  c l a y , wax,  are  of  meant  others" soap,  and  to  the  Lee,  and  1969.  techniques  open y o u r  eyes  absolute and  mind  (Foreword). plastic  foam, a p p l e s ,  plaster,  .  210 . wood, Rich,  stone,  J.C.  The  Oxford  bone,  ivory,  materials  University  and  shell,  methods  Press,  horn,  of  and  plastic.  sculpture.  New  York:  1947.  " T h i s b o o k i s an a t t e m p t t o p r e s e n t a comprehensive pict u r e o f the anatomy of s c u l p t u r e , w i t h s p e c i f i c references to the m a t e r i a l s u s e d , the p r o p e r t i e s of t h e s e m a t e r i a l s , and t h e m e t h o d s e m p l o y e d i n t h e i r u s e , t o g e t h e r w i t h perti n e n t h i s t o r i c a l and o t h e r n o t e s , and a r e c o r d i n g o f the trends i n contemporary s c u l p t u r e . The w h o l e i s c o l o r e d by the p o i n t o f v i e w o f the most a d v a n c e d modern s c u l p t o r s : the i n d i s s o l u b l e r e l a t i o n s h i p of m a t e r i a l s to the subject and t r e a t m e n t " (p. v i i ) . Stone,  too  technical  A.  Sculpture.  Bell -  and  good  Examples:  Sons  Clay  dated  techniques.  but  a  mediocre  Archipenko  London:  Despiau  Auguste  Rodin  technical  Elisabeth  Armitage  Barbara Henry Joan  o i l base  Carving  is  G.  1976.  Charles  G.  and  Chadwick  - water,  Beecroft,  information  ideas  Ltd.,  Alexander  Lynn  the  New  introduction  Kenneth  2.  and  and  Frink  Hepworth  Moore Miro  self-hardening  techniques.  section  London:  -  Bibliography  B.T.  Batsford  Ltd.,  19 76 . Coleman,  R.L.  Dubuque: -  one  of  proach  Sculpture. Wm. the to  C.  A  Brown  best  Co.  books  studying  sculptor's  'Bible',  principles  of  basic  handbook  Publishing,  I've  includes  in  depth;  kinds,  students.  1968.  found—very  sculpture  sculpture  for  systematic borders  qualities,  on  apbeing  elements,  a  2.11. -  includes  exploration  of  clay,  wood,  stone,  plastics,  and  cement Meilach,  D.Z.  Creative  appreciation.  3.  Wax  -  carving.  Chicago:  Materials,  Reilly  and  techniques,  Lee,  and  1969.  Bibliography  Beecroft,  G.  Carving  techniques.  London:  B.T.  Batsford  Ltd.,  19 76 . Meilach,  D.Z.  Creative  appreciation.  Examples:  John  5.  Salt  -  wood  and  Lee,  and  1969.  Rosso  and  blocks  Consult  Beecroft,  Batsford  Ltd.,  6.  -  Soap  Reilly  techniques,  Degas  Medaro  Balsa  Chicago:  Materials,  Kearney  Edgar  4.  carving.  Beecroft,  G.  Carving  techniques.  London:  B.T.  19 76.  Bibliography G.  Carving  techniques.  London:  B.T.  Batsford  Ltd.,  1976 . Gaba,  L. 1969. -  a  Soap  sculpture.  York:  Franklin  Watts  Inc.,  (j) dreadful  concerning -  New  actual  cover the  but  the  techniques  photographed  book  is  of  soap  projects  not  full  of  common  sense  carving recommended  for  children  212. Meilach,  D.Z.  Creative  appreciation.  7.  carving.  Chicago:  Materials,  Reilly  and  Polystyrene/Polyurethane/Plastic  Arundell,  J.  Exploring  Lee,  foam  sculpture.  techniques,  -  and  1969.  Bibliography  London:  Mills  and  Boon,  1971. -  "My  aim  in writing  easy  e f f e c t i v e ways  able  to  everyone.  evaluations" -  includes  this  book  of  making  It  (p.  is  is  not  my  carving,  modelling,  discusses  plastic  aerated  Carving  that  concern  casting,  and  G.  some  to  of  are  the  avail-  make  aesthetic  7).  constructing,  Beecroft,  explain  sculpture  building, -  to  foam,  folding,  architectural  techniques.  concrete,  London:  expanding,  sculpture. and  B.T.  acrylic  Batsford  Ltd.,  1976 . Meilach,  D.Z.  Creative  appreciation.  Audio  Visual  Bronze  13  16  "Here and  Chicago:  13  sec.  mm:  the  106c viewer  execution  tion  of  Charles Arts  Materials,  Reilly  and  techniques,  Lee,  and  1969.  Resource:  min.  105;  carving.  a  of  colour, 0169  stage  when  torch  in  the  the  a work  of  bronze  which  the  35  mm:  art. work  sculptor  the  The  shows  by  now  stands  Ottawa.  The  real  model  shaped  exact  film,  105c  0169  105 with  Daudelin, in  N.F.B.  shares  monumental  Centre  a  is  form  the  film  Montreal outside  work  with  is  at  knife,  f i n i s h e d bronze  conception the  crea-  sculptor  the the saw is  National s t y r o f oam and to  blowtake.  The  213. film  8. -  i s without  Batsford  -  G.  Carving  Meilach,  D.Z.  techniques.  Creative  and a p p r e c i a t i o n .  carving.  Chicago:  t h e mood.  London:  B.T.  Materials,  Reilly  tech-  and L e e , 1969.  Earth Beardsley,  J.  Probing  pro j e c t s .  Washington,  D.C:  an  by Waldman,  D.  article  1971, pp.  Examples:  Michael  Wood  -  Beecroft,  the earth.  Smithsonian  Holes  without  Contemporary  Institute, history.  land  19 77 , a n d  A r t News,  44-68.  James  11.  to evoke  L t d . , 1976.  Consult  May  music  Apples  niques,  -  Beecroft,  Consult  10.  but with  Chalk  Consult  9.  words  Heizer's  Turrell's  Double Roden  Negative  Crater  Bibliography  G.  Carving  techniques.  London:  B.T. B a t s f o r d L t d . ,  handbook  f o r students.  19 76. Coleman,  R.L.  Dubuque: Meilach, and Meilach,  D.Z.  Sculpture. William  A basic  C. B r o w n  Contemporary  a r t with  appreciation.  New  D.Z.  carving.  Creative  appreciation.  Chicago:  Co. P u b l i s h e r s ,  York:  wood.  Crown  Creative  Publishing  Materials,  Reilly  1968. techniques I n c . , 1968.  techniques  and L e e , 1969.  and  214. Weiss,  H.  Clay,  wood  and  wire.  Reading:  Young  Scott  Books,  1956 .  Examples:  African  Barbara  Ernst  Anne  Barlach  Constantin Dudley Alan  Chung  Northwest Robert  -  Audio  Roy  Hung  Guite  Coast  New  Indian Tony  a r t , some and  Bill  Reid.  also  note  wood  sculptures  Symposium  held  at  Celebration  Lewis  Henry  Davidson,  Visual  Koochin  Mao r i  Gross  Suzanne  Kahane  Bill  Carter  Chaim  -  Brancusi  Hepworth  Klee  Guinea specific  Richard  that  Wyck  Moore  Hunt,  Mungo  resulted  i n West  sculptors  from  being  Martin,  the  Vancouver  in  and  Wood 1977.  Resources: of  Canadian  the  raven,  Filmmakers  a  film  about  Distribution  Bill  Reid,  distributed  Centre,  525  W.  35  colour  Pender  by  St.,  Vancouver. Woodman:  David  adult. John  Nash,  Thomas  Hooper's  way  N.F.B.  film  -  i s not  This  living his  Howe A s s o c .  with  a  things  material,  techniques,  s c u l p t o r AC-14  to  wood  film and from  17:43  about the  Ltd.  Rental  colour  technique  interaction  selecting  sculpting.  min.  sr.  sec./  Films. 106c  but  281,  a  a philosophy  between  seasoned  0177  the  woods  to  artist  about and  fabricating  215 . Makonde  on  Curzon  Makonde  Scupture.  'Ksan.  MEC  Arts  Street. MEC and  Tony  Hunt,  Kwakiutl.  12.  S tone  -  Beecroft,  G.  MEC  Art-Africa  Art-Africa Crafts MEC  003853  001048  001374  27 10  003852 8  14  min.  1973.  min.  min.  min.  1976.  Bibliography Carving  techniques.  London:  B.T.  Batsford  handbook  for  students.  Ltd.,  19 76. Coleman,  R.L.  Sculpture.  Dubuque: Dancyger,  I.  Craft Meilach,  Wm.  C.  Clay  D.Z.  Brown  models  Series,  A  basic Co.  and  Publishers,  stone  carving.  1968. London:  Pelham  1974.  Creative  carving.  Chicago:  Reilly  and  Lee,  1969 . Meilach,  D.Z.  methods,  Contemporary and  stone  appreciation.  sculpture. New  York:  Aesthetics, Crown  Publishers,  19 70 .  Example s:  Jean  Arp  East  Indian  Jacques  Assyrian  Charles  B ernini  E g y p t i an  Elsa  Max  Joan  Mi  Bill  Gutzon  Borglum  Edenshaw  Gambioli  David  Lipchitz  Marshall Mayhew  chelangelo  Gaudier-Brzeska  George  Brancusi  Gerhaert  Modigliani  Cambodian  Ghiberti  Henry  Canova  Greek  No  Clodion  Inuit  Prehistoric  Minne  Moore  guchi  216 .  Audio  Cycladic  Islamic  Donatello  Wilhelm  Easter  Roy L e w i s  Visual The  Lab.,  Island  following  filmstrips  of Education,  AV  4-7309  H588  AV  4-7371  E85  S3  Eskimo  AV  4-7371  E85  C3  Eskimo  AV  4 - 7 3 7 1 H35  of  Canada. of  Lehmbruck  Rammel  Roman Sumerian  Resources:  Faculty  L e * ;end  George  1961:30  raven.  The U n i v e r s i t y  from  the  Curriculum  of B r i t i s h  Columbia:  Michelangelo  A7 H a i d a  the  are a v a i l a b l e  sculpture.  Prehistoric,  historic,  modern  carvings argillite  carvings  A PEMC  film,  A-336  Eskimo  carvings,  i n t h e N a t i o n a l Mus e um  CFL  1958  15 m i n . c o l o u r  i n t / s e c. "Using is  acted  ability Spirit  authentic out.  The l e g e n d  f o speak  because  i n a landscape.  0 176  Inuit  a r t from  Images  stone  B.C.  8:23  parts  Northwest  lost his  A N.F.B.  film  106c  of Canada. Coast  Indian  stone  i n B . C . , t h e U.S. The s c u l p t u r e s  sculptures  as w e l l  from  as t h e y  by  tour-  are representative  as t h e s o u t h e r n  of  origin-  t i p of Vancouver  as f a r as t h e K a m l o o p s 1000 B.C.  lent  and F r a n c e ,  A r t b u t a r e n o t homogeneous  and i n l a n d  estimated  cultures  c o l 1 0 6 c 0 1 7 7 544 8 m i n . 23 s e c .  a n d museums  i n Alaska  Island are  beyond.  the Dorset/Thule  e x h i b i t i o n o f 136 s m a l l  collectors  ated  the raven  raven  30 1  about  ing  how  of the  of h i ss e l f i s h n e s s . "  The p e o p l e  -  "An  explains  the legend  area.  to the 19th century  Their  ages  A.D.  The  late  Wilson  the Haida  Duff  carver.  "On  consultant  for  the  exhibition  and  VT  1-3.3  Canada's  film  Pacific  artist  follows  stone  and  a N.F.B.  living  35  "The  the  film  to  12  min.  in  legend  he  col int/jh/sh  VT  1-3.1  027  16  mm:  0158  behind is  stone.  about  the  carving  Sculpture-process "Presents  of  of  follows  the  the  manner  of  his  30  min.  0158  the  027  related  image  centres  image  of  col int/  to  belief  The he  sees  around  a  sea  Eskimo's impris-  an  old  spirit  to  camp."  Norm  explaining  finds  sculpture.  film  the  discovery.  sculptor  creativity, but  hungry  often  release The  the  1958 106c  Eskimo  to  he  The  craft."  inspiration,  work  a  the  Haida  argillite.  where  i t in  film  rough  to  carves  a young  from  island  N.F.B.  the  food  the  finds  totems  him  the  the  film  taught  105c  shows  to  how  supernatural,  approach  bring  shows  A  this  miniature  artist  who  mm:  film  oned  the  stone.  jh/sh  Coast  shaping  then  grandfather  form  1964,  079  Indian  in  the  film."  0164  The  was  VT  Hines how  shape  he  1-3.4  1975  11  min.  col  jh/sh  discussing  his  approach  works  no  preconceived  which  is  with  indicated  by  the  to  rock  itself." Joe  a  highly  Jacobs:  Sananguagat: colour "An  recommended  Stone Inuit 35  mm:  carver.  MEC  001027  masterworks. 105c  e x h i b i t i o n of  collections  film  0174  Eskimo  brought  525  A  N.F.B. 16  mm:  carvings  together  10  by  film 106c  from  the  min.  1976. 24  0174  public  Canadian  min.  51  sec.  525 and  private  Eskimo  Arts  218. Council. ion  This  i n stone,  co-dwellers close-ups the  1 3. -  Batsford  Arctic  Settlement filmed"  Beecroft, Ltd.,  Toronto:  a r e views  and t h e  animal  A l t e r n a t i n g between of the d a i l y  o f t h e N.W.T. w h e r e  the  life  i n  outdoor  (p. 180).  G.  Carving  1976; and L e y h ,  Van N o s t r a n d  Reinhold  Inuit  techniques. E.  Children  London: make  B.T.  sculpture.  Co., 1972.  (whalebone)  Benin  Prehistoric  Chinese  Tommaso  Audio  Visual  Ivory  carving  through  available  from  16 .  Shell  17.  Horn  Consult 1969.  Macri  Resource: •  University  Lee,  domain.  life  express-  Ivo ry  Examples:  -  of their  the  Bone  Example:  15 .  and bone  of the exhibits  were  a r t of the Inuit,  Building blocks/Bricks  Consult  14.  ivory,  of their  Iglootik  scenes  i s the true  o  t h e ages  AV  the Curriculum  of B r i t i s h  4-7007 A78  C7, a  Library, Faculty  films trip of  Education,  Columbia.  and  Meilach,  D.Z.  Creative  carving.  Chicago:  Reilly  and  219. 1 8. -  Plastics  Consult  students. Meilach,  19. -  s tudents.  -  Bransford design.  -  D.Z.  Sculpture.  Wm.  Creative  Coleman,  C.  Brown  carving.  Co.  A basic  handbook  Publishers,  Chicago:  for  1968.  Reilly  and  Lee,  fondu R.L.  Dubuque:  Sculpture.  Wm.  C.  Brown  Co.  A basic  handbook  Publishers,  for  1968.  Acrylic  Consult  21.  R.L.  Dubuque:  Cement/Ciment  Consult  20.  Coleman,  Arundell, Co.,  Consult  Bransford  1971;  Toronto:  Aerated  D.  Exploring  Bunch,  Van  C.  Nostrand  sculpture.  Acrylic Reinhold  London:  for sculpture Co.,  C.T. and  19 72 .  Concrete  Arundell, Co.,  19 7 1 .  J.  Exploring  sculpture.  London:  C.T.  1969.  220 . Section  Substitution shape  by  this  An  1.  flexible  2.  piece the  example  as  i s the  Mills,  an  O'Connor,  Chilton  Ltd.,  McAra The  Book  to  Casting  types  of  given  a mould. also  refers  The to  moulds:  sand  II f o r d e f i n i t i o n  of  terms.  to p l a s t e r , i s  of media  f o r the s u b s t i t u -  of j e w e l l e r y .  book  of  and  4.  Clay  to papier  mache  5.  Clay  to  Ltd.,  and  or  New  and  An  York:  introduction  Boon  Ltd.,  for sculpture.  ciment  f o r metal  to  1974.  London:  fondu  craftsmen.  1976.  creation  fibreglass  cement  Bibliography  for centrifugal casting  formulas  1972.  Plaster  -  1967.  design  3.  Mills  casting  Printing  Co.,  to metal  for sculpture.  London:  resource  Procedures  R.  into  a  1979.  casting  technique  Batsford  Neuman,  four  material)  Sons,  casting.  The  Calgary:  material  examples  techniques  wax  excellent  H.  reproducing  technique--clay  combustible  Lost  J.W.  B.T.  mould  Scribner's  investment -  are  i n Section  Other  Casting  K.  of  are:  (or other  Edwards,  fluid  3.  a model.  Charles  technique  reproduction.  There  the waste  G.  the  4.waste  technique Wax  3 - Substitution  temporarily  glossary  of  Beecroft,  von  to  imitative device.  developed  2.  a  material  consult  tion  Part  refers  pouring  solidified  IV:  of jewelry.  Philadelphia:  22 1. 6.  Sand  7.  Aeryli c  -  or  Consult  clay  to  Bunch,  C.  Van  Nostrand  8.  Slip  -  sculpture  and  design.  Toronto:  Toronto:  The  Pergamon  1972.  Bibliography  Taking  Library, C,  Van -  Co.,  for  casting  R.  Chaney,  Acrylic  Reinhold  Subs t i t ut i o n Bell,  wax  casts  S k e e , S.  Nostrand  Coleman,  sand.  English  1970.  &  there  in  is  R.L.  a  P l a s t e r mold  Reinhold good  Co.,  chapter  S culp ture.  and  model  making.  Toronto:  1973. on  piece  Dubuque:  moulds  Wm.  C.  Brown  Co.  Publisher,  1968. Dawson,  R.  and Dawson,  S t a r t i n g with  casting. R.,  Lane -  &  J.  Kowal,  D.,  and  design  presenting  wire,  the  papier  materials.  "This  book  is  cast  needed  a  basic  simple  of  modelling  Publishers,  materials.  element each  of  new  Sculpture plastics  Inc.,  1968.  Menlo  Park:  skills  at  design  which  medium"  (p.  the  same will  5);  e.g.,  clay. casting. and  Mold  concrete.  techniques New  York:  1972. to  sculpture.  for working  craft  p l a s t e r and  D.Z.  designed  and  of  Metals,  Publishers  how  with  skills  mache,  & Meilach,  for  elements  Watson-Guptill  qualities  Crown  iasm  The  1966.  "(teaches)  exploit  York:  Sculpture  Books,  time  New  sculpture.  help It  with  corroborate  illustrates a  variety  of  current  the  enthus-  t e c h n i c a l know-  materials.  It  222 . offers  historical  and  contemporary  for  the  serious  book  f o r anyone  art"  (p. 8).  Marks,  M.K.  Sand  Sternbergs,  J.  ideas.  t o show  the h e r i t a g e  In a d d i t i o n  s t u d e n t and interested  sculpting.  Images  Kentucky,  examples  New  i n sand.  to o f f e r i n g  professional i n the  casting  technology  i t i s an  important  various  processes of  The  Press,  York; The  of  Dial  University  Press  the  1962.  of  1977.  Examples: -  many b r o n z e  can  be  found  casts, i n the  both city  naturalistic of Vancouver  documentation (consult  Slide  and  Notes  Section I I I ) . -  some o f  these  examples  were  created  by:  Jack  Harman  Charles  Elek  Imredy  David  Marshall  Frank  Perry  Roy  Lewis  Henry -  local  Moore  other fine  examples  Antoine-Louis Umberto  of  the  Barye  Boccioni  Giovanni  da  Bologna  casting  Francis  Loring  William  McElcheran  Aristide Marino  Cesar  Henri  Sir  Duchamp-Villon  Jacob  Sorel  Epstein  Etrog  Lorenzo  Ghiberti  Manzu  technique:  Constantin Brancusi  Raymond  Marega  Giacomo  Maillol  Marini Matisse  Nigerian Eduardo  ( I f e , Benin) Paolozzi  Pe r u v i an Pollaiuolo  Bros.  ab s t r a c t ,  223. Alberto  -  Giacometti  Frederic  Gaston  Renoi r  Lachaise  Wilhelm  Lehmbruck  Rodin  Jacques  Lipchitz  George  Leisinger, Europe.  r e s o u r c e book  H.  Romanesque  London:  3 - Substitution  So  f a r we  now  going  sculpture  Slide  o f a l l we  the world  1.  portals  i s by  i n medieval  - bas r e l i e f  -  heads  lesson  sculpture  on t h e f r o n t a l  i n the round.  bas r e l i e f  o f t h e human  head.  This  will  take  look  using  a brief  concept  We  of  alabaster  (an e p i c  at bas r e l i e f  from  slides: plaque  taken  S h a r r u k i n of the 8th century  Gilgamesh  seen  examples  Presentation  around  known  Church  to plaster  examining  t h e image  Segal  L t d . , 1956.  a model  been  to focus  using  First  Dur  have  House  - Clay  Remington  for additional  bronzes.  Phoenix  -  are  Prent  J a p ane s e  an e x c e l l e n t  Part  Mark  legend).  i n Egypt  a n d common  frontally,  the feet  from  B.C., i s a r e l i e f  The a r t i s t  also  the A s s y r i a n  uses  i n Assyrian  i n profile  (Bazin,  palace of  o f The H e r o  the convention,  reliefs,  o f t h e body  1976, f i g . 99,  p. 1 2 1 ) . 2.  This  next  example  i s a stone  Mexico.  I t i s a mixture  of f i g u r a t i v e  (Fraser,  1962, f i g . 149, p. 2 5 1 ) .  stele  from  well  Monte  and d e c o r a t i v e  Alban, shapes  224. 3.  This  architectural  House  is  found  stone  cliffs  ing';  i . e . , the  Agencies, 4. and  in Petra,  this  and  wonderful  of  (Salvini,  a  theme  It for  the  the that  moved  would  world.  fluid  be  human  As  plaster clay  helpful  One Mask  5&6, of  of  by  the  from  an  exteriors  Consider a  example  a  shape  of  of  a  the  Man,  scene  The  mons-  i t s body  Romanesque of  this  Naked  terrifying.  profiles  architectural Consult  look  the  were  used  matter  of  This  at  perspect-  capital  i f slides  in  be  these order  5-10  reliefs  Slide  the  slides  and  was  chosen  and  formed  by try  in  be  look  most  set,  two  has  cultures  think  and  a plaster  shown  at  i t  a negative  cavities, form  reliefs?  as  to  you  Section  these  slides,  could  Notes  create  time  to  have  to  image  these  first  f i l l  negative  of way  be  famous  Treasures  heads of  i n the  western  Tutankhamun  re-  positive.  at  a  time,  9&10.  most the  Trading  the  Devouring  are  throughout  could  7&8,  is  two  the  head.  could  'build-  326).  man  you  sand-  the  Zkaili  ages.  i t s head,  to  subject  features  the  example,  Gold  the  the  techniques  explored  facial  from  5. The  of  with  exterior  the  It  monsters  community?  and  change  examples  around  so  to  and  own  media  Beast  p.  red  of  decorated  Fabulous  appropriate  interior  have the  side  in  Treasure  Jordan).  images  the  i s seen  facade  (postcard -  1140-50.  where  f i g . 114,  entire  cave  Pharaoh's Carved  throughout a  ca.  either  i n your  Now  been  on  wholly  What  six  torment  1969,  What  III.  capit al  out  device  noticed  depicting  as  Jordan.  the  Amman,  buildings  portrayed  stretched  how  a  infernal  ive  a  Weird  a  here  is  1866,  relief  ter  forms  Box  medieval  of  relief  interior  of  known  southern  P.O.  interiors  detail  relief  world  (postcard  is -  225 . George and  Rainbird  Ltd.).  A  comparison  can  be  made w i t h  this  mask  the 6.  guese has  Royal  Head  emissaries,  the  mask  same  Slides  7  and  Slide 1370  lines  The  can being  of  #8  1976,  1960,  p.  Nigeria.  H.  and  stylized  century  This  Portu-  ivory  decorations  of  carving  the  Egyptian  Museum).  compared  and  contrasted:  plaster  f i g . 72,  p.  famous  16th  9%" .  Egyptian  created  Barlach's  (Johnson,  showing  be  the  being  ornaments  British  also  (Bazin,  Slide detail  -  8  #7  B.C.  Benin,  clean  (postcard  with  by  29).  What  Bella  Bella  112),  Ernst  War  these  Mask  of  Amenhotep  Head  (bronze)  and  Barlach.  Monument do  Death  in  Gustrow  two  is  a  Cathedral  'heads'  have  in  com-  mon? 9. burial might  This house.  prove  Provincial 10. the  you  H.  14%".  be  an  Another H.  have  to  do  mouth,  The plaster  last  to  cm  reliefs.  students  of  clay  slides These  deal  animal  imagery  but  study.  space with  plaster  Secondary  this  that  negative  Moscrop  in  1962,  the  Kwakiutl  has  imp. in  casts  School  technique  your  an  open  to  in is  done  by  Burnaby. the  same  that head. 291).  mouth  is  from  Nationaux What  have  plaster  technique  shaman's  p.  Paris).  order  are  cast  Musees  i n your  the  'collar'  f i g . 173,  E d i t i o n s des  negative  a  interesting  interdite—Genese  your  from  a d d i t i o n to  a Mask  at  sented  Mask  (Fraser,  (Postcard  i.e., a two  an  interesting  example  70  Moon  I t has  Victoria  Reproduction  'open'  used  a  Museum,  Congo.  1971.  to  is  would  such  an  cast?  for creating Marcia Her as  Pitch's  students the  one  pre-  226 .  11. 12.  Method -  A study  o f t h e human s k u l l  -  Suggestions:  create do  drawing  a self  this  'bed' of s o f t  built For  -  t h e i m p r e s s i o n i s t i c mode the l i n e s  placed  and t e x t u r e s  on a b o a r d  the opposite  Clay  negative  up f o u r  walls  walls  dam  the p l a s t e r than  small. ground pinched  session of  of  expression,  of the face.  i s dug o u t , i n d e n t e d  of the f i n a l  form  and  you d e s i r e .  Plaster positive  of at l e a s t  to the bed of the c l a y and p r o v i d e  3 cm w o u l d  A relief  clay  6 cm,  sealing  carefully.  an a p p r o p r i a t e  be t o o f r a g i l e  o f 8 cm f r o m  i s a suggested  Consider  wish  an e x t e n d e d  example:  the  -  clay  up t o c r e a t e  Build  less  after  the face,  emphasize A  be u s e f u l .  portrait,  activity  consider  -  would  maximum  the bottom of  These  thickness  unless  the head  the t i p of the nose depth.  walls  Avoid  very  will  of p l a s t e r ; was  very  to the backthin,  long  edges.  how  to s t y l i z e  naturalistic or s i m p l i f y  you wish  your  the f a c i a l  head  t o be.  features.  Y o u may  The f o l l o w i n g  227 Audio  Visual  Curriculum N6 The  Resources  Lab., F a c u l t y  N.F.B.  loon's  Masks  necklace  Indian  -  A  in  visit order  by  purpose:  filmstrip,  American  filming  Columbia  AV  4-7370  M38  Indian.  masks  color  carved  (recommended  in A  by  Salish  Curriculum  Book) .  N.F.B.  36:40  t o t h e Museum to study  f o r that  1 9 4 8 10 m i n u t e s  CFL  told  of B r i t i s h  t h e masks  useful  of the North  as  Guide/Resource  be  of Education  A-312  folklore  Indians  Behind  might  and  color  106c  of Anthropology,  sketch  t h e masks  0173152.  The  on  University  display  is  of  B.C.,  another  possibility. -  When  two  supervise enclosed -  A  to  No  the  time  one  should  hook  hook  Plaster  taken  the c l a y up  be  ^Sb.  ^  c  and f  m  r  o  m  thin  are apparent.  slurry be  this  pouring  the  first  begins  the top of the head;  For  instructions  of p l a s t e r  given;  the p l a s t e r  in  order  'coat'  i s the  coat.  Pour  to s e t , i n s e r t u s e more  than  large.  minutes  from  negatives,  detail.  is especially  clay  clay  2 - Subtraction.  after as  their  f o l l o w i n g the  should  s e t i n twenty the  a  fine  wasted  i f the head does  any  completed  again  Part  pouring  thickness  to separate  undercuts  on  pick  have  mixing,  III:  cover  will  desired  a wire  -  i n Section  completely that  students  the p l a s t e r  demonstration  one -  or three  but  great  the p l a s t e r ,  example:  care  should  particularly  be i f any  228. Inverting  the  board/clay/plaster before  separation begins  is  ad-  vised. -  Clean  the  plaster  surface  with  soapy  water  and  a  brush  i f  necessary. -  Dry  thoroughly:  the  plaster  will  become  lighter  in  colour  more  than  and  weight . -  Seal  coat  with  might  (Decide  shellac, be  how  Derelicts viewers  white  necessary  realistic  and  Mark  partially  glue  (Marcia's  you  wish  Prent's due  or  to  clear  students  the  colour  figures  the  polymer;  fact  evoke that  used to  thinned  be.  one  shellac).  Edward  Kienholz's  a  strong  reaction  the  colour  used  is  from 'super-  real'). -  Stain  with  diluted  patinas  such  as  allowing -  Wipe  -  Display  to  be  -  Have  liefs  the  liquid  raised the  used  'n'  stain  surfaces work  Buff  to  students those  of  or  to  to  into  achieve  and  stains,  Sculpmetal;  flow  advantage;  ( i t s texture  the and  Rub  o i l p a i n t s , wood  the  consider and  the  the  peers,  relating  to*  selection  of  -  composition  -  development  -  completion  image  of  image  background  to  their  own  -  materials  use  -  tools  equipment  -  sequence  -  technical  -  material  lighting.  strategies  -  lines.  highlights..  colour)  intent  liberally  incised  critical  expressive  commercial  apply  apply  -  or  and  of  re-  use  processes  competence  experience  G r a d e s 8-12 A C u r r i c u l u m G u i d e / R e s o u r c e Book. Ministry o f E d u c a t i o n , P r o v i n c e o f B.C., V i c t o r i a , B.C., Sept. 1981 D r a f t , p. 183.  -11  ''..•'•V.»f-  'i,y''*''iin  2 30 . Section  Addition ing  to  f a b r i c a t i o n s with  Media *1.  refers  and Soft  types  of  Paper  and  3.  Wire  4.  Papier  5.  Metal  6.  Wooden  7.  Plastic  8.  Dolls  9.  Puppets  and  Part  the  two  (also  cardboard other  4  -  technique  or  addition  Sculpture  2.  IV:  more  Addition  of  media,  assembling often  and  discards.  sculpture  refer  to  #8,  #9,  #10)  bandages  and  'finishing  objects  materials  mache/Plaster  touches'  objects objects objects  10.  Toys  11.  Kinetic  12.  Boxed  assemblage  13.  Masks  and  14.  Dioramas  15.  Conceptual  16.  Mixed  Refers  Sculpture  Body  Sculpture  art  media  to  the  construct-  model  lesson  developed  in  Part  4.  Addit ion  -  Arundell, 197  Bibliography J.  Exploring  aim  in writing  effective  ways  everyone.  It  tions "  7) .  (p.  includes  limited  Brommer,  of  book  making  i s not  my  for  Wire  modelling,  young  and  and  Worcester:  -  changing  carried  out  -  a  -  emphasis  -  excellent  Coleman,  R.L.  one  Society 78  for  book  the  &  creative  -  and  Boon,  C.  basic Co.  in  A.  aesthetic  evalua-  folding,  expanding,  three  in  sculpture  dimensional Inc.,  sculpture  1968.  that  can  be  problems  secondary handbook  found;  Assemblage. action.  the  and  young  designed  to  to  art for  students.  1968.  a  systematic  A  new  approach  t  depth  using  are  make  Publishers,  I've  projects  ects  easy  experimentation  for  1972.  children  the  available  Publishers  best  Ltd.,  for  other  typical  books  in  of  are  architectural  techniques  A  sculpture  teaching  some  that  casting,  sets  Brown  Buchman,  to  Davis  real  but  best  explain  classroom  additive;  Wm.  of  V.,  the  Sculpture.  studying D'Amico,  in  springboard  Dubuque: -  Mills  children  sculpture  to  to  concern  cons t r u e t i o n . addressed  is  sculpture  constructing,  use  G.F.  this  carving,  building, -  London:  1.  "My  -  sculpture.  arts  Greenwich:  of  people  integrate  collage from  New  and  4-14  idea,  dimension York  in Graphic  construction  years.  aesthetic  "The  proj  concept,  232 . tools,  and  materials  abilities Laxton,  M.  Using  Reinhold LeFevre,  sculpture.  to  the  design  the  -  Children  interests  levels"  materials.  Don  (p.  and  33).  Toronto:  Mills:  ished,  Van  Nostrand  Saunders  of  Toronto  cerned  that  work  in  are  of  each  outlined  instructions  for  sculpture  S c u l p t ure  sculpture.  involved  rather  gained  unlabelled  Junk  sculptures  good  knowledge  of  specific  but  in  I  don't  this  Toronto:  recommend  book  Van  Nostrand  19 72.  the  or  complicated;  they  children  believes  own  as make  Co.,  shows  -  age  construction  history  projects  Reinhold  more  and  excellent  E.  respective  creative  1973.  the  Leyh,  the  19 74.  Junk  simple  -  the  construction  Co.,  G.  Ltd., -  of  with  by  in  making  do  not  the  the  have  activity  child  done  children  should  be  way,  free  own  by  of  sculptures  their  sculpture; to  artistic,  itself  form  3-17  be  matters  and  year  olds;  adult  fin-  and  the  materials  encouraged of  author  to  author  con-  produce  aesthetic  their stand-  ards Meilach,  D.Z.,  &  Reinhold Meilach,  Hoor,  Book  D.Z.  Payne, -  includes G.C.  Corp.,  Creating  technology. -  E.T.  New an  Fun  includes cussion  art  Collage  from  York:  assemblage  anything.  Galahad and  sculpture.  balsa  wood, w i r e  found  found  art.  New  York:  1964.  with  of  and  objects,  Books,  glue  materials  and  1968.  chart  London: and  Ideas,  Kaye  plaster,  assemblages,  and  Ward,  1971.  constructions, threads,  paper,  dis-  233. mobiles,  foamed p l a s t i c s  and p o l y e s t e r  resins;  excellent  illustrations Rasmusen,  H.,  & Grant,  Reinhold Reed,  visual  egg an  from  junk.  New  York:  1967.  technical  information  from  found  objects.  Worcester:  I n c . , 1974.  including  idea  Corp.,  Sculpture  resource  cartons,  Sculpture  and  B.  Publishers  ers,  -  history  & Towne,  Davis -  Publishing  a brief C.,  A.  on  the use o f f o u n d  sand,  wire  and  thread,  yarn,  objects fabrics,  and  contain-  paper  cups,  metal  book; photographs  more  valuable  than  written  ma t t e r Robertson,  S.  Reinhold Weiss,  H.  Using Co.,  Collage  natural  Toronto:  Van  Nostrand  19 74. and  Publishing  Co.  -  useful  includes  materials.  construction.  Reading:  Addison-Wesley  I n c . , 1970. mechanical  tricks  f o r paper  and  other  constructions  Audio  Visual  Thingumaj i g s ,  Resources a N.F.B.  This  is a film  ride  them,  Designing -  a  with film  film  about  drive  Book,  row  them  materials  recommended  Resource  c o l 106c  creations,  them,  everyday  6:01  1981  and  their  and  look  VA-38a  i n Grades  Sept.  0376  8-12  Draft.  HRW A  274  int/jh  inventors at  who  them.  1971  12 m i n .  Curriculum  colour  Guide/  234. Part  4  -  Addition  The  last  addition,  technique  is  the  ing  from  the  has  been  created  lating for  or  fabricating,  Addition and  time  way  since  Dada  1910 a  and  is  the  creating  developed  of  the  Contrary  medium  or  more  than  sculpture  to  this  processes. 'junk'  the one  uses  medium.  the  nailing  wedging  binding  screwing  fastening  soldering  welding  hooking  sewing  and  by  man,  found  dumps,  attics,  vacant  lots,  unused  objects  discards, that  'nature'., o b j e c t s . thrift  stores,  construction  sites,  garage  companies,  auctions  and  have  Such  basements,  objects their  media  and  medium the revo-  methods:  used  purpose  can.be  wreckers, sales,  friends  manipu-  This  following  tying  r e c y c l i n g of  sculpture  constructing,  taping  the  Dat-  sculptors  gluing  means  study,  s u b s t i t u t i n g one  assembling,  of  four  in  Surrealists,  only.  single  combining  of  discarded  salvage  the  addition  often  altered,  of  the  sculpture  contemporary  subtracting  another,  lutionary  most  of  found  school  rummage  'shops',  sales,  r e l a t i o n s ' places  wo r k . This  technique  the  -  freedom  -  manipulative  -  comparative  rapidity  -  inexpensive  and  available -  in  from  has  our  objects  advantages  structural intimacy,  of:  limitations,  .  of  execution,  readily available  materials  materialistic/throw-away  society,  themselves  which  suggest  form  and  in  commonly  content,  of  235 . -  being  temporarily  assembled  before  final  arrangement i s  de t e r m i n e d , -  using  students -  t o work  magic.  1.  Soft  than  to demonstrate  fascination of  was  be  ents by  Figure  - a model  as t h e m o d e l  of sculpture  researcher.  to c h i l d ' s  of the addi t i o n  because  There  play  lesson  i t holds  a  a r e s o many  feathers  wire  vinyl  fiber  mesh  polystyrene  with  other  tech-  critical, special  possibilit-  hard  polyurethane  and s o f t  materials.  binding  quilting  braiding  stitching  stuffing  knitting  embroidery  crocheting  weaving  twisting  sewing  f o r the design  sculpture  ical  c a n be s i m i l a r  leather  and p r i n c i p l e s  of t e x t i l e  of design,  sculptors  of a fo rmalis t,  use s o f t  document  paper,  rubber  contempoary  can  f r i g h t e n i n g f o rthe  using:  combination  used  objects  be l e s s  the i n t e g r a t i o n of the h i s t o r i c a l ,  domains  for this  may  a blank  chosen  plastics in  that  - The Human  sculpture  productive  ies  with  Sculp ture  Soft  and  objects  t r a n s f e r r i n g which  and  nique  found  sculpture  events,  statements.  arts  that  but these  as w e l l .  celebrate  techniques  Sculptors  a n d t o make  t o be s e l f  religious,  The p o s s i b i l i t y  the elem-  c a n be  can not only  f u n c t i o n a l and o r n a m e n t a l  a s a means  Not o n l y c a n :  create  nature,  expressive,  the 'feminine  they  to  p h i l o s o p h i c a l , and  of using  used  polit-  arts'  236 . for  these  rationales  students  to  consider  It  up  the  opens  of and  throughout  the  of  Slide  what  c o n t r i b u t o r s to  1.  Cesar,  Larsen,  Jeans,  1980,  p.  Man  Ray,  1980,  p.  3.  what  Sydney,  Nov.  19 7 7 , 6_(8),  Fence,  1976,  Sonoma  and  als  wrap  to  important  they  the  of is  should  lack  the  one  for  be  exposed.  o f 'women  visual  the  artists  arts  as  well  as  craft?  and  attention 4.  17.)  of  who  felt.  soft  x  30  Toronto.  31),  soft  cotton  sculpture  are:  (Constantine/  Ducasse,  1920  (in progress),  Christos 18'  is x  The also  24%  (Constantine/  19 7 1,  Vancouver famous  miles  California,  i s more a r t has Claes  x  widely  also  as  Little  Art  Gallery,  for his  long, well  Oldenburg Two  30".  Running  installed  as  other  for his  with  has  heavy  done  examples  of  much  his  polyurethane,  Collection Eric  known  worked  1966 , v i n y l ,  Photo:  in  propos-  of  Mr.  Pollitzer  and  environslabs to  work  of  bring follow:  liquitex, Mrs.  (Johnson,  wood,  Roger 1971,  f i g .  and  Shoestring  kapok,  Coast  sculpture.  Sof t B a t h t u b ,  Davidson,  of  package b u i l d i n g s .  grey  80  Isidore  (Vanguard,  Counties,  Morris,  to  compressed  canvas,  conceptual  rubber,  5.  Enigma  Australia.  and  history  13).  Marin  industrial  p.  19 75  brief  12).  nylon  Robert mental  the  C h r i s t o s , Wrapped  Bay,  vas,  history  is art?  an  which  concerning  the  The  2.  19,  to  is  Presentation  Larsen,  and  one  question  recognized debate  sculpture  glue,  Potatoes  liquitex,  Spilling 108  x  46  from x  42".  a  Bag,  1965-66  Walker  Art  can-  Centre,  237. Minneapolis. P.  Eric  Pollitzer  (Johnson,  1971, f i g . 40,  55) . 6.  use  B e d , by R o b e r t  of soft  'combine -  Photo:  mixed  media.  Rauschenberg,  The term  applied  i s another  example  of the  to this  type  of a r t  i s  Coll.:  Mr. a n d M r s . L e o  painting'. media  Castelli,  1 9 5 5 , 7 5 % x 3 1 % x 6%"  New  York  (Forge,  1969, f i g .  180).  "A c o m p o s i t i o n t h a t i n c l u d e s s u c h p e d e s t r i a n h o u s e h o l d f u r n i s h i n g s as a p i l l o w , s h e e t , a n d p a t c h w o r k quilt bespattered with paint. This i s a highly charged e m o t i o n a l o b j e c t i n w h i c h t h e e l e m e n t s no l o n g e r h a v e a usefulness but are preserved. Rauschenberg's loving i r r e v e r a n c e f o r f a b r i c , f a b r i c o b j e c t s , and f a b r i c p a i n t i n g c a l l e d a t t e n t i o n t o f a b r i c as a medium a n d the p o t e n t i a l w i t h i n i t " ( C o n s t a n t i n e / L a r s e n , 1980, p. 1 7 ) . The nized  fabric 7.  lage;  next  four  a r e done  by i n t e r n a t i o n a l l y  recog-  artists:  Yayoi  cotton,  examples  Kusama  from  Japan  created  Couch  c. 35" x 83" x 35"  Coll.:  of variously  and s i z e d  and Canvas  Dartmouth  assemb-  College,  New  Hampshire . Hundreds are  first  whole  i s then  function 8. Structure  stuffed,  then  sprayed  not (Ibid.,  Magdalena Images,  shaped  stitched  white.  to a couch  The f o r m  packages frame.  i s familiar,  The the  p. 1 2 7 ) .  Abakanowicz part  cloth  from  of her Cycle  Poland  created  Human  "Alterations"  1974-75  (Ibid.,  p. 3 3 ) . 9. Germany, from  goat  Ritzi  and P e t e r  created hair,  "Throughout  Jacobi  Transylvania horse  hair,  from  Romania,  who  now  live i n  I , 19 72 , a t a p e s t r y / d r a w i n g made  and p a p e r ,  t h e 70's t h e J a c o b i s  18' x 2 0 ' x 5'. have  combined  woven  work  238. with  drawing  palette the  23"  x  paper.  Another  1974-75 31"  The  combination  image—especially  drawing-like  10. Heads,  and  on  fringes"  example  ( I b i d . , p.  sisal,  by  u n i f i e d by  fiber-like  ( I b i d . , p.  created  wrapping,  the  is  drawing  the and  61).  Magdalena  stitching,  Abakanowicz  jute  sacking,  is  47"  x  130).  "The h e a d s shown h e r e a r e f r o m A b a k a n o w i c z ' s l o n g s e r i e s e n t i t l e d A l t e r a t i o n s 1974-75. A l l i n v o l v e d wrapped s i s a l ; most were c o v e r e d w i t h p i e c e s of j u t e or l i n e n sacking. D i r e c t , p r i m i t i v e s t i t c h i n g i s common t o m o s t , w h i l e w r a p p i n g s i m i l a r t o mummy b u n d l e s h a p p e n s l e s s frequently. F o r h e r e n v i r o n m e n t a l e x h i b i t i o n s , she u s u a l l y composes groups of t h e s e heads to p o r t r a y the mute f r u s t r a t i o n s o f m o d e r n man" ( I b i d . , pp. 32-33). Another is  that  part  there  of  are  soft  media,  Some  examples:  a  that  Evelyn  Roth  Joanna  Staniszkis  third Marcia  rationale  number  artists  -  the  of  local  sometimes  creates -  for  body  choosing  women  artists  receive  sculptures  weaves  fibres  soft that  little  for  that  sculpture work  with  recognition.  performances.  incorporate  the  dimension.  Pitch  -  uses  soft  and  hard  media  in  her  interior  e n v i r onmen t s . Liz  Magor's ated  Joey  Concise  soft  Morgan  History  her  one  garments  and  fibers,  stuffed  of  the  On  Vancouver, Lorraine  Compost  Figures  incorpor-  woman  show  U.B.C.  Breathings Fine  Arts  incorporated Gallery,  1979.  Helfand's the  and  media.  -  March Fern  A  Konst  stitched wall  Surface  June -  and  show  1981.  creates  dolls.  at  hangings  Presentation  were  House,  part North  239 . Katherine  Dickerson's  weaving  around  Works, Camerose  the steps  i s a three  dimensional  of the Department  of  Public  Victoria.  Ducote  moulded her  The F o r e s t  - uses  around  soft  animals  zoos  cloth,  rhoplex,  chicken-wire full  exhibited  paint,  armatures  of l i f e - s i z e  fibrefill  to  construct  and l a r g e r - t h a n - l i f e  at the Burnaby  Art Gallery,  March  1983 . Other  Canadian Aiko  Joyce  the  most  common  time  image  Image.  ory.  Figures  Inc.,  As  Catalog you look  projectors  images)  tions  think  you would  of world that  on E l e m e n t s of a four  subject Egypt,  that  part  Greece,  series  abstraction"  (1978,  Educational  history  Part,I.  "surveys the  India,  0060  the Far  from  Audio  hist-  extreme  Visual  Library  of  78-730251).  at the f o l l o w i n g at once, about like  this  of styles  0060/7RF  with  the  throughout  Africa,  range  No.  combin-  work  of Sculpture  of sculpture  7KF  they  discusses  a full  10570  with  sculpture:  present  P l e a s a n t v i l l e , N.Y.  Congress  slide  Europe,  and t h e Americas to total  first  primary  from  and d e s i r a b l e  resource  series  This  figure—the  realism  Whiten.  are experimenting  i n the h i s t o r y  An e x c e l l e n t  human  of  as s t u d e n t s  the f i l m s t r i p - t a p e  East  include:  Whittome  Colette  i t i s feasible  figure.  Human  media  Irene  t h e same media  The  soft  Wieland  soft  is  using  Piroche  ing  human  artists  Suzuki  Setsuko  At  women  slides  facilitating  expressionistic  your  figure  ( i f possible  a comparison sculpture  to depict.  How  u s e two  and  contrast  and what  emo-  d i d the f o l l o w i n g  artists  depict  sculptures 11.  were  Piscobolos after ca.  Why?  Roman  copy  12.  original  H. 5 8 V  Duane  media  (Spencer,  f i g . 371, p.  Umberto  Try to imagine  Woman w i t h by  450 B . C . b y M y r o n  1975,  Unique  14.  Elie  Space  1913 b r o n z e  Moden  1976,  f i g . 989, p.  depicted  series about  (Bazin,  sections  Hanson,  Basket mixed  1974 ( H a n s o n , f i g .  A i r c . 1915 b y  Nadelman,  Museum o f  A r t , New Y o r k ,  bronze  432).  of this  i n various  t r yand imagine  Laundry  Man i n O p e n  of Continuity i n  ure  these  42 , p . 95) .  Forms  the other  why  489).  Boccioni's  In  15.  figure?  created:  a bronze  marble  13.  t h e human  media what  study  y o u have  seen  and t e c h n i q u e s .  these  sculptures  the female  fig-  In the following could  be  saying  women:  August woman  Renoir  The W a s h e r -  16.  1917 T h e Museum o f  Modern  A r t , New  Gaston Woman  York.  Lachaise S tanding 1932 b r o n z e .  Museum  o f Modern  The  A r t , New  York. 17.  Marisol wood,  Women  a n d Dog  plaster,  miscellaneous 1964  (Bazin,  1023, 19.  p.  Edward  p a i n t and materials  1976,  K i e n h o l z Jane  mixed  lage  i n Calif.,  p. 1 9 ) .  media  f i g .  Doe  (Assemb1968,  School  of Jacob  -  o f B u r g u n d y as  Anne  Humili ty,  448).  1959  7,  18.  fig.  20.  de G e r i n e s  bronze  Flemish  1445  o r 1476 ( B a z i n , 1 9 7 6 ,  fig.  678, p.  What  does  us  about  fashion  315).  t h e media women,  tell  i.e.,  industry,  the  T.V. com-  me r c i a l s - - f o r e x a m p l e  an  241. -  the  figure  humorous, and  pathetic,  tragic,  materials ing What 21.  of  What  are  ent  Lauren  15,  clay  in  Eaton's  corny the  the  mak-  expressed  by  the  stud-  Gubbau,  (Hoover,  i n these 22.  aged  another  the work  Barlach, 1920  1967,  unter  Mann  im  cm,  sculptors  are  Stock,  1918  Ernst  E i c h e , H.  730  K u n s t h a l l e , Hamburg 1959,  trying  to  f i g . 34).  say  about  the  elderly? by  Ernst  fruher.  schellack  Nachlaf, 1959,  these  Ekstatische  oder  Der  (Stubbe,  think  and  examples?  Barlach  11). you  mannequin,  'person'.  are  Kaddish  disabled 23.  this  The  do  as  used  emotions  fig.  i s absurd,  Frau  377  George the  Gips  H.  Gustrow  24.  Segal's  Window  chrome, cm  board  (Stubbe,  Mr.  f i g . 42).  1965  wood,  96  and  x  Woman  at  plaster,  glass  36  Mrs.  Beverly  Old  x  and  48"  Coll.  Melvin  Hirsh,  Hills,  Calif.  ( S e i t z , 19 72 , f i g . 50) . Lastly,  consider  the  media  used  in  the  depiction  of  these  human  figures: 25.  Setsuko  Piroche  phosis, Vanguard 1977, R.  V(5),  Keziere.  threads Before is  you  and begin  p.  Metamor-  26.  June/July 21.  Photo:  d e p i c t e d i n Vancouver.  Sword  Swallowe r  from  Circus  p.  feathers. own  Calder's  collection  Made w i t h  your  Alexander  88),  fabric work Some  think  about  examples  his  (Lipman,  made w i t h and  how  are:  mixed the  1972,  wire, media.  human  figure  242. Are a  1 -  Girl  i n Wetsuit  Are a  2 -  King  George  Area  3 -  The  Area  4 -  Angel  Are a 5 -  what  media  VI  Skater of V i c t o r y  Continuity was  used;  how  d i d that  media  influence  the  'style'?  What  -  what  techniques  -  what  symbolism  -  what  was  -  what  emotions  kind  and t r a d i t i o n s were do y o u  the r a t i o n a l e  of figure  used?  notice? f o r the  are represented do y o u w i s h  to  sculpture?  by  these  sculptures?  create?  - miniature/lifesize -  female/male  -  old/young  -  self  portrait,  -  folk  or sport  -  a doll,  piece What  of  friend,  member  of the  family  hero  puppet,  toy, wall  hanging,  mobile,  a  kinetic  sculpture  emotion/feeling  do y o u w i s h  to  depict?  -  joy/sorrow  -  concern/envy  -  fright/courage  -  excitement/apathy  -  greed/compassion  -  sadness/happiness  -  anger/pleasure  -  humility/bravado  -  isolation/camaraderie  -  love/hate  Sketches  of your  complemented figure  ideas  with  depicts  the  for facial  a knowledge  expressions  o f body  feeling/emotion.  language  will  need  so t h a t  t o be the e n t i r e  Collect ible les  media  and  can  sort  be  the  found  necessary  in  the  discards.  introduction  A  to  list  this  of  poss-  model  son. Use  skills  the  of  references  addition  Particular upon  Create  objects. rated  The  in  Enough  the  to  Decide an  Blow  to  introduction use  should on  If  Your  of  Brains Nose  be  paid to  were  N.F.B.  s t a g i n g your  display or  impact  28:30  singly  outdoor,  and  Dynamite  ascertain  what  figure.  to  interior  mood,  to  f o r your  whether  environment,  importance film  the  wish  attention  completion.  groups.  you  and  or  in  using  lighting  You  figure  is  Wouldn't  found  illust-  Have  minutes.  " C r e a t i o n o f M o n t r e a l s c u l p t o r Mark P r e n t - - a s c u l p t u r e of a n a k e d male q u a d r u p l e amputee s i t t i n g i n a w h e e l chair. The f i l m s h o w s t h e s t e p - b y - s t e p c o n s t r u c t i o n o f t h e u n u s u a l w o r k , f r o m t h e p l a s t e r c a s t i n g on t h e a r t i s t h i m s e l f to the i n s e r t i o n of r e a l i s t i c eyes (glass). R e a c t i o n s o f amazement and s o m e t i m e s s h o c k on t h e p a r t o f t h e v i e w e r s o f t h e e x h i b i t i o n a t a T o r o n t o a r t g a l l e r y i n d i c a t e t h a t P r e n t ' s work i s o f t e n condemned but a l s o r e s p e c t e d " ( c a t a l o g u e ) . Be  sure  to  students  preview  or  film;  i t would  not  be  suitable  for  some  situations.  Another Woven  this  film  that  has  to  Roth,  do  CFD  with  in  Time,  Evelyn  Have  the  students  apply  critical  creations  and  those  their  peers,  media  000072  1977  and 10  technique minutes  i s :  Sculpture  MEC.  -  expressive  -  selection  Grades Education,  8-12  of  intent of  A  Province  image  Curriculum of  B.C.,  strategies  relating  -  materials  -  tools  1981  their  own  to:*  and  Guide/Resource  Sept.  to  Draft,  use equipment  Book, p.  use  Ministry 183.  of  composition development completion  of  image  -  sequence  of  -  technical  -  experience  processes  competence  z*t6 IV  *\  '-0  as  :3  3*  I  iVm-  II  10  IV'-** W:  ft  fc'^AAV EKTACHROME  GAGEL PHOTO SERVICE LTD.  9t :fr-*Af  247. 1.  Soft  Bakke,  Sculpture  K.  The  Cliffs,  M.,  Toronto: L.  machine  as  a  creative tool.  P r e n t i c e - H a l l Inc.,  & Larsen, Van  J.L.  Nostrand  Baskets  basketry  Bibliography  sewing  N.J.:  Constantine,  Coutts,  -  and  The  Reinhold  beyond.  techniques.  New  New  1976.  art  fabric:  Co.,  Mainstream.  1980.  uses  York:  Englewood  for  traditional  Watson-Guptill  Publishers,  19 77 . The  Evelyn  Roth  Hemlock Hall,  C.V.  recycling  Printers, Soft  book.  Vancouver:  Talon  Books,  1975.  Sculpture.  Don  Mills:  Fitzhenry  &  Whiteside,  1981. Meilach,  D.Z.  Crown Meilach,  Publishers  D.Z.  York: Waller,  Soft Crown  I.  Co., -  Macrame.  Creative  Inc.,  1971.  sculpture  and  Publishers  Textile  design  other  Inc.,  sculptures.  in knotting.  soft  art  New  forms.  York:  New  1974.  New  York:  Taplinger  Publishing  1977.  recommended B ook,  in  Grades  M i n i s t r y of  8-12  A  Education,  Curriculum Province  Guide/Resource  of  B.C.,  Sept.  1981  Draft.  Examples: Local, within  the  Canadian, soft  and  sculpture  international model  lesson.  s c u l p t o r s are Further  Al-Hilali,  Neda  Morris,  de  Olga  Peruvian  dolls  Samaras,  Lucas  Amaral,  Buic,  Jagoda  Robert  listed  examples:  (used  heavy  felt)  248. Di  Mare,  Hicks,  Dominic  Sekimachi,  Sheila  Jacobi,  Ritzi  and  Peter  Tawney,  Lenore  Winsor,  Jackie  Zeisler, 2.  Paper  boxes,  and  Cardboard  rolls,  Example:  tubes  Kurt  Visual  Paper  construction  Wire  from  and  the of  other  sheet  metal,  found  objects.  AV  7008 A  Curriculum British  cartons,  enamelled  Lab,  such  metal,  4.  mache/Plaster  78  1972  3:4,  Faculty  a  of  filmstrip Education,  wire  Whitlock  as  liquid  screen  and  Sherry  bandages  and  metal,  plastic  mesh,  glass  Grauer  'finishing  touches'  Bibliography  (Consult  Examples:  Section  IV:  George Mark  Part  Segal  Prent  availThe  Columbia.  materials  An  -  containers,  cups.  4  Examples:  Papier  including  Resource:  University  3.  and  Claire  Schwitters  Audio  able  Objects  Kay  1 -  Manipulation  Edward Duane  #4  and  Kienholz Hanson  #8.)  resins, and  Audio  Visual  Papier  5.  Resource:  Mache  AV  4  the C u r r i c u l u m  sity  of B r i t i s h  Metal  objects Section  Examples:  Mark  7.  nails,  glue,  -  of Education,  The  Univer  brazed,  soldered  1 - Manipulation  -  Bibliography  #7.)  Caro  joined  D.Z.  Publishers  Louise  with  rivets,  pegging  lock  joints,  and b o l t i n g .  Contemporary  a r t with  wood.  New  York  I n c . , 1968.  Nevelson  including  screws,  Marisol  containers,  cloth,  sheets,  bottles  Bibliography  (Consult  8.  Part  dowels,  Meilach,  Plastics  available  Smith  objects  Examples:  Lab, Faculty  a filmstrip  d i Suvero  Wooden  . Crown  3:2,  Columbia.  IV:  David  Consult  1972,  - welded,  Anthony  -  A78  from  (Consult  6.  7008  Section  Dolls  Glubok, Laury,  -  IV:  Part  1 - Manipulation  #9.)  Bibliography  S.  Dolls.  J.R.  Doll  Nostrand  Chicago: making.  Reinhold  Co.,  A  Follett creative 1970.  Publishing  Co.,  1975.  approach.  Toronto:  Van  250 . 9.  Puppe t s  Audio  Visual  Resources:  Puppets  AV  Puppetry  -  miniatures  for  two  filmstrips  available  -  4  7008  Faculty  10.  Toys  11.  Kinetic -  of  1972,  3:3  theatre  Education,  Sculpture  D.B.,  &  technology Van  (also  Nostrand  P.  Stevens,  and  Examples:  Art  Robert Pol  AV  4  from  7400  the  University  refer  to  P865  1978  Curriculum of  #7,  Harry  Dim.  art  phenomena Co.,  kinetic  Museum,  Super  British  #8,  and  1:2:3 Lab,  Columbia.  #9)  sculpture. in  Using  sculpture.  science,  Toronto:  1974. sculpture.  University  of  Len  Bury  Hans  Kinetic  in  T.K.  Breer  Alexander  Visual  natural  Reinhold  Directions  University  Audio  78  Bibliography  Chichura,  Selz,  A  Berkeley: California,  George  Haacke  1966.  Lye  Charles Calder  The  Mattox Rickey  Takis  Kramer  Jean  Tinguely  Resource: #6 14  Corp.,  15  min.  colour  Stamford,  Conn.  and  s ound  f i1ms  trip,  Educational  251. 12.  Boxed  Capon,  R.  Assemblages Making  Batsford Feldman, N.  Abrams  grottoes,  pp.  Duchamp  a n d Body  Michael  B.T.  experience. Niches,  New  of B r i t i s h  Conceptual A r t  16  Mixed  Naum  Associate Columbia,  Cogswell Gabo  Michael  Hayden  Picasso Richard  Harry  boxes, and  Al  McWilliams  Louise  Nevelson  Professor,  Faculty  i s an e x c e l l e n t  Prince  Raus chenbe r g  Simon  Rodia  Michael  Snow  Colette  Whiten  Alan  Wood  Alex  Wyse  Badanna  Zack  of  resource  Media Barry  York:  Sculpture  Foster,  15.  Examples:  of v i s u a l  Bauermeister  Marcel  Dioramas  London:  493-501.  Cornell  14.  pictures.  I n c . P u b l i s h e r s , 1971.  Joseph  Masks  University  dimensional  Varieties  Mary  13.  -  three  L t d . , 1976.  E.B.  Examples:  - Bibliography  Education, person.  252. References  Part  1 -  G.  list  The  Books, Fernandez,  Inc., J.  J.  Co. Look  for slides  history  Instituto Lipman,  i n the  of world  model  sculpture.  lesson:  Clay  Secaucus:  Animals  Chartwell  1968.  Mexico's  prehispanic  Nacional  de  (Ed.).  sculpture.  Antropologia  Calder's  circus.  Mexico:  e Historia,  New  York:  1976.  E.P.  Dutton  &  I n c . , 19 72.  again,  The  prises  Educational  Miki,  IV  Manipulation  Reference  Bazin,  for Section  F.  Arts  1968  of  C h i l d c r a f t Annual.  Japan  Corp., 8:  Toronto:  Field  Enter-  1968.  Haniwa.  New  York:  Weatherhill,  19 74. Rottger, ing  E.  Corp.,  Weisberg,  G.P.,  & Janson,  from  Museum  of  H.  2 -  design.  New  York:  Reinhold  Publish-  H.W.  history  Traditions of  and  sculpture.  revisions.  Kent:  The  Cleveland  1975.  wood  and  wire.  Reading,  Mass.:  Young  Scott  1956 ( j ) .  Subtraction  Reference abstract  Armand  the  Art,  Clay,  Books,  clay  1962.  Themes  Weiss,  Part  Creative  Filion  list  for slides  i n the  model  lesson:  Plaster,  sculpture  sculpteur.  Quebec  Sculptors' Association  Exemplaire  253 . no. Bazin,  162,  G.  1970.  The  history  Chartwell Pioneers  o f modern  Britain, Read,  Books  H.  A  H.  Part  G.  The  D.  Part  Arts  Council  of  Great  sculpture.  New  York:  1964.  A  Hudson,  list  study  of h i s l i f e  and  work.  London:  1965.  i n bas  history Books  The  A  New  York  Graphic  4 -  Addition  Reference  list  sculpture  and  '60's . 1968.  in  Art  sculpture.  London:  methods Co.  and  Inc.,  of western Society,  for slides t h e human  California. Gallery,  Clay  to  Secaucus:  1968.  art.  McKay  lesson:  relief  Inc.,  history  i n the model  of world  basic  David  R.  Assemblage  for slides  Primitive  L.  York: Salvini,  o f modern  Praeger,  heads  Chartwell  Johnson,  London:  Substitution  plaster  Fraser,  history  Moore.  and  Reference  Bazin,  A.  Henry  3 -  Secaucus:  1968.  sculpture.  concise  Thames  Inc.,  sculpture.  1973.  Frederick Read,  of world  Thames materials  and  Hudson,  1962.  - sculpture.  New  1960. sculpture.  Greenwich,  N.Y.:  1969.  i n the model  lesson:  Soft  figure  Works  from  Regents  of  the  late  '50's  the U n i v e r s i t y  and of  early  California,  254 Bazin,  G.  The  Chartwell Constantine,  A.  Books  M.,  Toronto: Forge,  history  Van  L.  Lipman,  J.  Co. Seitz,  (Ed.).  W.C.  art fabric:  York:  des  Co.,  1980.  Harry  N.  Mainstream.  Abrams  Amerikanischen  Stuttgart,  sculptors.  Division  of  Davis  Oldenburg.  Penguin  Inc.,  New  Young  Claes  England:  The  Reinhold  Retrospektive  (Ed.).  E.H.  J.L.  exhibition,  Publication, Johnson,  Secaucus:  Inc.  1969.  Erste  Travelling  sculpture.  1968.  Nostrand  Raus chenb e r g .  D.  Hoover,  Inc.,  & Larsen,  Publishers, Hanson,  of world  Books,  Calder's  Aacken,  Bildhauers.  Berlin,  Worcester: Publishers  Harmondsworth,  Art Inc.,  1974.  Resource 1976.  Middlesex,  1971.  circus.  New  York:  E.P.  Dutton  and  Abrams  Inc.  Publishers,  19 72.  Segal.  New  York:  Harry  N.  19 72. Spencer,  H.  Charles Stubbe,  W.  1959 .  The  image  Scribner's Ernst  maker. Sons,  Barlach  Man  and  his art.  New  York:  Piper  and  1975.  plastik.  Munich:  R.  Co.,  255 .  SECTION  This It  study  states  why  component  in  how  the  attempts  school should and  for  Four  be  sculpture. with  a  to  the  material  the  No ific the  and  the  must  group.  has  students.  enclosed  slides.  centrate  on  the  elements  manner  study  rationales and  that  this  a  common  key  to  should  the  the  be  four  terms An  resources  breadth  productive resource  teacher  so  of to  resource  should  in-  conducted. of  teachers  sculpture  based  domains—has  k i t should  alike,  to  answer  techniques  of  as  glossary  project--to provide  and  and  approach  sculpture.  local  the  given  would  using  the  by  which  More  of  the  be  demonstrate  the  teacher's this  hope-  prove  help-  limitations  such  were  mini  the  k i t for  in  using  developed  lessons  modes  any  discretion  information  assistance  lessons  only,  principles  idea  in  to  i f mini  Examples  lesson  dialogue  why  this  been  the  possible  ing  how  and  be  mini  analyzing  to  is left  kit  this  can  essential  of  noted.  the  the  as  While  to  or  develop  classroom  It  one  students  diversity  be  gives  questions.  an  It presents  critical,  and  as  introduced.  of  available would  It  intention  art  quantity  program.  The of  important  considered  regarding  direction  age  be  developed  realized.  ful  should  some  s c u l p t u r e ? - - i s the  given  historical, been  CONCLUSION  are  survey  the  fully  are  is  studied  models  be  AND  answer  d i s c u s s i n g and  Reasons  itially  to  art  their  question—what  kit.  on  a  teachers  reference  SUMMARY  sculpture  sculpture  that  V:  of  would  is the  design  only.  An  to  provide  slides  and  support  the  as  be  to  made resource  using  expression  of  spec-  the  to  only,  extension  with  weighty  con-  of  accompanysignificance  of  different  ent  light  in  the f i e l d t r i p  point  series  of mini  reclining,  sitting  the  and groups  couple  work,  people  posing  classical, cubist,  Futurist, sculpture  play  i n various  events and  could  i n various  such  as  the peace  on  or fragments  be  Surreal,  be e x p l o r e d  that  this  the s o l i t a r y only  of the  These  mini  'styles'  figure  cultures  Teachers  the c i v i l  and l i f e .  sculpture  environ-  k i t i s a good a critical question  This  questions.  the world  r i g h t s movement,  initiation  area  of the  and s t u d e n t s  of the past  influence  be e n -  i n which  or  r e l a t i o n s h i p between  around  ex-  i n depth.  i s the whole  cultures  at  constructivist,  architectural  i n general,  pertinent  of  into  figure*,  could  e.g., lessons  resource  the r e a l  movement  themes a r e  developed  and s i m i l a r i t i e s  a r t students,  minimal,  asking  play  focus  the d i f f e r e n t  a r t and h i s t o r y .  ture  could  i n crowds.  on  of sculpture  by  on o t h e r  in  lessons  a key component)  explored  based  introduced  lessons  e x p r e s s i o n i s t i c , conceptual,  f o r themselves  sculpture be  could  model  sculp-  people  t o be e x p l o r e d  between  Themes w e r e  figure  possible  people  lessons  I believe  needs  decide  that  Another  differ-  of f i g u r e s , e.g., the f a m i l y ,  secondary  the study  still ship  Mini  kinetic,  While into  t h e human  cross-cultural differences  benefit  mental  lessons  and  and commercial  and i n t h e f o u r  or standing,  at play,  lightening. would  on r e s i d e n t i a l  mini  lessons  distance,  sculpture.  f o r the study.  more  For example,  i . e . , angles,  viewing  activities  I V b u t many  possible. a  when  i s to concentrate  as a s t a r t i n g  Section  of view,  conditions  extension ture  points  that relation-  need  to  a r t (with  r e l a t i o n s h i p can What  role  and what today?  t h e womens'  the s c u l p t o r ?  did sculp-  role How  How  best  do  does i t social  movement  does t h e  25 7. sculptor  influence  social  an  image  maker  strives  in  which  he  couver, in  in  Is  lives?  ication?  it?  Does  These  is  in  contempoary of  to  in  sculpture can  sculpture  questions  What  cultures, relevant  be  a  form  paramount  is  in  to  be  a  held  agent by  sculpture  Canada?  to  of  values in  sculpture  need  are  social-change  maintain  Eastern  How  a  happening  Columbia,  cultures,  independent  tion?  What  British  Western  ies?  who  events--as  the  today  in  Van-  happening  society  form  visual  visual  importance  to  i t  societ-  today's of  as  society  'primitive'  of  or  or commun-  communica-  in  art  educa-  of  sculp-  tion. In  conclusion,  ture—what our  culture  that  this  duction who  do  sion  not  this  the  some  that art  study  that  British  an  our  past  the  study  be  an  to  research  this  the  resource  k i t has  and  a  summer  yet  I hope  Perhaps  sculpture  to  to  of  i t will  the  been at in  and  i t .  will,  will not  be  into  to  the  to  my  value  own  and  fully  be  an  in  of  future,  equitable  art  in  teachers  an  the  expres-  University  such  of  intro-  teachers  used  more  to  posit  visual  and  the a  I  kit,  Even  have  part  in  about  elementary  usefulness  proposed  vital  schools.  tested  of  o f f e r workshops  curriculum.  sculpture  area  session  be  someone  I have  i n t e g r a l and  Columbia's  the  present  asset  sculpture  demonstrate  that  and  wealth  will  ideas  day  the  to  i t has  will  that  resource  While  kit.  some  about  state  all-in-one  classrooms.  of  to  unavailable,  a winter  programs  but  us  time  Columbia,  developed  idea all  have  resource  orate and  approach  during  future  able  ourselves—validates  themselves.  secondary  am  tell  previously  British  the  and  and  teaching of  i t can  I  incorp-  researched  important  is  part  the of  i s o l a t e d area curriculum  in  of  APPENDIX  APPENDIX  The  charts  rehensively  d i s p l a y the  alphabetically cultures umnized  list  renowned under  possible  range  design,  modes  also  emphasis  an  sculptors, studying and  in  iting Arts of  1981  and  L i b r a r y ; the  in at  Grades slide  historical  'landmarks'  Canadian  in  Janson's Sculpture  respectively  by  my  II). in  these the  information  retrieval  of  col-  topical Selection  to  the  and  facilitate and  rationales.  importance  the  before  the  special  of  There  dictum  on  widest  principles  lower  to  and  represented.  elements  order  comp-  charts  specifically,  charts  Vancouver  8-12  is  mainland of  'international  column  bolster  indicating r e c o g n i t i o n of  catalogue  of  History  was  garnered  Art  G a l l e r y and  British  Curriculum  Education,  of  Walker  of  the  Faculty  three  1970-1980,  Doreen  A  These  to  artists.  U n i v e r s i t y of  Arts  H.W.  order  contempoary'  included  Performing  ian  support  Section  files  the  are  and,  information  Draft;  in  techniques,  Canadian  recognized  Education's  history  on  (see  artists  easy  'styles',  'local  inadequately  of  for  attempt  nationalities,  sculpture, against  regulated  to  an  sculpture.  expression,  order  the  of  are  s c u l p t o r s , and  designed  media,  sculptors is  The  their  been  of  historic'  female  for  of  appendix  diversity  A l l periods  s c u l p t o r s has  this  noteworthy  headings  information. of  comprising  Columbia;  Department of  the  (1969);  art  and  and  Canadian  and  Avis  Lang  Fine  Ministry Sept.  Visual  and  U.B.C;  the  from  lectures  Women  exhib-  Book,  of  Education,  the  the  Guide/Resource  dimensional  Art  from  art  histor-  entitled  Sculptors  Rosenberg  at  given  the  Fine  Arts of  Department  codes  which  throughout Further charts the  are  my  omissions and is  (not  to  have  not  hoped give  immediately  follows  these  that  factors  been  these  ample  as  of  has  sculptor  been  a  the  world)  teach  to  and  appendix  my  of  notes.  these  association  sculptures  complete list  for beginning and  and  list  appear  compilation  difficult  n e c e s s a r i l y made  charts  they  A  with  Columbia.  sculptors  allow  assistance  enhtusiastically  a  i n the  British  of  mention  functional list  will and  would  Columbia.  as  list  proportions  Space  Canadian  this  British  sources  experience Society  of  a l l these  considerable  Refining  task.  University  charts,  Sculptor's  manageable  the  reference  the  and  of  the  of  artists  i n order  Slide  teachers  lucid  and  time-consuming  'encyelopedic'-sized  students  sculpture.  and  to  of  and  therefore  to p r o v i d e this  a  clear  a r t form.  It  Notes  of  Section  III  wanting  to  knowledgeably  26 1.  APPENDIX  refers  to  8-12  Curriculum  of  A  the  KEY  Education,  Sept.  1981  sculptors  listed  in  Guide/Resource  Province  of  the  Grade;  Book,  British  Ministry  Columbia,  Draft.  refers  to  the  information  Doreen  Walker's  lecture  gained  from  attending  Canadian  Sculpture:  landmarks  in  1970-1980.  refers cited  to in  History  his of  Arts  from  Day.  New  pp.  H.W.  Janson's Synoptic  Art. the  A  Survey  Dawn  York:  Tables  of  found  of  the  History  Harry  N.  sculpture  in  the  Major  to  the  Abrams  Visual  Present  Inc.,  1969,  580-593.  refers  to  the  slides  Collection  of  Performing  Arts,  University  of  refers  to  Canada. tion, Codes  the  available  Department Faculty  British  sculptors Ottawa:  of  of  the  the  Slide  Visual  Education,  the  National  in  Artists  Gallery  in Associa-  1982. for  and  Columbia.  mentioned  The  in  Media  a  architecture  j  jewelry  an  animation  m  metal  b  batik  mm  mixed  media  262 . c  ceramics,  cm  coins,  pair  of  medals  mo  mosaic  mu  mural  co  costume  p  painting  d  drawing  per  performance  e  enamel  ph  photography  f  film  po  portrait  pr  printmaking  g  glass, glass  gr  graphic  h  holography  i  illumination, illustration  Codes  (a  pottery  for  staine d  s  sculpture  v  video  design  w  weaving, ings  wc  water  wall  colour  Provinces  A  NFL  PEI  BC  NS  Q  M  NWT  S  NB  0  Y  quotation  marks  refers  to  titles  of  sculptures)  hang-  SCULPTOR  Abakanowicz, Magdalena  DATES  1930-  Benin Ife Luba Gabon Cameroons Congo Nigerian  NATION-] ALITY Polish  Carl  Archambault, Louis  Archipenko, Alexander  fibre  ivory wood AFRICAN  clay metal  1150-1400  Andre,  MEDIA  1935-  1915-  18871964  AD -  TECHNIQUE  1  STYLE'  manipulation  "Heads" sacking  subtraction manipulation substitution  F i r s t Ife bronzes, including naturalistic p o r t r a i t heads cast by the l o s t wax p r o c e s s  American) wood metal styrof oam bricks  manipulation  Canadian]  manipulation  metal clay  b. in plaster! manipuRussia lation Ukrainsubs t i t ianution Americari  DESCRIPTION:  minimal  OF S C U L P T U R E a n d / o r SCULPTOR  'Keys'  1974-75 wrapping a i s a l , s t i t c h i n g Jute The A r t F a b r i c : Mainstream, pp. 130-1.  - African art greatly i n f l u e n c e d Modern A r t of the developed countries - a sampling only: " C h i e f ' s S t o o l " c a r v e d wood, L u b a , E n . Congo " S p i r i t Mask" carved wood, Gabon " A n c e s t o r S c r e e n " carved wooden r e l i e f , Nigeria " R o y a l Head w i t h O r n a m e n t s " i v o r y , B e n i n - i n the 1500's the Bini court artists produced s t y l i z e d bronze cast p o r t r a i t heads, r e l i e f p l a q u e s , and e x q u i s i t e i v o r y work " R e p r e s e n t a t i v e o f L i l w a s o c i e t y member" wood with rafia " H e a d o f a Woman" t e r r a c o t t a , N i g e r i a ; very s i m i l a r to the bronze heads of the Benin culture "Mask," Congo "Terra cotta Group," Nigeria "Masked Y o u t h D a n c i n g , " Wn. Congo "Beaded Mask," Cameroons " N a i l F e t i s h , " Lower Congo ' s c u l p t u r e as place' 'form=structure=space' "Joint" 1968 b a l e d h a y , 183 destroyed  units,  *s,mu/Q " O l s e a u de f e r " 1950 W a l l at the Canadian P a v i l i o n , national Exposition, 1958 cubist  including  274*  Brussels  long;  Inter-  - one o f the f i r s t cubist sculptors; also known as a R u s s i a n Constructlvist - i n t e r e s t e d i n t h e v o i d , a new s p a t i a l concept " B o x e r s " 1914 p l a s t e r a c o u n t e r - b a l a n c e o f forms around a void - the b r e a k i n g up o f s o l i d s i n a d y n a m i c way 20th cent,. ro o> to  DATES  OF S C U L P T U R E a n d / o r SCULPTOR  English  wood plaster metal  manipulation substitution  - n o t e d f o r h i s t h i n f i g u r e s and s a i l - l i k e forms that i n c o r p o r a t e a sense of movement "Seated Group L i s t e n i n g to M u s i c " 1952 bronze  clay  manipulation  D.W. "Typewriter"  abstract subtracorganic tion substitu- biomorohic tion  - painter, s c u l p t o r and i n 1916, co-founder of Dada "Torso" 1931 marble "Cyprlana" 1955 m a r b l e , H . 1 7 " N a t i o n a l Gallery, Ottawa Curr. Guide "Human C o n c r e t i o n " 1934 marble 20th cent.  Armitage,  1916-  Arneson , Robert  1930-  Arp, Hans (Jean)  18871966  French  Banwell, Michael  1943-  Canadian  Barlach, Ernst  18701938  German  17961875  DESCRIPTION:  MEDIA  Kanneth  Barye, An t o i n e - L o u i s  ?  NATIONALITY  American  French  stone bronze  plastics light wood steel  wood bronze  bronze  TECHNIQUE  'STYLE'  LOCAL  SCULPTOR  minimal conceptual environmental  expressubtracsionist tion substitution  substitu- romantic tion  X  1965  ceramic,  including  'keys'  10"xl2"  - a graduate of the Vancouver School of A r t , 1970 - i n s t r u c t o r at the Emily C a r r C o l l e g e of A r t - took p a r t i n the Commonwealth S c u l p t u r e Symposium 1978 "Houses for a Vacant L o t " 1980 3 h i l l s between 3520-3528 Commercial Dr. "Landscape for Ian W a l l a c e ' s S t u d i o " June/July 1979 - known f o r h i s s o l i t a r beggars, etc. that were to R u s s i a - h i s f i g u r e s embody a pessimism "Hovering Angel" 1927 work, Gustrow Memorial "Singing Boy" 1928 i n "Prodigal Son" (detail) ."Beggar" 1937  y  figures Inspired  great d e t a i l  of by  tragic  peasants, a v i s i t power  and  of  the  bronze  b o t h wood wood  and  bronze  19th cent. - v i o l e n t animal imagery * 7 3 4 J "The J a g u a r " 1850-5 1 bronze 16»s"x37»j" " T h e s u s S l a y i n g t h e M i n o t a u r " - 1846 bronze; careful attention to a n a t o m i c a l detail "Walking Tiger" b r o n z e H . 8»s" N a t i o n a l G a l l e r y , Ottawa £  Baskin , Leonard  DATES  1922-  NATIONALITY  Americar  MEDIA  bronze  1936-  English  Beer,  Ruth  1947-  Canadian  mixed media metal, rod & sheets  B e l l ,  Larry  1939-  American  glass  1947-  Canadian  steel  Be m i n i Gianlorenzo  15981680  Italian  'STYLE'  substitution  impressioni s t i c  8 tone  addition substitution  welding  subtraction  DESCRIPTION:  OP S C U L P T U R E a n d / o r SCULPTOR  " S e a t e d Man w i t h O w l " Egyptian sculpture) - s t y l i z e d rotund male  avant garde  Baxter, Iain & Ingrid  Bentham, Douglas  TECHNIQUE  [LOCAL  SCULPTOR  X  1959  Including  (compare  'keys'  to  figures  X  *mm,pr,mic/BC - p r e s i d e n t of the N . E . Thing Co. established in 1 9 6 6 ; i t r e g a r d s i t s e l f as an alternative device for exploiting cultural knowledge - V . S . I , provides Visual S e n s i t i v i t y Information for a l l art products "Pool Flower" 1967 i n f l a t a b l e plastic  X  - linear assemblages u t i l i z i n g reflected - shown a c r o s s Canada & abroad i n c l u d i n g Edinburgh International Festival *s/A  minimal  - the lete t views - the closed absorb  tradit i o n a l ist  D.W.  baroque  C u r r . Guide "The E c s t a s y of C o r n a r o C h a p e l , Rome 1 6 5 2 *609J " A p o l l o and Daphne" 1625  light the  sculptor's use of reduction i s so comph a t no i n t e r i o r spaces are divided; a l l are i d e n t i c a l s o l i d though transparent boxes are both a n d e m p t y ; t h e y do n o t refract or light  *77s - l i k e Gonzales, Picassso, Caro and D a v i d Smith Bentham c r e a t e s c o l l a g e s b u i l t up o f s t e e l ; a s t a c k i n g procesa at f i r s t along the ground and at o t h e r t i m e s v e r t i c a l as in creating figures - Bentham i s an o b j e c t m a k e r w h e r e b y he i n c r e a s e s our awareness of our environment. "Open S e r i e s " 1976-77 Emma L a k e W o r k s h o p s w i t h A n t h o n y C a r o , 1977 "Prairies" 1977  "St. L o n g i n u s " 1633 "Tomb f o r U r b a n V I I I , "  a  St.  Baroque  Theresa,"  K, masterpiececr. Ln  B i l l ,  Max  Blackbrldge, Persimmon  Bladen, Ronald  DATES  1908-  1951-  Swiss  Canadian  MEDIA  TECHNIQUE  •STYLE'  stone plastic metal  subtraction manipulation  abstract minimal plastic  clay  manipulation often co Loured with tem l e r a paint  Canadian (Vancouver)  steel  c. 1920-  Canadian  bronze  Boccioni, Umberto  18871916  Italian  Bologna, Giovanni  15241608  Italian  Blogg,  1918-  NATIONALITY  Irene  bronze  bronze clay s tone  manipulation  subtraction substitution  X  futur-  ist  OF S C U L P T U R E and/or SCULPTOR  including  X  *c,s/BC - i n v o l v e d i n the concerns of the community " C i r c u s , ' Women i n F o c u s G a l l e r y ,  - now l i v e s i n N . Y . "The X " 1967 "3 E l e m e n t s " 1965 p a i n t e d a l u m i n u m fig. 291, p. 198 "200 Y e a r s of A m e r i c a n Sculpture" *s/BC X  •  DESCRIPTION:  'keys'  20th cent. - a painter, writer, architect as w e l l as sculptor "Unit i n 3 Equal Volumes" 1965, black granite " E n d l e s s L o o p N o . 1" 1 9 4 7 - 4 9 g i l d e d c o p p e r on a c r y s t a l l i n e base 9x28x8"  minimal  substitution  substitution  ?  LOCAL  SCULPTOR  women's Vancouver  and  President of the S c u l p t o r ' s Society of in 1978. Participated i n the S . S . of Travelling Exhibition in 1971-72 "Gates of P e r c e p t i o n " i n bronze  wood  Canada Canada's  20th cent. Curr. Guide * J "Unique Forms o f C o n t i n u i t y i n Space" 1913 dynamic form aimed at e x p r e s s i n g the i d e a of the movement o f the body i n s p a c e by an lnterpenetra t i o n o f p l a n e s and the use o f forms i n t e n d e d to s u g g e s t the t u r b u l e n c e o f movement vibrating i n space 44"H. B o c c i o n i signed both the F u t u r i s t M a n i f e s t o o f 1910 and t h e M a n i f e s t o f o r F u t u r i s t Sculpture in 1912 *J "Rape of the Sablnes" 1579-83 bronze; the v i o l e n t movement foreshadows the Baroque style - B o l o g n a was t h e m o s t famous s c u l p t o r ln Florence after the death of M i c h e l a n g e l o ro ON ON  DATES  NATIONALITY  MEDIA  TECHNIQUE  'STYLE'  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E and/or SCULPTOR  including  Borglum, Gutzon  18671941  American  stone  subtraction  documentation  "Mt. Rushmore" 1927-43 S. D a k o t a the f i g u r e s ' c h i n to forehead  Bourdelle , Antoine  18611919  French  bronze  substitution  expressive  - a t u d i e d Greek and G o t h i c sculpture - was a p u p i l o f Rodin "The V i r g i n o f A l s a c e " 1920 " B e e t h o v e n " g r a n d masque t r a g i q u e 1901  Rumanian- s t o n e French wood metal  subtraction subatitutlon  Brancusl, Constant in  18671957  Bury,  1922-  Belgian  wood  1913-  English  metal  forged cas t  18981976  American  wire metal  manip u lation  Pol  Butler,  Reg  Calder , Alexander  or  H.  60'  'keys' from  H.  32"  abstract  a l o n g w i t h R o s s i and R o d i n , B r a n c u s l was a pioneer of Modern Sculpture - r e - w o r k e d I m a g e s s u c h as t h e h e a d , the bird, and the kiss "Sleeping Muse" 1906, 1909-10 "The K i s s " 1908 limestone "Adam and E v e " 1921 "Bird" 1912 m a r b l e on m a r b l e b a s e 2 4 " ; a simple highly polished shape "Torso of a Young Man" 1924 "Bird l n Space" 1919 "Portrait of George" 1911 m a r b l e 9 " H . "Mademoiselle Pogany" 1913 20th cent. Curr. Guide *J  kinetic  "18  construct' i v l s t later more figurative  "Woman W a l k i n g " 1951 bronze "Project f o r the Monument to the Unknown P o l i t i c a l Prisoner" 1951-52 bronze w i r e and metal maquette, welded onto stone 1 7 V H.  stabiles mobiles  - famous for his kinetic circus - his stabiles and m o b i l e s w h i c h he b e g a n i n g i n 1931 a r e e x a m p l e s o f a m a r r i a g e of e n g i n e e r i n g and s c u l p t u r e  Superimposed  Balls"  1965  creatto  Calder  DATES  NATIONALITY  MEDIA  TECHNIQUE  'STYLE'  LOCAL  SCULPTOR  843900AD  CAMBODIAN  stone  subtraction  17571822  Italian  stone  subtraction  Angkor Angkor  Neoclass-  Carter, Dudley  Anthony  Including  'keys'  1924-  English  metal  welded  1891-  Canadlan  cedar stump8  subtraction  of  Thorn Wat  19th cent. Curr. Guide * J "Tomb o f M a r i a C h r i s t i n a P a u l i n e Bonaparte Borghese" 1808 - 1790 d e s i g n e d the tomb f o r C l e m e n t XIII - Imitated the m a s t e r s to a c h i e v e greatness and 'modern' from the 'ancient c l a s s i c s ' - . m o d e l l e d c l a y and p l a a t e r and e x h i b i t e d these for replicas t o b e made i n m a r b l e o r bronze  i c a l  Caro,  OF S C U L P T U R E a n d / o r SCULPTOR  - Calder is also a painter and i l l u s t r a t o r children's books "The W h a l e " Museum o f Modern A r t , N . Y . Curr. Guide 20th cent.  (cont'd!  Canova, Antonla  DESCRIPTION:  20th cent. - d u r i n g the 1 9 5 0 ' s C a r o 's s c u l p t u r e dealt with the human f i g u r e in a very expressive manner - i n 1960 he b e g a n t o w o r k w i t h m o n u m e n t a l metal conatructions "Mid-Day" 1960 s t e e l ; brightly painted girders; f l a t smooth r e c t a n g u l a r p a r t s put loosely together "Homage t o D a v i d S m i t h " 1966 "Midnight Gap" 1980 Ace G a l l e r y , Vancouver "India" 3 tons rusted steel, 2 Irregularly curved rectangular sheets which lean against each o t h e r at a s l i g h t t i l t , Wn. Wash. Univ., Belllngham, Wash. X  "Garry" 1961 "Chief Spokan" 1974 participated i n the Vaughan Residence in 1970; "Ram" and " V o i c e o f the Waves" *S/BC  exhibition  £ OO  DATES  NATI0NALITY  MEDIA  C e l l i n i , Benvenuto  15001571  Italian  metal  Cesar (Baldaccinl)  J921-  French  metal p l e x i glass  TECHNIQUE  'STYLE'  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  16th cent. Curr. Guide *J " S a l t c e l l a r of Francis I" 1540-43 gold " P e r s e u s w i t h the Head o f Medusa" 1554 bronze, Florence - l i v e d l n the shadow o f M i c h e l a n g e l o  substitution  *J "The Thumb" 1963 bronze "Mobil Compression" 1960 "Compression Plastlque" 1971 plexiglass - works w i t h 20th century materials such crushed cars  Chadwick, Lynn  1914  English  metal plaster glass  manipulation  Chamberlain, John  1927-  American  auto bodies  manipulation  Chappe11, Georgianna  1928-  born in the U . S .  light  Chicago, Judy  1939-  American  mixed media clay fabric  p o l i t i c a l rationale  CHINESE  clay b ronze J ade ivory stone  manipulation subtraction s ubs t i t u -  as  20th c e n t . ; C u r r . Guide - trained as an architect - at first constructed m o b i l e s b u t now d o e s not exploit movement "Two W a t c h e r s " 1958 i r o n and p l a s t e r w i t h iron chips "The W a t c h e r s " 1960 b r o n z e 233.5 cm "Winged F i g u r e s " 1962 p a i n t e d I r o n 305x549 cm.  geometric abstracts  *J "Essex" 1960 painted metal X  X  X  painted  auto  parts  and  other  D.W. c r e a t e a both o b j e c t s ' and environments created i n t e r i o r environment f o r UBC F i n e Arts Gallery, Vancouver, Sept. 1980 e x h i b i t e d i n t h e Women i n F o c u s G a l l e r y s h o w w Womanslze, 1 9 8 1 ; h e l d One Woman S h o w o f polychromed c o n s t r u c t i o n s at the Surrey Arts Centre *mm/BC "The D i n n e r P a r t y " - a c e l e b r a t i o n of contribution to western c i v i l i z a t i o n  women's  "Seated Lion" stone T'ang Dynasty "Horse" pottery "Long tongued protective figure" painted l a t e Chou P e r i o d Sn. C h i n a  wood N>  ON VO  SCULPTOR  CHRISTIAN  NATIONALITY  DATES  4005 5 0 AD] 550750 1015 11701200 1178  MEDIA  wood stone bronze  TECHNIQUE  subtraction substitution  STYLE'  reliefs archit e c t u r e al  C h r i s tos , Javacheff  1935-  Bulgarlan American  Chung Alan  1946-  Canadlan  wood metal  manipulation welding  1935-  Canadian  clay  manipulation  Cicansky, Victor  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  - early Christian sculpture depicts themes the O l d Testament Longobard goldsmith's art flourishes  from  - Bishop Bernward establishes bronze casting workshops - miniature l i t u r g i c a l objects crafted in France - figures f o r the Royal P o r t a l o f Chartes Cathedral completed - Benedetto Antelaml designs r e l i e f for Parma Cathedral d e p i c t i n g the "Descent from the Cross" - " A n n u n c i a t i o n " and " V i s i t a t i o n " groups for Rhelms C a t h e d r a l completed "Flight into Egypt" 1190-95 bronze r e l i e f "The S i s t e r s Lamenting" 1150 s t o n e Chichester Cathedral "Humility" 1445 o r 1476 bronze " A s s u m p t i o n of the V i r g i n " 1505-1510 limewood  1245  Hung,  DESCRIPTION:  soft concep-I tual earthworks environmental mlnima l i s t l c l forms  "Wrapped C o a s t l i n e " A u s t r a l i a "Running Fence" 1976 n y l o n c a n v a s 18'x24>$ m i l e s through Sonoma and M a r i n C o u n t i e s , C a l i f o r n i a The A r t F a b r i c : Mainstream, p. 234.  - o n e man s h o w " I n f i n i t y v s . L i m i t , " C h a r l e s H . Scott G a l l e r y , Vancouver, Feb. 1982 - "Gateway" t r i b u t e to George Vancouver, Vanier Park - bright red " S p r i n g , " Robson Square Lawcourts - l a r g e wood & b o l t c o n s t r u c t i o n , Ambleside Pk., West Vancouver participated i n the Contemporary American Ceramic E x h i b i t i o n held l n Seattle, 1973 e x h i b i t e d i n the Museum of Modern A r t i n Paris, 1973 - w o r k s a v a i l a b l e on l o a n t h r o u g h the A r t Bank *c,s/S  Na  o  DATES  NATIONALITY  MEDIA  TECHNIQUE  Class, Gerhard  1924-  Canadian  metal  substitution manipulation  Clodlon, Claude Michel  17381814  French  stone bronze  subtraction manipulation  Cogswell, Barry  1939-  Canadian  wood glass light pressboard  addition  Cornell, Joseph  19031972  American  found obj e c t s  addition  Corsault, Share  1947-  Canadian  24002000 BC  CYCLADIC  Davidson, Robert  1947-  Canadian  Degas, Edgar  18341917  French  •STYLE'  ?  X  wood  X  wax  manipulation  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys*  numerous works i n and around V a n c o u v e r ; c o n s u l t slide Information sheets - i n s t r u c t o r at the Emily Carr C o l l e g e of A r t and Design  "Brittany Landscape," Vancouver Art Gallery 1981 "Ethiopian Landscape," Charles H. Scott Gallery, E.C.C.A. 1981 *s/BC  - created 'boxed "Habitat Group f o cabinet, cutouts behind shattered X  assemblages' r a Shooting Gallery' of p a r r o t s , cards and glass  X  1943 papers  *ph,pr,s/BC  "Lyre Player" "Female Figure p l a y i n g "Female Figure"  subtraction  subtraction  DESCRIPTION:  Curr. Guide " C u p i d and P s y c h e " 1790 m a r b l e "Candelabrum" g i l t bronze and gray marble - n o t e d f o r h i s sweet s t a t u e t t e s and clock ornaments  X  marble  LOCAL  SCULPTOR  *s,J,pr,m/BC - r e l i e f panels Vancouver  for  the  a  double  flute"  boardroom  of  the CBC,  19th cent. - D e g a s c r e a t e d 74 w a x p i e c e s w h i c h h e conside r e d t o be 'sketches' - many o f t h e s e p i e c e s h a v e b e e n c a s t i n b r o n z e since his death - as i n h i s d r a w i n g s and p a i n t i n g s , Degas w o r k e d w i t h two themes; b a l l e t d a n c e r s and horses; f i g u r e s l n motion " L i t t l e Dancer aged 14," 1880-81 p a i n t e d wax and t i s s u e ; c a s t i n b r o n z e and part of the Permanent C o l l e c t i o n at the Tate G a l l e r y , London; "Horse" to Curr, Guide ^  DATES  NATIONALITY  MEDIA  'STYLE'  ?  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  earthworks  "Mile Long Drawing" 1968 Mohave lines 3" w i d e and 12' a p a r t 200 American Sculpture, p. 186.  forged  linear  - famous f o r h i s c u r v e s i n space "Construction 047" 1957 steel  clay plaster  manipulation  classical  - worked for Rodin - had a calm r e s e r v e d temperament - h i s p o r t r a i t s have an i n n e r l i f e ; h i s nudes a rhythm "Assia" 1938 Museum o f M o d e r n A r t , N . Y . "Portrait o f de M o n s i e u r A r n a u d " a c q u i r e d by National G a l l e r y , Ottawa, in 1955  Italian  stone  subtraction  15th cent. Curr. Guide *J " D a v i d " 1430-35 blends n a t u r a l i s m and classicism "St. Mark" "St. George" - ls considered the g r e a t e s t F l o r e n t i n e sculptor b e f o r e M i c h e l a n g e l o and the most influential a r t i s t of the 15th cent.  Canadian  steel  welded  *p,d,pr ,s/M consult Section  III:  "Papa  1967  De M a r i a , Walter  1935-  American  De  1904-  American  metals -rods and sheets  Despiau, Charles  18741946  French  Donatello  13861466  Drope, McCleary  1931-  Dubuffet,  1901-  French  18871968  French  Riviera,  TECHNIQUE  LOCAL  SCULPTOR  Jose  '  Loustic"  Area  3  polyester  -  Desert chalk Years of  The  West  head  127  End cm.  Jean Duchamp,  Marce1  addition  Dada  "In Advance of a Broken Arm" 1915 R e a d y made - a snow shovel "The L a r g e G l a s s " 1915-23 o i l and glass 20th c e n t . : C u r r . Guide  -  the  first  leadfoll  on  ro ro  DATES  NATIONALITY  DuchampV i l l o n , Raymond  18761918  French  Ducote, Came r o s e  c. 1947-  Canadian  Easter Is l a n d  Edenshaw, Charles  18391924.  Canadian  40003000 B.C. 35003000 26802150 B.C. 21301600 15701085  EGYPTIAN  TECHNIQUE  ' STYLE  bronze  substitution  cubist  fibre  addition  stone wood barkcloth  subtraction manipulation  a r g i l l i t e  subtraction  MEDIA  1  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  - was f i r s t u n d e r t h e I n f l u e n c e o f R o d i n ; later sympathized with Cubist ideals *J "Great Horse" 1914 1912-14 a series of bronze horses were created whereby the a r t i s t transformed basic animal energy Into s o l i d form - t h i s s e r i e s became a l a n d m a r k i n C u b i s t sculpture X  X  X  "Soft Zoo" e x h i b i t e d *s/B.C.  at  famous f o r the l a r g e carved out of the v o l "Protective ancestor house" painted bark c  clan ancestor c a n i c atone figure placed loth 15V' H .  *s,i/BC "Bear Mother 1875-1900 simplistic  "Narmer subject  Delivered  f e r t i l i t y  Palette"  f i r s t  the  by  Fitch  Gallery,  Caesarean  1982  figures outside  Section"  figurines  sculpture  with  h i s t o r i c a l  "Great S p h i n x " and p y r a m i d s at Giza new n a t u r a l i a m l n s c u l p t u r e , e . g . "Seated Scribe' " P r i n c e Rahotes and h i s w i f e N o f e r t " p a i n t e d l i m e s t o n e 2650 B . C . - r e l i e f s use p e r s p e c t i v e f o r the f i r s t time c o l o s s a l statues of the l a s t pharaohs are erected "The Gold Mask" Treasures of Tutankhamum "Queen N a f r e t e t e " p a i n t e d l i m e s t o n e 1360 B . C . "Amenhotep IV w i t h h i s Wife N a f r e t e t e and Daughters" gold r e l i e f celebrates new religion, the d i v i n i t y of the sun - includes a depiction of family life  • ro  u>  DATES  NATI0NALITY  MEDIA  TECHNIQUE  L-OCAL  SCULPTOR  • STYLE'  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  Epstein, Sir Jacob  18801959  EnglishAmerican  bronze  substitution  Ernst,  Max  18911976  GermanFrench  collage bronze  addition substitution  Etrog,  Sorel  1933-  RumanianCanadian  bronze wood fibreglass  welded  "Society truction *s,mic/0  1942-  Canadian  clay  manipulation  D.W. - works a v a i l a b l e through the A r t Bank - his small figures of older people and cows have a sense of presence *c,s/S excellent NFB m o v i e I D o n ' t Have t o Work t h a t  Falconet, Et i e n n e M a u r i ce  17161791  French  bronze  substitution  Falk, Gathie  1928-  Canadian  clay plywood  Fateaux Andre  1946-  Fafard, Joseph  Canadian  metal  20th cent. "Mask o f B i l l l e " t h i s Rodlnesque work caused an uproar " R o c k d r i l l " bronze H. 28" N a t i o n a l G a l l e r y , O t t a w a a c q u i r e d a c o p y i n 1 9 5 6 ; the o r i g i n a l was modelled ln 1913-14 "The V i s i t a t i o n " b r o n z e 65"xl8«g"xl8" 1926 surreal  Curr. Guide - introduced the Dada movement into Cologne,1919 "The K i n g P l a y i n g w i t h the Queen" 1944 bronze 87 c m . Triangles"  " E q u e s t r i a n Monument 78 b r o n z e , Leningrad  classical  x manipulation addition  of  X  of  1954-55  Peter  painted  the  Great"  cons-  1776-  * s , c , m m / B C and a painter works w i t h everyday themes s u c h aa p i l e s of f r u i t , p i c n i c s , animals, articles of clothing "Herd of Horses" painted plywood hung from the c e i l i n g - a s t a t i c m o b i l e o f 24 figures " P i c n i c w i t h P i l e of M a p l e L e a v e s and B l u e S k y " airy l i e , varnish & wood, ceramic, 25x24*5x22" 1977 *s/0 DJi, dynamic  M  £ linear  movement;  complex  configurations.  Featherstone William  F i l l i o n , John  DATES  1927-  1933-  NATIONALITY  MEDIA  TECHNIQUE  •STYLE'  ¥  LOCAL  SCULPTOR  Canadian  Canadian  American  DESCRIPTION:  OF S C U L P T U R E and/or SCULPTOR  including  - lives in Victoria *s , p r , p , d / B C "White C o n s t r u c t i o n " 1966 m a r i n e resin, steel and aluminum H . 8' clay  U R h t  *s/0 - c r e a t e s male f i g u r e s o n l y ; rough surfaces "Male Torso" 1966 cement fondu H.  manipulation  manipulation  Flavin, Dan  1933-  Frink, Elizabeth  1930-  English  plaster concrete bronze  substitution  Gabo , Naum  18901966  Russian  me t a l glass plastic wood  addition  minimal  p l y ,  'keys'  epoxy  textured 40"  "3 F l u o r e s c e n t Tubes" red and g o l d 1963 H . "the n o m i n a l 3" (to W i l l i a m g Ockham) 1963 white fluorescent l i g h t 8' H . , The N a t i o n a l Gallery of Canada, Ottawa  - most n o t a b l e female s c u l p t o r of her generation ln Great Britain - drawn to the h e r o i c and a sense o f c o n f l i c t , m u t i l a t i o n and d e a t h ; subjects often cats, horses, birds - creates rough surfaces "Firebird" 1962 bronze " H a r b i n g e r B i r d I I I " b r o n z e 4 3 . 5 cm  X  20th cent. Curr. Guide "Constructed  abstract  Head  02"  stainless  steel  45  cm  1920-  Canadian  s tone  subtraction  GaudierBrzeska, Henri  18911915  French  stone  subtraction  - i n v o l v e d i n the V o r t i s t Movement " H e a d o f B r o d z k y " b r o n z e 26 3 / 4 " a c q u i r e d The N a t i o n a l G a l l e r y , O t t a w a , 1957  Gauguin, Paul  18481903  French  wood  subtraction  "Adam  and  Gerhaert, Nikolaus  14631473  Dutch  stone  subtraction  -  last  realist  X  X  1916  *s/BC - participant i n the Vancouver International Stone Symposium consult S l i d e Notes Section I I I : Area 6 - Van Dusen  Gambioll Joan  N.  48" cool  0  the  Eve"  great  1891-93  wooden  German  Gothic  realist tradition "Splf Pnrrralf" 1467  by  r e l i e f  sculptor  pxnresslve  in  thero rjj  DATES  NATIONALITY  MEDIA  TECHNIQUE  'STYLE'  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys*  Ghiberti, Lorenzo  13781455  Italian  bronze  substitution  15th cent. Curr. Guide "Gates of Paradise" 1425-52 bronze * J - two o f the t h r e e d o o r s o f the B a p l s t r y i n Florence - the z e n i t h of h i s a r t ; he u s e s a l l p o s s i b l e gradations of r e l i e f thereby suggesting deep space  Glacometti, Alberto  19011966  Swiss  plaster on wire foundation  substitution addition  20th cent. Curr. Guide - was a p a i n t e r a n d p o e t as w e l l as a s c u l p t o r - i n f l u e n c e d by Brancusl - was a S u r r e a l i s t i n the 1930's - l n 1948 he i n t r o d u c e d h i s e l o n g a t e d impress i o n i s t i c l i n e a r f i g u r e s to the public ".Palace at 4 a . m . " 1932-33 c o n s t r u c t i o n of wood, g l a s s , w i r e and s t r i n g 'a s t i l l l i f e sculpture' "Woman w i t h T h r o a t C u t " 1 9 3 2 b r o n z e 34V L. Museum o f M o d e r n A r t , N . Y . , 1965 "The Nose" 1 9 4 7 b r o n z e 15 3 / 8 " H . G u g g e n h e i m , N.Y.  Gilhooly , David  1943-  Canadian  clay wood concrete  manipulation  *c/0 - p a r t of the I n t e r n a t i o n a l Clay C o n n e c t i o n , a group of a r t i s t s that possess an irreverent, s a t i r i c a l , amusing attitude to l i f e in their ceramic art. "Young Queen V i c " 17" part o f h i s f r o g c o s m o l ogy theme  Gonzales, Julio  18761942  Spanish  metal  welded  Gouj o n , Jean  15101568  French  stone  subtraction  cubist  20th cent. "Woman C o m b i n g h e r H a i r " 1936 w r o u g h t iron p u r c h a s e d by the Museum o f M o d e r n A r t , N . Y . - i n f l u e n c e d by A r c h i p e n k o - was a p i o n e e r i n w e l d e d s c u l p t u r e g r e a t l y f l u e n c i n g E n g l i s h and American sculptors  i n -  " F o u n t a i n e des I n n o c e n t s " 1547-49 stone elongated, elegant figures created i n the c l a s s i c a l tradition ho cn  Grauer, Sherry  DATES  1939-  21301600 B.C. 15501100 B.C. 1000 B.C.  700500 B.C. 525 B.C. 48050B.C. 4605 IB.C  4473 IB.C.  410407 350300 300200 B.C.  NATIONALITY  MEDIA  Canadian  TECHNIQUE  mixed addition media including wire m e s h manipulat'n  GREEK  LOCAL  SCULPTOR  'STYLE'  X  X  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTQR  'keya'  *p,mm,8,pr/BC " . . . S o F a r . . . " S u r r e y A r t G a l l e r y , 1980 woman show - 3 examples o f h e r w o r k c a n be v i e w e d at - consult Slide Notes, Section III: Area - Minoan ines and  sculptors model carve i n t r i c a t e  - gold mortuary masks Mycenaean a r t i s t s  I  including  and  one U.B.C. 1  snake p r i e s t e s s figurd e s i g n s on s t e a l l t e repousse  cups  by  - Geometric sculptors create a profusion of bronze animals; "Mare s u c k l i n g her f o a l " 750-700 B . C . bronze s t y l i z e d to the b a r e s t essentials of form - D o r i c temple and f i r s t Greek Kouros emerge, Archaic Period - "The S p h i n x o f the N a x l a n s " 560 B . C . - d i s c o v e r y o f the p r o c e s s of h o l l o w bronze casting - " K r i t i o s Boy" modelled for Athenian Acropolis - "Jupiter's c a r r y i n g of Ganimedos" 470 B . C . E a r l y Greek C l a s s i c a l P e r i o d : - pediment groups and r e l i e f s f o r the Olympian Temple of Zeus - P o l y k l e l t o s ' athletic i d e a l i n the "Spear Bearer" - Phidias supervises sculptural decoration of the Parthenon - "Woman's Head" from the West Pediment of the H e r a i o n at A r g o s c i r c a 420 B . C . Greek C l a s s i c a l S t y l e : - M a r b l e V i c t o r i e s o f the Temple o f Athena Nike - Praxiteles, Scopes, Lysippus refine style of the p r e - H e l l e n i c Period - Rhodian sculptors create "Laocoon Group" marble l a t e 2nd o r 1 s t c e n t u r y B . C . - a frontal piece of sculpture of 3 figures i n t e r t w i n e d w i t h snakes; tensions are establ i s h e d as the f a t h e r and s o n d i e on the l e f t ; t h e e l d e r s o n on the right i s t r y i n g to p u l l £J himself free; i t is triangular i n shape  DATES  NATI0NALITY  MEDIA  TECHNIQUE  LOCAL  SCULPTOR  * STYLE'  GREEK cont'd.  Gross,  Chaim  1904-  subtraction  subtraction manipulation  19261981  Canadian  Haacke, Hans  1936-  GermanAmerlcan  Hanson, Duane  1925-  American  Hardman,  Harman,  Hayden, Michael  Jack  Jack  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  - "The V i c t o r y o f S a m o t h r a c e " marble circa 190 B.C. noted for its f e e l i n g of rushing movement and the complex rhythms of her draperies  Aus t r l a n - wood American  Gulte , Suzanne  DESCRIPTION:  metal wood s tone glass  polyester resin fibreglas  1923-  C a n a d i an  terra cotta cast cement  1927-  Canadian  bronze  1943-  Canadian  addition  "Tight  Dancer"  1933  Lignum  vitae  "Christ Noir" 1962 b l a c k w a l n u t H . 5 ' " M a t e r n i t e " Tek 32x24" 1960 ( M o t h e r and theme Section III: Area 1 U.B.C.)  Child  kinetic  "Ice  tube  super Tea11am  "Rocker" 1972 "Woman w i t h L a u n d r y B a s k e t " 1974 - solitary figures that 'document' society  X  X  substitution  Rope  Stick"  1966  v e r t i c a l  - both a printmaker "The G r o u p " t o t e m l c  refrigeration  and sculptor baroque 1964  contemporary  H.  50"  X  *i,s/BC - c r e a t e s i n the t r a d i t i o n of the Greeks, Romans, Henry Moore and S i r Jacob Epstein - c o m m i s s i o n e d to d e s i g n and e x e c u t e s various works i n the Lower M a i n l a n d : c o n s u l t Slide Notes - maintains h i s own f o u n d r y a n d h a s b e e n an instructor at the E m i l y C a r r C o l l e g e of A r t and Design  X  *s/BC - maintains t h a t he c r e a t e s p r o d u c t s n o t art D.W. - 'products' available through the A r t Bank "Audlohydrokinetic Presentation" 1967 "Subway C e i l i n g " 5 0 0 ' long Spidina, Toronto - neon t u b i n g - interested in technology and c o l o u r ; was a  ^ ^  DATES  NATIONALITY  Heizer, Michael  1944-  American  Hepworth, Barbara  1903-  English  Hicks, Sheila  1934-  American living in Paris  Houdon, Jean-Antolne  17411828  French  Hunt,  Tony  Imredy,  INDIANS: Central America  Elek  1942-  1912-  800400B.C 55075 A . D  Canadian  b.  in Hungary, lives in Vancouver  MEDIA  TECHNIQUE  •STYLE'  LOCAL  SCULPTOR  earthworks  wood stone plaster  subtraction  abstr-  fibre  manipulation  soft  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  bronze plaster polyester  wood j ade  subtraction  X  20th cent. Curr. Guide - l n 1931 she b e g a n p i e r c i n g h o l e s ln her sculpture and h o l l o w e d out the forms - s t r i n g and w i r e w e r e a d d e d t o some o f her works g i v i n g them the appearance o f musical lnst ruments  X  "Bas-relief wall" tubes of s i l k The pp. 220-221  act  substitution  Kwaklut 1  'keys'  "Double Negative" 1969-70 V i r g i n R i v e r Mesa 1600x50x30' displacement of 240,000 tons of earth - created a negative yet very tangible space - the 2 cuts face each o t h e r w i t h a chasm separating them - c r e a t e d a new p l a c e i n n a t u r e t h a t i s both modest, s i m p l e and grand - the local architect Ian D a v i d s o n has v i s i t e d the s i t e s o f H e i z e r ' s and James T u r r e l l ' s work and has s l i d e s o f t h e i r projects  *J " V o l t a i r e " 18th cent. most c e l e b r a t e d century wood  including  X  X  *s/BC - exhibition of Images G a l l e r y ,  1  1975 s e w n , s t u f f e d , wrapped Art Fabric: Mainstream,  1781 French  sculptor  of  the  18th  masks, b o w l s , and r a t t l e s Vancouver, November 1981  at  *s/BC - has been commissioned t o do v a r i o u s religious p r o j e c t s i n the lower mainland " G i r l in Wetsuit" 1972 b r o n z e , consult Slide Notes, Section III: Area 2 Preclasslcal period ln Mesoamerica - m a s s i v e Olmec s t o n e heads c a r v e d at L a - temple sculpture at T e o t l h u a c a n depicts gods and plumed s e r p e n t s Mask o f Q t i e t z a k a t l turquoise w i t h wood  mosaic  Venta rain-  i n l a i d  K> ^  SCULPTOR  Central cont'd  DATES  NATIONALITY  MEDIA  TECHNIQUE  350300B.C.  stone bronze  78 320480 550750  South  America  < u o  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  1000 B.C.  wood stone  clay stone metal  jade  including  H.  'keys'  9"  - Imperial Mauryan s c u l p t u r a l s t y l e ; carved yakshas and y a k s h i s r e p r e s e n t e d i t s secular style - narrative r e l i e f s on s t u p a at B h a r h u t recount l i f e of Buddha - gateways of the great stupa at Sanchi carved with anthropomorphic representation of Buddha - Kushana school develops f i r s t humanized Buddha images - Hindu Gupta a r t i s t s develop f i r s t 'international s t y l e ' of Buddhist art; a standardization of Buddha's image - S h i v a and V i s h n u Images emerge i n c e n t r a l India "Head" o f Buddha limestone 5 t h - 6 t h century " S h i v a as L o r d o f the D a n c e " b r o n z e 12th-13th century  200100B.C. 50A.D.  North America e.g., Northwest Coast: Haida, Sallsh Tsimshian, Bella Coola, T l i n g i t , Nootka , Kwaklutl  ?  - Mixtec 1300-1450 " A z t e c death god X o l o t l "  Amer.  East  'STYLE*  subtraction  - Ohio v a l l e y Aden i n t o ornaments and "Cedar eagle mask" "Kwatkiutl wildman horsehair 12"  a-Hopewell Indians work copper produce massive b u r i a l mounds Tsimshian mask" p a i n t e d wood w i t h  "Inlaid plaque" Peru i n l a i d with semi-precious s t o n e s and g o l d 2h" "Peruvian s i n g l e spout b o t t l e " burnished, leatherhard clay s l i p s c i r c a 200-500 Nazca's combination of pots with sculpture - highly formalized decoration, complex animal and human r e p r e s e n t a t i o n s and the elaborate, monumental a r c h i t e c t u r e i n stone o f the Chavin style - m e t a l masks, s t o n e and bone i n l a y , engraved sea shell - Chlmu and Inca h i g h c u l t u r e s i n P e r u  ro CO O  SCULPTOR  DATES  NATIONALITY  MEDIA  Btone  INUIT  TECHNIQUE  'STYLE  d e t a i l o f an i n c e n s e l i o n on the f o u n t a i n Alhambra 1350-1400 u r a l works 550750 A.D. 710784 1053  JAPANESE  earliest  clay 8 tone b ronze  Donald  1928-  American  wood me t a l  Anne  1924-  Canadian  wood  Kienholz, Edward  1927-  Buddhist  including  'keys '  wood  with  Cape  Dorset  stone  burner bronze ll-12th cent, o f the Harem C o u r t i n the f u n c t i o n a l and architect-  images  c o l o s s a l bronze Buddha carved f o r T o d a i - j i i n Nara marks the h e i g h t of B u d d h i s t art i n Japan Jocho carves statue of Amltabha f o r the Phoenix H a l l i n Kyoto Kei school develops n a t u r a l i s t i c sculptural s t y l e m a n i f e s t e d i n the work of Unkei & K a i k e i " H o u s e w i t h p r i m i t i v e g a b l e r o o f " c l a y 4 7 . 8 cm " C r o s s - l e g g e d m a l e f i g u r e " c l a y 9 1 cm  11851333  Kahane,  OF S C U L P T U R E a n d / o r SCULPTOR  "Grotesque Eskimo Mask" Alaska fur 13" "The F i s h e r m a n " by O s h a w e e t u k ,  subtraction  ISLAMIC  Judd,  DESCRIPTION:  Ame r i c a n  found objects  minimal  iron,  *8,d,pr,wc/Q - has c a l l e d h e r s e l f a ' c a r p e n t e r sculpture' - h e r w o r k makes a comment on the tion "Runners" 1967 c e d a r H . 52V  subtraction  addition  "Untitled" 1965 g a l v a n i z e d each element 9x40x31"  expressionist lc  7  elements,  who  makes  human  condi-  "Jane Doe" 1959 wooden s e w i n g c h e s t , head and neck of a mannequin, s k i r t of white b r i d a l dress "John Doe" 1959 m a n n e q u i n i n c h i l d ' s perambulator; compare and c o n t r a s t to " V i l l a g e f e t i s h f i g u r e " w i t h s m a l l images attached. Songe E n . Congo, wood w i t h b e a d s , metal h o r n , s n a k e s k i n and h i d e H . 35V c o l o u r i s a most i m p o r t a n t element i n his work, e.g., "The B e a n e r y , " "The D e r e l i c t s "  co  Koochin,  B i l l  NATI0NALITY  MEDIA  TECHNIQUE  1927-  Canadian  wood stone bronze  Kolianyk, Peter  1934-  Canadian  metal  Kuj u n d z l c , Zeljko  1920-  Lachalse, Gaston  18821935  FrenchAmerican  bronze  L a s s aw, lb ram  1913-  American -  metal  Laurena , Henri  18851954  French  marble bronze wood collage  Lehmb r u c k , Wilhelm  18811919  German  stone  subtraction  Lemieux, Llse  1956-  Canadian  wax glass  addition  Lewis,  c 1935-  Canadian  clay wood stone b ronze  subtraction  Roy  Canadian  'STYLE'  %  subtraction substitution  LOCAL  DATES  SCULPTOR  X  minimal  X  Part  Ground  Outline"  20th cent. "Kwannon"  linear  including  metal  'keys'  rods  *c,pr,w,s,p/BC works i n the N.W. Coast I n d i a n t r a d i t i o n , "Thunderbirds," U.B.C. Stadium 20th cent. female nudes, dolphins opulence and a dynamic " S t a n d i n g Woman" 1932 Art, N . Y .  substitution  "Autumn"  substitution  OF S C U L P T U R E a n d / o r SCULPTOR  - instructor at the E m i l y C a r r C o l l e g e of A r t and Design - f i g u r a t i v e work of b i r d s and the female form - represented l n numerous p r i v a t e collections *s/0 "Three  wood concrete  welded  DESCRIPTION:  e.g.,  and p e a c o c k s h a v e an drive b r o n z e Museum o f M o d e r n  1952 1948  white  marb'le  - Influenced by R o d i n and M a l l l o l 20th cent. *J "Standing Youth" 1913 a c o m b i n a t i o n of elongated forma and G o t h i c expressiveness X  X  *s,mm,g/BC  X  - a c t i v e member o f the Sculpture Society of British Columbia - participated i n the "Diversity" exhibition, Robson Media C e n t r e , Vancouver - A s s o c i a t e P r o f , o f D e s i g n and Sculpture, U.B.C. *s/BC ro 00  to  Llpchitz,  DATES  1891-  Jacques  NATIONALITY FrenchAmerican  MEDIA  metal  TECHNIQUE  'STYLE *  ?  LOCAL  SCULPTOR  substitution  DESCRIPTION:  Curr. Guide 20th cent. "Mother and C h i l d " Modern A r t , N . Y .  Lippold, Richard  1915-  American  metal  welded  linear  "Variation  Lip ton, Seymour  1903-  American  metal  welded  abstract  20th "Sea  Loring, Frances  18871968  Canadian  Canadian  bronze wood  bronze  subtraction substitution  1927-  McWilllams, Allan  1944-  Canadian  wood found objects  addition  Magor,  1948-  Canadian  found objects  addition  L i z  documentation  cent. Ring"  no.  7:  1956  1941-45  Full  s i l v e r  including  bronze  Moon"  plated  *s/0 concerned w i t h the shape o f the e x p r e s s the i n t e r - r e l a t i o n s h i p s i n d i v i d u a l and the crowd "The R a c e " 1967 b r o n z e 18" boxed assemblages  X  Museum  'keys'  of  1949-50  n i c k e l  designed war memorials and d e p i c t e d factory workers d u r i n g the war y e a r s l n her bronze reliefs *s/0 "Noon Hours i n a M u n i t i o n s Plant" "Head of S i r F r e d e r i c B a n t i n g " 1949 a c q u i r e d The N a t i o n a l G a l l e r y , Ottawa  X  substitution  McElcheran, William  OF SCULPTURE a n d / o r SCULPTOR  crowd; t r i e s between the  by  to  X  "Walnut Pieces "Mise en Scene" l e r y , May 1982 t r a n s l a t e s as " or representati - currently an Program at the Design  from a Game" 1973 e x h i b i t i o n , Vancouver Art Gal(a F r e n c h t h e a t r e term w h i c h production values," "staging," on I n s t r u c t o r l n the Foundation Emily Carr College of Art and  X  *mm,s/BC D.W. w o r k I n c o r p o r a t e s human c o n c e r n s and the order of l i f e , e.g., "Time and M r s . T i b e r " wood, glass and f o o d 8 5 x 3 6 x 1 1 " 1976 "Mise en Scene" e x h i b i t i o n , V a n c o u v e r A r t Gall e r y , May 1982 ro CO  DATES  NATIONALITY  MEDIA  TECHNIQUE  LOCAL  SCULPTOR  •STYLE'  DESCRIPTION:  OF SCULPTURE a n d / o r SCULPTOR  including  'keys'  M a i l l o l , Aria tide  18611944  French  bronze  substitution  20th cent. Curr. Guide - devoted to the female nude; returned to the Ideals of 5th century Greek art - s t r e s s e d s t a t i c and monumental q u a l i t i e s - s e n s u a l l i k e the female nudea of Renoir *J " M e d i t e r r a n e e " 1901  Manzu, Giacomo  1908-  Italian  bronze  subs t i t - i m p r e s sionist ution ic  20th cent. Curr. Guide - I n f l u e n c e d by R o s s o , R o d i n , M a i l l o l and Donatello - e x p l o i t e d the v e r y low r e l i e f and the feeling for drama "The Skater" bronze MacMlllan Bloedel Building, Vancouver - consult Slide Notes, Section III: Area 3 The W e s t E n d  MAORI  350 A . D . froin b u t 11 t t l e prea u r v i \ res 1860  wood  subtraction  - high r e l i e f on f u n c t i o n a l - representation of ancestor ive figures - d r a m a t i c and v i r i l e forms  Marega, Charles  18761939  bronze concrete  substitution  Marini, Marino  1901-  bronze wood  substitution  Marlsol, Es c o b a r  1930-  Italian  V e n e z u e - wood found lanAme r 1 c a n o b j e c t s  subtraction combined with a s semblage  x  consult Slide *s,po/BC  Notes  Section  objects and o t h e r  III  20th cent. Curr. Guide - a p a i n t e r and p r i n t m a k e r as well - c r e a t e d numerous v e r s i o n s o f the theme - I n f l u e n c e d by A r c h a i c G r e e k art "Horse Rider" 1946-47 bronze X  protect-  horse-rider  Curr. Guide - very p e r s o n a l and o r i g i n a l s t y l e w i t h elements of F o l k A r t , S u r r e a l i s m , and Pop A r t - portrays l i f e - s i z e human f i g u r e s , o f t e n with the a r t i s t ' s own f a c e I n c o r p o r a t e d i n t o the image, w i t h w i t and a sense of chic - her work i s f i l l e d with pungent c r i t i c i s m of New Y o r k l i f e i n the 1960's "Women a n d D o g " w o o d , p l a s t e r , p a i n t and misce,},aneous items 1964 7 2 x 8 2 x 1 6 " oo  MEDIA  TECHNIQUE  Marshall, David  1928-  Canadian  stone wood metal  subtraction substitution  Martin, Mungo  18811963  Canadian  wood  subtraction  18691954  French  bronze  substitution  1916-  Canadian  stone bronze  subtraction substitution  t  Matisse, Henri  Mayhew,  Elsa  MESOPOTAMIAN  10 , 0 0 0 4000B . C 35003000B . C 26802 150 21301600B. C  s tone  'STYLE'  ?  N.W. Coast Indian totems  LOCAL  NATIONALITY  DATES  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  X  *s/BC - a c t i v e member o f the Sculptor's Society of B r i t i s h Columbia - instructor at C a p i l a n o C o l l e g e - participant i n the Vancouver International Stone Symposium, consult Slide Notes. Section I I I : Area 6 - Van Dusen - e x h i b i t e d l n numerous l o c a l shows w i t h i n the last few y e a r s "Upturned Head" 1953  X  *s/BC - f i l m a v a i l a b l e s h o w i n g M a r t i n w o r k i n g on a t o t e m t h a t i s now s i t u a t e d o u t s i d e the Great H a l l o f the Museum o f A n t h r o p o l o g y , U.B.C. 20th cent. - associated w i t h the Fauve group, the Expressionist and C u b i s t movements - most famous s c u l p t u r e s i n c l u d e "The B a c k " 1930-9, bronze - a series of r e l i e f s ; another series "Jeanette" I, III, I V , V - 1910 bronze  X  X  *s/BC - "Guardian I" 1959 s t o n e conglomerate - Bank o f Canada b u i l d i n g , 900 West H a s t i n g s St. Vancouver - a bronze abstract, totemlc columns 13'2"x9'2"x 14" 1968 consult S l i d e Notes S e c t i o n I I I : Area 4 - Downtown A -  f i r s t  cylinder  seals  - f i r s t commemorative s t e l a e and i n l a i d worshipper s t a t u e t t e s , "The God A b u " 3000-2500 B . C . Mosul marble very schematized - new naturalism "Naram S i n " V i c t o r y S t e l e red sandstone Akkadian 2500-2000 B . C . - Neo-Sumerlan votive figures "Votive Statue of Gudea" from Lagash diorite 2100 B . C , K, 09  Ln  DATES  NATI0NALITY  MEDIA  TECHNIQUE  •STYLE'  ?  LOCAL  SCULPTOR  MESOPOTAMIAN c o n t *d  884626B.C.  - A s s y r i a n "A P r i e s t Tree" r e l i e f  Meunier, Constantln  18311905  Belgian  Michelangelo, Buonarroti  14751564  Italian  r,  1935-  Canadian  bronze  stone  clay  substitution  Miro,  Joan  romantic idealism  20th "The  subtraction  manipulation  Minne, George  OF SCULPTURE a n d / o r SCULPTOR  including  'keys'  Babylonian "Stele of Laws" with Hammurabi's j u d i c i a l code - K a a s i t e s r u l e i n Babylon and i n t r o d u c e the Kudurru or boundary stone - A s s y r i a n lamassu and m a r t i a l w a l l reliefs embellish Mesopotamian temple complexes "Winged Man-headed B u l l " c h a l k a l a b a s t e r Assyrian 8th cent. B . C . found near Khorasabad - man. e a g l e , b u l l - on e i t h e r s i d e o f the main e n t rance doors; guardian s p i r i t s w i t h 5 legs so that from the f r o n t and s i d e views the ' b u l l ' would appear complete  16001150B.C 935612B.C.  Mi chene Sally  DESCRIPTION:  18661941  Belgian  stone  subtraction  1893-  Spanish  clay plaster  manipulation  cent. Docker"  1905  of  Assur  before  Sacred  bronze  - genius o f the High R e n a i s s a n c e , father of Baroque, creator of Mannerism Curr. Guide " M o s e s , " " B o u n d S l a v e , " " D y i n g S l a v e , " "Tomb Pope J u l i u s I I " 1513-16 " D a v i d " d e t a i l 1504 * J "Pleta" 1501 totemic abstracts  X  X  *c,s/BC "Black Winged Column No. 1" - i n s t r u c t o r at the Emily C a r r and D e s i g n *J  Surrealist  X  "Kneeling  Boy"  1896  College  of  of  Art  marble  20th cent. " P r o j e t P o u r un M o n u m e n t " platre 51x38.5x25  1972  maquette  en  K>  co  DATES  NATI0NALITY  Modlgllani , Amedeo  18841920  ItalianFrench  Moholy-Nagy, Laszlo  18951946  HungarianAmerican  Moore,  1898-  British  Henry  Morris, Robert  1931-  Murray, Jackie  1946-  Murray, Robert  1931-  American  MEDIA  stone  TECHNIQUE  Canadian  ?  1  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  Including  'keys'  20th cent. " C e l l i s t " 1910 s t y l e b a s e d on A f r i c a n sculpture, the i n f l u e n c e o f C e z a n n e , P i c a s s o , and an Italian heritage " H e a d " 28 3 / 4 " t y p i c a l o f Modigliani's elongated necks  subtraction  - e x p e r i m e n t e d w i t h new m a t e r i a l s , f o r example plexiglass - used I n d u s t r i a l techniques for his construction - "Space M o d u l a t o r s " have interchangeable elements stone wood bronze  20th Curr.  subtraction substitution  metal felt  -  Canadian  ' STYLE  LOCAL  SCULPTOR  stone bronze  subtraction substitution addition  metal  welded and painted  cent. Guide  *J "Atom P i e c e " 1964 b r o n z e "Knife Edge" consult S l i d e Notes Section III: Area 5 - Downtown B "Composition" 1931 G r e e n H o r n t o n s t o n e carved 1930 - the r e c l i n i n g f i g u r e and mother and child themes used e x t e n s i v e l y ; works p l a c e d outdoors most often " U n t i t l e d " g l a s s panes p o s i t i o n e d i n a group in the earth - a H a r d e n i n West V a n c o u v e r ; d e p i c t s entropy "Observatory" 1971 e a r t h , timber, steel, water, granite, U m v l d e n , The Netherlands  minimal earthworks  X  X  X  *s/BC - 1983 g r a d u a t e and D e s i g n  from  Emily  Carr  College  of  Art  D.W. *s,mu,p/BC "Kodiak" colored metal elegant, c u r v i l i n e a r ; a f e e l i n g of l i g h t n e s s even though the piece is made o f m e t a l ; AA B a n k l o a n t o CBC - 2 o t h e r w o r k s t o be f o u n d l o c a l l y ; one i n ts> CO  SCULPTOR  DATES  NATIONALITY  MEDIA  TECHNIQUE  1  STYLE  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  f r o n t of the o l d Vancouver A r t G a l l e r y ; the other c l o s e to the Vancouver International Airport - often c r e a t e s monumental f o i l s against architecture - u n i f i e s h i s work w i t h c o l o r ; gives h i s pieces a luminosity - was a p a i n t e r b e f o r e b e c o m i n g a s c u l p t o r - does not c o n s i d e r h i m s e l f a m i n i m a l i s t  Murray, Robert cont'd  Nadelman, Elie  18821946  PolishAmerican  Nanni, de B a n c o  c. 13841421  Italian  Nevelson, Louise  1900-  RussianAmerican  bronze  "Man  substitution  i n  the  Open  15th cent. "Four Saints" Guild 1410 wood  Noguchl, Isamu  1904-  Japanese' American  atone clay steel  Norris, Geo r g e  1928-  Canadian  wood metal c lay  "Totality Dark" Gallery, N . Y . - p a i n t e d wood Curr. Guide - famous f o r h e r  addition  subtraction addition  subtraction welded substitu tion manipula tion  for  environmental designs abstractions  A i r '  the  1962  1915  Stone  and  Woodcutter's  248.8x322.6x9.1  monochromatic  boxed  cm  Pace  assemblages  Curr. Guide - combines European modernism with t r a d i t i o n a l Japanese idioms - made s t a g e s e t s f o r M a r t h a G r a h a m - noted for his space-creating sculpture and his concern for a s s i m i l a t i n g art into everyday l i f e - designed furniture, l i g h t i n g , gardens and public sculpture *a/BC B.C.'s Notes  most p r o l i f i c S e c t i o n IIT  sculptor;  consult  Slide  co CO  DATES  NATIONALITY  1929-  American  1913-  Swiss  mixed media  Paolozzi, Eduardo  1924-  ScottishEnglish  metal  Frank  •STYLE'  1923-  Pevsner, Antoine  18861962  Phidias  5th cent. B.C.  Canadian  UkranianFrench  Greek  bronze  wood plastic me t a l  DESCRIPTION:  OF SCULPTURE a n d / o r SCULPTOR  including  'keys'  "Mask"' t o r t o i s e s h e l l P o l y n e s i a New G u i n e a I s l a n d o f Dewar b a r k sewn t o g e t h e r ; an I n t e r m e d i a r y through which supernatural beings communicate w i t h the living "Owl Mask" used to put c h i l d r e n under supernatural protection New B r i t a i n c a n e a n d b a r k cloth Curr. Guide " L i p s t i c k on C a t e r p i l l a r ersity) 1969 c o r t e n s t e e l painted " C l o t h e s p i n " 1974 c o r t e n "Giant Pool B a l l s " 1967 24" each, woodrack "Dual Hamburgers" enamel 7'xl4 3/4"  soft monumental playful conceptual  vinyl corten steel plaster p l e x i glass  Oppenhelm, Me r e t  Perry,  TECHNIQUE  wood stone clay  OCEANIA Polynesia Micronesia Melanesia Indonesia  Oldenburg, Claes  MEDIA  LOCAL  SCULPTOR  stainless steel 10' 16 p l e x i g l a s s balls paint  on  plaster  1962  "Object" (Fur Lined Teacup) 1936 m i x e d m e d i a . Museum o f M o d e r n A r t , N . Y . a c q u i r e d the work in 1962  x  20th cent. - created functionless machines/tools from the r a t i o n a l order of technology - these ' i d o l s ' are l i k e the f e t i s h e s Congo " H e r m a p h r o d i t e I d o l N o . 1" 1962  engineered constructions  substitution  Tracks" (for Yale Unlv , wood e p o x l e d and  X  *s/BC "Florentine III: Areas  Door"; 1 t> 4  20th cent. Curr. Guide "Column S y m b o l i z i n g  consult  Slide  Peace"  1954  derived from  Notes  the  Section  bronze  5th cent. Curr. Guide - b e t w e e n 4 4 7 - 4 3 8 B . C . P h i d i a s made a h u g e cult statue "Athena Parthenos" g o l d and i v o r y eleme n t s on a wooden f r a m e w o r k , p l u s c o l o u r ^ co  Phidias  MEDIA  TECHNIQUE  'STYLE'  SpanishFrench  found objects  Andrea  Marcia  Pollaluolo, brothers Antonio Piero  Hiram  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  1946-  20th cent. Curr. Guide *J "She G o a t " 1950 b r o n z e h i g h l y t e x t u r e d Museum of Modern A r t , N . Y . "Head of a B u l l ( M e t a m o r p h o s i s ) " 1943 "Woman's Head" 1909 p o r t r a y s C u b i s t aesthetics H. 16"  addition substitution  subtraction  Italian 12451314 12201284 -1348  Nicola  DESCRIPTION:  "The Z e u s o f O l y m p i a " made a l s o i n i v o r y and g o l d on a wooden b a s e ; h a i l e d i n a n c i e n t times as t h e m a s t e r p i e c e o f m a s t e r p i e c e s ; one o f the seven wonders of the world - t h e o r i g i n a l was 4 5 ' h i g h r e p r e s e n t i n g the god s e a t e d on a throne adorned w i t h innumerable s c u l p t e d and p a i n t e d figures - i t s great bulk once f i l l e d the e n t i r e rear part o f . t h e c e l l a of the temple - i t was r e m o v e d by t h e C h r i s t i a n s t o Constantinople, t h e r e d e s t r o y e d by fire 18811973  Pisano, Giovanni  Powers,  NATIONALITY  cont'c  Picasso, Pablo  Pitch,  DATES  LOCAL  SCULPTOR  *J  the  cent. Guide four  great  pulpits  - "Madonna and C h i l d " f o r the High A l t a r of Pisa Cathedral, 1314 - depicts scenes from the l i f e of John the B a p t i s t f o r the F l o r e n c e B a p i s t r y 1302-1312 addition  Canadian  Italian  bronze  X  X  - numerous l o c a l and C a n a d i a n shows w i t h i n the last few y e a r s , e . g . , "Wargames," "Fearscapes" Curr.  substittlon  *J  14321498 14411496 18051873  14th Curr.  reliefs  American  stone  subtraction  classi c a l  Guide  "Hercules  and  Antaeus"  1475  "The Greek Slave" 1847 m a r b l e , A m e r i c a n S c u l p t u r e , p , 40  200  Years  of K  ,  o  Praxiteles  DATES  £1. 14th cent. B.C.  PREHISTORIC I. P a l e o l l t h lc 32,000 10,000 B.C.  NATIONALITY Greek  MEDIA  TECHNIQUE  marble  subtraction  stone clay ivory  subtraction manipulation  •STYLE'  classical  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  14th cent. Curr. Guide "Hermes C a r r y i n g I n f a n t D i o n y s u s " Temple of H e r a , O l y m p l a 365-340 B . C . H . 8 5 " - i t c o u l d be a c o p y ; i n h i s r i g h t h a n d he p r o b a b l y h e l d a bunch of grapes, f r u i t c o v e t e d by s m a l l D i o n y s u s s i t t i n g on h i s l e f t arm, w h i c h r e s t s on a t r e e trunk, hidden under drapery - t h e r e i s a d i a l o g u e between Hermes and the c h i l d but a l s o an awkwardness l n r e n d e r i n g the Infant's anatomy - t h e r e l s a c u r v e i n Hermes' body and an i n tentional contrast between the p l a y of l i g h t over the s o f t l y m o d e l l e d nude b o d i e s and the deeply cut f o l d e d masses of drapery  - cave art found i n southwestern Europe - f i r s t s c u l p t u r a l a r t i f a c t s were t o o l s and s m a l l stone Venus figurines " B i f a c i a l l y f l a k e d p o i n t " 300,000 B . C . France "Clay B i s o n " i n the Tuc d'Audoubert Cave 13,00010.000 B . C . 23" long, a r e l i e f modelled i n crude clay "Venus o f L e s p u g u e " 6" i v o r y - c o n t r a s t s w i t h the e x p r e s s i v e r e a l i s m of "Venus of W i l l e n d o r f " but has t h e same s t r e s s on s e x u a l f o r m s , t h e same suppression of f a c i a l features, and the same p o s i t i o n i n g of the arms - the l e g s , s h o u l d e r s , and head are smaller, thereby accentuating the middle p a r t of the body "Venus of W i l l e n d o r f " 21,000 B . C . limestone s t a t u e t t e 4%" H . f r o m l o w e r A u s t r i a - f i r s t known s c h o o l of s t a t u a r y art; very full female body w i t h a b b r e v i a t e d l i m b s and featureless head, curly h a i r ; a combination of aest h e t i c i d e a l s and r e l i g i o u s s y m b o l i s m p r o m o t i n g human f e r t i l i t y "Venus of L a u s s e l " c i r c a 21,000 B . C . bas relief 15" H . f u l l f a c e h o l d i n g a b i s o n ' s h o r n as an offering?; the b u t t o c k s are s h i f t e d to the side l i m e s t o n e and r e d ochre ro  VO  II.  III.  Neolithic  NATIONALITY  DATES  MEDIA  TECHNIQUE  •STYLE*  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  - clay f e r t i l i t y statuettes - bas r e l i e f s o f a n i m a l s on t e m p l e walls " E l k shaped r i t u a l a x e " 4000 B . C . r e f i n e d polishing "Head of a l a r g e f i g u r e " t e r r a c o t t a from Yugoslavia - an image o f the Great Goddess o f f e r t i l i t y - 7"; has a d r a m a t i c q u a l i t y because o f the enlargement o f the eyes and r a t h e r expressive s t y l i z a t i o n  10,000 -4,000 B.C.  " S t a t u e t t e o f an a r c h e r " from S a r d i n i a 7th-5th century B . C . - w e a r i n g a s h o r t t u n i c and q u i v e r on h i s back, a helmet, breastplate and dagger bronze 7 V restrained pose "The Stag God" i n the Gundestrup CauldronB u d d h a - l i k e p o s e ; l n one hand a t o r q u e , the other a serpent - s u r r o u n d e d by a n i m a l s ; 28" l n diameter - a group of g i l t s i l v e r plates, 7 outside, 5 i n s i d e c i r c a 1st century B . C . " R e c l i n i n g Woman" M a l t a 2 3 0 0 - 1 4 5 0 B . C . - a sleeping priestess on a c o u c h o f wood and reeds - disproportion of head; small i n r e l a t i o n to the rounded arms - wearing a long fringed s k i r t - enormous volume of the h i p s and thighs "Mother Goddess" Cyprus 14th-13th century B . C . , l a t e B r o n z e Age - schematic, quite flattened; red varnished terra cotta - has a b i r d ' s b e a k , huge p i e r c e d e a r s with movable rings - most l i k e l y a f e r t i l i t y goddess h o l d i n g a c h i l d i n her slender arms "Female f i g u r e " from B o e o t i a - 8 t h century B . C . terra cotta - b e l l shaped t u n i c movable legs d e t a i l s of dress and ornaments are d e p i c t e d i n r e d d i s h ro brown p a i n t ro - feet painted with high laced footgear, tunic w i t h r o s e t t e s a n d a r o w o f d a n c i n g women 3 3 " H .  Prehlstoric  i  DATES  NATIONALITY  MEDIA  TECHNIQUE  1947-  Canadian  Prince, Richard  1949-  Canadian  Rab i n o w i t c h , David  1943-  Canadian  81 e e 1  Rabinowitch, Royden  1943-  Canadian  sand blasted steel  tack welded  Ramme1, George  1952-  Canadian  stone  subtraction  Raus chenbe r g , Robert  1925-  American  Prent,  Mark  mixed media  'STYLE'  LOCAL  SCULPTOR  interior environments m i s e en scene  addition  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  *s/Q - h i s work i s h i g h l y p r o v o c a t i v e - there ls a National Film Board documentary 'If B r a i n s were Dynamite' a v a i l a b l e ; again highly controversial subject matter "Death i n the C h a i r " 1973 "Hanging ie Very Important" 1973 X  D.W. *mm,s/BC - Interested i n formal concerns, ordering, fragmenting "The Wind M a c h i n e " - p r o j e c t that allows the wind to work I n s i d e the house; w h i m s i c a l - b o x ing n a t u r a l forces - precise construction, 1973, C o l l e c t i o n : Ian Davidson "Shield I" 1976 c o p p e r , b o n e s , leather 21>tx 14 3 / 4 x 3 > s " p a r t o f a n e x h i b i t i o n a t t h e Equinox Gallery, April-May, 1977 - both D a v i d and h i s t w i n b r o t h e r Royden l i v e in New York - much o f h i s w o r k i s c o n s i d e r e d t o be ' f l o o r pieces ' "Rotational Sculpture of Four Scales" 1974  addition  "Kharakorum"  X  kinetic combine paintings constructions  *s/BC "Catastrophe" 1977 C a r r a r a m a r b l e l l f e s l z e " p o r t r a y i n g human e m o t i o n i n the metaphysical, w i t h the s t r u c t u r a l properties of the material." - on v i e w at the B u r n a b y A r t G a l l e r y "Soundings" 1968 "Monogram" 1959 c o m b i n e p a i n t i n g angora goat "Odalisk" 1955-58 wood s t r u c t u r e clippings 81x25x25"  with  stuffed  with  magazine ro vo Ul  DATES  NATIONALITY  Man  18901978  FrenchAmerican  Redinger, Walter  1940-  Canadian  Ray,  Reld,  B i l l  1920-  Canadian  MEDIA  TECHNIQUE  'STYLE'  ¥  LOCAL  SCULPTOR  Dada kinetic first mobiles  OF S C U L P T U R E a n d / o r SCULPTOR  "Indestructible photo o f an eye "Present" 1921  fibreglass opaque p l e x i glass wood silver gold  DESCRIPTION:  O b j e c t " metronome w i t h on pendulum 1958 laundry i r o n and nails  *s/0 D.W. - wants h i s work to grow 20th century Stonehenge - w o r k s on l o a n from the subtraction  X  including  out  of  the  Art  Bank  'keys' cutout  earth  like  a  *pr,s,J,m/BC D.W. "The R a v e n " 1981 Museum o f A n t h r o p o l o g y U . B . C . cedar consult S l i d e Notes Section I I I : Area 1 " S t e r l i n g Bear Spoon" c. 1959 9.5 cm l o n g "Bracelet" c. 1964 g o l d and f o s s i l ivory Tschumos d i a m e t e r 8 cm x 5 . 3 cm "Red Cedar S c r e e n " t i o n at the Museum carved i n 1967, i t i n t o the o v e r a l l d  p a r t of the "Legacy" e x h i b i of Anthropology, U . B . C . 1982; Incorporates negative spaces esign  Remington, Frederic  18611909  American  bronze  substitution  equestrian  "The Bronco B u s t e r " c. 1895 b r o n z e 200 Y e a r s of American Sculpture, p. 69, compare to "Equestrian Monument" of G e n e r a l Bartolomeo C o l l e o n l by A n d r e a d e l V e r r o c c h l o b r o n z e late 1400's S t . John and S t . P a u l Square, Venice and "Equestrian Statuette" glazed terra cotta 618-907 A . D . T'ang Dynasty  Renoir, Augus te  18411919  French  bronze  substitution  neoclassical romantic  19th cent. "Mother and C h i l d " 1915 "Venus" "The Washerwoman"  Richler, Germaine  19041959  French  X  1917  20th cent. "The S t o r m " 1947-48 bronze - after 1940 h e r a r t expressed a world of anxiety, upheaval and p o e t i c feeling through very personal technique - i n "The S t o r m " man i s a d e b a s e d creature, s w o l l e n and at t h e same t i m e drawn and t e n s e  a  N>  DATES  Robbia, Andrea d e l l a , Luca  della  MEDIA  TECHNIQUE  'STYLE'  1  Richier, Ge r m a i n e cont'd Rickey , George  NATIONALITY  1907-  Scottishimerican  metal  Italian  glazed terra cotta  Rodia, Simon  circa 1915-  American  Rodin, Auguste  18401917  French  210-  ROMANS  B.C. 27B.C14A.D  PI 116 180-92  220323  DESCRIPTION:  OF S C U L P T U R E and/or SCULPTOR  Including  'keys'  - forms b e l o n g to the a n i m a l and v e g e t a b l e kingdoms; they are threatening and m y s t e r i o u s ; they evoke power and the s e c r e t s o f n a t u r e H . 6^'  14351525 14001482  \00  ?  LOCAL  SCULPTOR  plaster clay bronze  1 welded  manipulation  kinetic  - monumental outdoor sculpture "Column of T r i a n g l e s " 1968 s t a i n l e s s  steel  Curr. Guide - great Innovator at the b e g i n n i n g of the c e n t u r y w i t h G h i b e r t l and D o n a t e l l o *J " C a n t o r i s " 1430-35 Florence Cathedral terra cotta sculpture with v i t r i f i e d lead  15th  glass  addition  - an example o f ' f o l k a r t ' , naive or vernacular art "Watts Towers" 1921-54 Los Angeles cement, steel, g l a s s a n d w o o d 99>s' t o w e r a n d spires  manipulation substitution  19th cent. Curr. Guide - a p i o n e e r at the t u r n o f the century along w i t h Rosso and B r a n c u s i - used 'fragments' o f the human b o d y , expressed e m o t i o n and movement; used s y m b o l i s m and dist o r t i o n ; s e n s i t i v e m o d e l l i n g and rough texturing - p l u n d e r i n g and d i f f u s i o n o f Greek a r t forms results l n h y b r i d Greco-Roman t r a d i t i o n - f i r s t Roman R e p u b l i c a n p o r t r a i t s and narrative reliefa appear - portraits of Augustus from Prima P o r t a commiss i o n e d by t h e E m p e r o r - d i s t i n c t Roman s t y l e and c r e a t i o n o f Gemma A u g u s t a e , a n e l a b o r a t e cameo - r e l i e f from Arch of T i t u s depicts Roman v i c t o r y o v e r J e r u s a l e m i n A . D . 70 - Column o f T r o j a n l n Rome; f i r s t s u c h triumphal column - romantic elements b e g i n to modify c l a s s i c a l Roman style - column of Marcus A u r e l i u s ; transformation to the l a t e A n t i q u e p e r i o d - d i s i n t e g r a t i o n o f t r a d i t i o n a l Roman s c u l p t u r a l forms - Badminton sarcophagus and p o r t r a i t of Trebonianus G a l l u s p r o d u c e d K  DATES  312315  NATIONALITY  MEDIA  ' STYLE'  TECHNIQUE  ?  LOCAL  SCULPTOR  ROMANS cont'd  Rosso , Medardo  18581928  Italian  wax  manipulation  Roszak , Theodore  1907-  PolishAmerican  metal  welded  Roth,  1936-  Canadian  discards (video tape , etc. makes ecologi c a l statement)  addition  bronze  subs t i ution  Rude , Francois  17841855  French  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  - Arch of Constantine recapitulates the entire h i s t o r y o f t h e Roman s t y l e "The T e t r a r c h a " ( ? ) p o r p h y r y , Roman l a t e 3rd or e a r l y 4th century; S.W. corner facade of St. Mark's, Venice - 4 Roman g e n e r a l s b e s t o w i n g t h e a c c o l a d e on each other ( 2 x 2 ) ; haa a s t y l i s t i c v i g o r within the s i m p l e forms - faces are types r a t h e r than i n d i v i d u a l s part i a l l y because the porphyry i s such a hard stone; fine d e t a i l i s not possible C a r o l l n g l a n s c u l p t o r s m o d e l an e q u e s t r i a n statue i n the l i k e n e s s of Charlemagne  800  Evelyn  DESCRIPTION:  impressioni s t i c  20th cent. - p i o n e e r i n the l a t e 19th century along w i t h R o d i n and B r a n c u s l ; f a s c i n a t e d by the p l a y o f l i g h t on surfaces - preferred a single viewpoint, i . e . . frontal pieces "The B o o k m a k e r " 1894 wax o v e r plaster "Conversation i n a Garden" 1893 20th cent. "Thorn Blossom" 1947 s t e e l brazed " S p e c t r e of the K i t t y Hawk" 1945-47 steel, b r o n z e , and copper s p i k y m e t a l ; tormented symbolism  t-  wearables body sculpture " l i v e "  X  X  *w,s,mm/BC D.W. - gets out o f the g a l l e r y - group dance ances, e.g., " S a l m o n S c u l p t u r e , "Homage Haidas"  performto  " L a M a r s e i l l a i s e A r c de T r i o m p h e , " P a r i s 1832-36 - major s c u l p t o r of the e a r l y 19th century - r o m a n t i c l i k e D e l a c r o i x as w e l l as classical - t h i s work i s f i l l e d w i t h p a t r i o t i c enthusiasm N> VO CTV  Sawchuck, George  DATES  1927-  NATIONALITY  Canadian  MEDIA  wood  TECHNIQUE  •STYLE'  ¥  LOCAL  SCULPTOR  addition  X  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  Including  *s/BC - u t i l i t a r i a n objects are juxtaposed living trees or i n combination with f - e x h i b i t i o n s at the F i n e A r t G a l l e r y and the B a u - X i G a l l e r y , Vancouver w o r k s c a n a l s o be f o u n d w i t h i n t h e fo the U n i v e r s i t y Endowment L a n d s .  'keys'  within allen logs , U.B.C. rests  of  *s,p,pr/Q D.W. "Over and U n d e r " b a l a n c e d m e t a l ; the floor i s the background - work a v a i l a b l e from the A r t Bank "Comtras" 1968 a l u m i n u m - ia a craftsman interested i n the finish of the metal  1937-  Canadian  metal  Schwltters, Kurt  18871948  b. Germany British  found obj e c t s  addition  "Herz Construction" 1921 p a i n t e d w o o d , w i r e , neah, paper and c a r d b o a r d 15x8!$x2>i'" - "Merzbau" a house c o l l a g e destroyed i n 1943  Segal,  1924-  American  plaster wood found objects  manipulation addition  Curr. Guide - presents individual white plaster figures w i t h o u t i d e n t i t y or history - f i x e s the figures i n everyday situations; depicts banality - p r e s e n t s an u n c o m f o r t a b l e Image o f ourselves - the s c u l p t o r remains c o m p l e t e l y remote from the subject " O l d Woman a t a W i n d o w " 1965 p l a s t e r , chrome, wood, g l a s s , and board  1927-  English  wood metal  construe tions  metal  welded  Saxe,  Henry  George  Smedley, Geoffrey  Smith,  David  19061965  American  architectural  X  - professor of Fine A r t s , U.B.C. " T h e Name o f t h e P i e c e " e x h i b i t i o n a t the Vancouver Art G a l l e r y , January-February 1982 *s/BC 20th cent. *J Cubi Series 1961-64 "Cubi X I X " steel 1964 b u r n i s h e d t h e r e f o r e the environment 'colours' the piece'; the surface a c t s as a r e f l e c t o r o f the s k y and surroundings - i n the 1930's and ' 4 0 ' s h i s images were Surreal-like >° VO  Smith, con t ' d  David  Smith,  Tony  DATES  NATIONALITY  TECHNIQUE  •STYLE'  ?  DESCRIPTION:  OF S C U L P T U R E and/or SCULPTOR  including  'keys'  - g r e a t l y I n f l u e n c e d by G o n z a l e s and Picasso - l a t e r became more g e o m e t r i c and showed more concern for surface - f r o m 1933 w o r k e d i n w r o u g h t i r o n ; l n the 1960's changed to work i n s t a i n l e s s steel - "Tanktotems" 1950's - Zig series - often referred to as the F a t h e r o f Metal Sculpture 1912-  American  Smlthson, Robert  19381973  American  Snow,  1929-  Canadian  Michael  MEDIA  LOCAL  SCULPTOR  sheet metal  minimal  "Cigarette" 1966 r o u g h l y f i n i s h e d , painted black - e n c l o s e d volumes o f r e g u l a r and eccentric shapes - m i n i m a l form-maximum scale - have been c a l l e d m a n - s i z e d s p a t i a l organizers "Wandering Rocks" 5 polyhedrons which suggest the p o s s i b i l i t y of changing r e l a t i o n s h i p s not f i x e d p o s i t i o n s , Wn. Wash. U n i v . , B e l l i n g h a m  earthworks  "Spiral Jetty 1970, Great S a l t Lake, black rock, salt crystals, earth and red water - c o i l 457.20 m l o n g ; 4.57 m wide - has become the l o g o f o r p o s t - g a l l e r y , postm i n i m a l , and p o s t - f o r m a l i s t art *p,f,s,ph,d,mm/0 " W a l k i n g Woman"  mixed media  1966-67  wood  and  aluminum  Stanklewlcz, Richard  1922-  American  metal found ob1ects  welded  20th cent. - uses o l d b o i l e r s , steam f i t t i n g s , and bent p i p e s ; worn out fragments of a machine technology - creates collages l i k e S c h w l t t e r s w i t h humour and f o r c e t h e r e b y h i s work has a sense of optimism  di Suvero, Mark  1933-  American  metal  welded  "Blue Arch for Matisse" 1962 s t e e l , painted 132" H . "For Handel" 1975 W e s t e r n W a s h i n g t o n Univ., B e l l i n g h a m , Wash, i n v i t e s audience participation and c r e a t e s a r e l a t i o n s h i p w i t h the surrounding e n v i ronment N> VO  CO  DATES  NATIONALITY  MEDIA  18851953  Russian  Tawney , Lenore  1925-  Ame r l c a n  Thibert, Patrick A.  1943-  Canadian  Tlnguely , Je an  1925-  SwissFrench  Turrell, James  1943-  American  light  Valllancourt, Armand  1932-  Canadian  clay wood scrap iron  Urquhart, Tony  1934-  Canadian  14351486  Italian  Westerlund, Mia  1942-  b. New York  1 •STYLE'  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  - founded Russian Constructivism "Monument to the 3rd I n t e r n a t i o n a l " project 1919-20 wood, i r o n , glass  Tatlin, Vladimir  Ve r r o c c h i o , Andrea del  TECHNIQUE  LOCAL  SCULPTOR  fibre  weaver  soft  X  'keys'  proposed  "Cloud Series" 1979 s t r a n d s s u s p e n d e d from canvas. dyed and p a i n t e d . The A r t F a b r i c : Mainstream, p. 218. "Infrastructure  #16"  welded  steel  1977  kinetic  20th cent. " H o m a g e t o New Y o r k " A S e l f - c o n s t r u c t i n g , Selfd e s t r o y i n g Work o f A r t , an a s s e m b l a g e i n m o t i o n activated March 17, 1961  earthworks  The Roden C r a t e r P r o j e c t , Nn. Arizona - a 20th century Stonehenge that i n t e r a c t s with the space o f the sky and the e v e n t a w h i c h occur within that space "Vaillancourt"  D.W. *wc,p,s, "Broken - was a - has a  a  N.F.B.  film  pr/0 II" a c r y l i c resin, landscape painter mysterious quality  is  available  plywood, to  his  and  masonite  work  15th c e n t . Renaissance Curr. Guide *J "Bartolommeo C o l l e o n i Equestrian Monument" 1481-88 bronze 13' H . "Putto with Dolphin" 1470 a most e n d e a r i n g work "David" 1488 cement metal polyester resin  X  *a , d / 0 "Corner Series" in front of the V a n c o u v e r A r t Gallery, consult S l i d e Notes Section I I I : Area 3 - The West End. - c o l o u r i s an e s s e n t i a l element of her work M VO  PATES  NATIONAUTY  MEDIA  TECHNIQUE  LOCAL  SCULPTOR  ' STYLE  White, Norman  1938-  Canadian  Whiten, Colette  1945-  English, resides Toronto  Whit tome, I rene  An  OF S C U L P T U R E and/or SCULPTOR  including  "Flank II" 1978 two 12' l o n g t r i a n g u l a r of pigmented concrete, s t e e l and copper Inside the V . A . G . and t h e n p l a c e d on the pf Western Washington U n i v e r s i t y , B e l l i n g Wash. - explores the uses o f s o l i d i f y i n g and m materials  Westerlund, Mia cont'd  Whitlock,  DESCRIPTION:  'keys' modules b u i l t grounds ham, etallic  *s,mm,p/0 - s t a t e s "I use the most s o p h i s t i c a t e d tools of a p p l i e d t e c h n o l o g y to the most u s e l e s s ends." - h i s w o r k has an a s s e m b l y l o o k to i t - h i s work l s a v a i l a b l e from the A r t Bank " S p l l s h S p l a s h " was on v i e w i n the CBC B u i l d i n g - e x h i b i t i o n at the V . A . G . , 1975 - uses p l a s t e r c a s t s o f human forms "Paul III" 1980 b u r l a p , p l a s t e r , wood, graphite 2 4 9 x 8 9 x 7 8 cm o n d i s p l a y a t t h e C a r m e n L a m a n n a Gallery, Toronto, 1980  X  in  1944  Canadian  X  1942-  Canadian  X  X  - uses Inexpensive, common m a t e r i a l s , e.g., pins string, cheesecloth, wire screening, thread, rubber - creates i n t r i c a t e , t e x t u r a l and l i g h t reflecting objects - works with systemlzation "Not Titled" 1977 a l u m i n u m s c r e e n , wooden dowels, s t r i n g - 3 p i e c e s , each 13'xlO'xl5' - p a r t of the Four Places e x h i b i t i o n at the Vancouver Art G a l l e r y , 1977 "Irene Whittome 1975-1980" 4 - p a r t e x h i b i t at the Vancouver Art G a l l e r y , 1981 I. "The W h i t e Museum I and I I " - wrapped and bound r e p e t i t i v e forms II. "Vancouver" - geometric volumes coated with encaustic III. " P a p e r w o r k s " - d i v i d i n g and o r d e r i n g space IV. "Classroom/Chapel" - i n t e r i o r environments - work a v a i l a b l e from the A r t Bank *s,pr/Q LO O  o  DATES  NATIONALITY  MEDIA  fabric  TECHNIQUE  1  STYLE'  ?  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E and/or SCULPTOR  - q u i l t e d cloth assemblages created woman show a t t h e N a t i o n a l G a l l e r y , "Young Woman's B l u e s " 1964 p a i n t e d *d,s,ph,f,p/0  Wieland, Joyce  1931-  Canadian  Wise,  Jack  1928-  Canadian  addition  X  *p , s  Wood,  Alan  1935-  Canadian  addition  X  *mm s,p/BC "Ranch" 1981 m i x e d m e d i a Charles H. Scott Gallery,  Wyle, Florence  18811968  Canadian  Wyn-Wood, Elizabeth  1903-  Canadian  bronze  stone bronze  X  substitution  X  subtraction substitution  X  Wyse,  Alex  1938-  Canadian  X  Zach,  Jan  1914-  Czechoslovakian Canadian  X  Canadian  X  Zack, Badanna  1933-  Zadklne, Osslp  18901964  PolishAmerican  wood s t one  subtraction  including  'keys'  for her oneOttawa construction  ,wc/BC  a  - exhibit E.C.C.A.,  *s/0 -•created f i g u r a t i v e , documental "Munitions Worker" 1918 "A.Y. Jackson" bust "Torso" 1933 "Head of National "Passing National  at the Vancouver  sculpture  N e g r e s s " b r o n z e a c q u i r e d by the G a l l e r y , Ottawa l n 1927 Rain" marble r e l i e f a c q u i r e d by Gallery, Ottawa, 1930  the  *P,s/0 - some o f h i s i m a g e s a r e Surreal-like - h i s p a i n t e d wood c o n s t r u c t i o n s are precise and painstaking - o f t e n w h i m s i c a l and narrative "Rural Angel Recycling Machine" 1979-80 painted c o n s t r u c t i o n 2 7 4 x 2 0 8 x 2 3 5 cm E q u i n o x G a l l e r y , Vancouver X  *m,s,mu,p,g/BC "Wlldflower" 1967  stainless  *s , d , p r / Q "Homage to P i c a s s o " n a i l s , chrome 183x60  wood, cm  steel  7'  styrofoam,  H.  v i n y l ,  20th cent. - deals with figures from Greek mythology - they are q u a s i - r e p r e s e n t a t i o n a l , large s i l h o u e t t e s w i t h cut out shapes  u> o t—•  DATES  NATIONALITY  MEDIA  TECHNIQUE  'STYLE'  ?  Zadkine , Osslp cout'd  LOCAL  SCULPTOR  DESCRIPTION:  OF S C U L P T U R E a n d / o r SCULPTOR  including  'keys'  "The D e s t r o y e d C i t y " R o t t e r d a m 1948-51 bronze "The R e t u r n o f the P r o d i g a l S o n " b r o n z e 4 8 " H . a c q u i r e d by the N a t i o n a l G a l l e r y , O t t a w a i n 1956  Zeisler, Claire  1903-  American  fibre  Zelenak, Edward  1940-  Canadian  fibreglass metal  D.W. *s/0 " U - S p l i t " CBC B u i l d i n g , V a n c o u v e r u n t i l 1982 "Untitled" lead plates with soldered copper and t i n  Zorach, William  18871966  LithuanianAmerican  wood stone bronze  - nudes, torsos, motherhood, children, animals are h i s f a v o u r i t e subjects - c l a s s i c a l l i k e Egypt and the M i d d l e East " S p i r i t of Dance" 1932 R a d i o C i t y M u s i c H a l l , N.Y.  soft  X  " P a g e 1" 1976 m a c h i n e s t i t c h e d The A r t F a b r i c : Mainstream, p.  chamois 151.  cotton  o  303  APPENDIX  Constantine, Toronto: 200  years  M.,  & Larsen,  Van N o s t r a n d  of American  Publishers,  REFERENCE  J.L.  Whitney  The a r t f a b r i c :  Reinhold  sculpture. Museum  LIST  New  Co.,  Mainstream.  1980.  York:  of American  Godine,  D.R.  A r t , 1976.  

Cite

Citation Scheme:

    

Usage Statistics

Country Views Downloads
United States 10 0
Germany 6 39
China 4 27
Unknown 3 0
Japan 2 0
Australia 2 1
Vietnam 2 0
France 2 0
India 1 4
Ukraine 1 0
Poland 1 0
City Views Downloads
Unknown 14 42
Mountain View 5 0
Shenzhen 4 27
Ashburn 3 0
Hanoi 2 0
Tokyo 2 0
Mumbai 1 2
Auburn 1 1
Redmond 1 0
Seattle 1 0

{[{ mDataHeader[type] }]} {[{ month[type] }]} {[{ tData[type] }]}
Download Stats

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/dsp.831.1-0095273/manifest

Comment

Related Items