Goals: 1. Skill Based: To understand and create a relationship with clay and its different stages, i.e. wet, leather hard, bone dry, bisque, and glazed. And also learn some basic firing techniques 2. Visual: To enhance your awareness of form and surface in utilitarian and sculptural ceramics. 3. Conceptual: To build on your basic knowledge of historical and contemporary ceramics from around the world and begin personal research.
Wednesday, October 26, 2011
Claes Oldenburg
Like any type of art form, the perspective of a piece changes drastically when seen in person. I have been fortunate enough to see (and climb on) a couple of originals by the man. When seen in photographs, sometimes his work may be thought of as cute or even cliche, but when seated atop a 1,200lb cherry, 24 feet of the ground, cute is the last thought in my mind.
Although some of Oldenburgs work is a bit too 'pop' for me, i do admire the aspect in his use of the every day. Whether its a10 ton clothes pin, or a flashlight the size of a lighthouse, this man has a way of forcing us to look at common objects in a new light.
Outside of his large scale public displays, Oldenburg also has a series of 'soft' art that i find fascinating. The most appealing to me is his soft bath tub. Here, he has taken a common household piece, one that has a very general, defined shape and texture, and defied them both.
Distort my reality please.
Tuesday, October 18, 2011
Journal #4 Kayla Rodriguez
Claes Oldenburg later met write Coosje van Bruggen and together they created many large-scale projects outdoors all around the United States and Europe. This is one example of a piece they developed together outside of the Nelson-Atkins Museum of Art in Kansas City, it is called “Giant Soft Shuttlecock,” and it was made in 1994.
In the majority, if not all, of Claes Oldenburg’s work both male and female forms are expressed, along with eros, death, power, and desire themes. An example of another piece Oldenburg created expressing these themes was that of the Lipstick (Ascending) on Caterpillar tracks made in 1979. This piece clearly expresses man and woman, desire and death, and so much more.
Claes Oldenburg’s works ranged from abstract human beings to the most common things. He didn’t really limit himself to any particular, and that is what makes him so interesting to me.
http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Claes%20Oldenburg
http://artnetweb.com/oldenburg/scale.html
http://artnetweb.com/oldenburg/bio.html
Journal Assignment #4
Claes Oldenburg:
He was originally from Sweden but his art became extremely popular
Claes moved to the United States from Sweden and attended Yale Unin the United States because of its originality and pop art type of “soft sculpture”. He is well known for his giant sculptures based off real life objects. I was intrigued by a specific sculpture of a stamp that said FREE on it. Apparently there are many peop
le that are huge fans of this piece of Claes’s.
iversity but soon left and transferred to the Art Institute of Chicago.
I found the picture of the spoon and cherry intriguing because of the enormity and the creativity. I have literally never seen a spoon that size. It is almost like he is trying to break some guinness world records with the si
zes of his sculptures.
The bitten apple is appealing to me because of the texture of it and what it seems to be made of what looks like p
aper machet. I think it is just random that he thought to make a dried up bitten apple.
The bike wheel is interesting because it see
ms to be coming out of the ground. It looks like an old wheel that has been overgrown with grass. It almost looks like its made to be a childrens playtoy.
Journal Assignment #3
Bowls:
Looking at the four artists, Warren Mckenzie, Shoji
Hamada, Linda Arbuckle, and Suze Lindsay, they each have a different approach to what they like to create.
Warren McKenzie:
His main objective was to keep his pots as low a price as possible so they would be more accessible to the public. Many of his pots are currently in museums! His ultimate goal he stated was to make everyday pots. Many of his pots are bland colors with a more unfi
nished look.
Many of his pots have impurities that make them seem more artistic. He puts grooves into the sides as well as thin frames on his bowls.
Shoji Hamada:
His bowls are very simplistic. He uses the “corners” of the bowl when painting. He uses the space on his bowls evenly when panting. They are also mostly the same shape that I saw when I googled him. He has shallow bowls with a thicker rim. His bowls are more aimed toward what they call “drinking bowls” instead of soup or cereal bowls.
Suze Lindsay:
Suze’s ceramics are very contemporary and designy. She uses the whole space for her artwork on it; she also has several pieces where she purposely puts cracks into her bowls. She is extremely creative and makes her pieces with a lot of the same color and patterns.
Linda Arbuckle:
Linda seems to be greatly interested in plants on her bowls. She paints fruits and flowers and leaves on everything. The color pallet she uses is filled with yellows, greens, reds, purples and oranges. She does not seem to stray much from that. Her bowls are multi purpose and could be easily used in an every
day setting!!
Monday, October 17, 2011
#4 Journal entry on Clause Oldenburg by Haemi Jung.
Journal Entry #4: Claes Oldenburg
Claes or Claus by Joe Savidge
Claes did meet resistance with this piece he erected outside a Kansas City art museum. He incorporated a previous feather idea into the set of shuttlecocks littered about the grounds, which he realized upon an aerial view resembled a grassy tennis court. There is a shuttlecock in the back left of this picture. Also, on the other side of the museum is a shuttlecock that must've been hit quite hard. After a fair amount of hoopla, Claes was able to go through with the project, without incident, and the museum offered art history classes to people educate the opposition.
Industry has been bent in this work, whose shape actually matches the water fountain in the background. This makes me think of industry-meets-nature, episode 7, who will win? I think the piece to be optically pleasing and probably climbable. Reminds me of some of the random metal objects Central has around its campus.
http://www.oldenburgvanbruggen.com/ this is a good website to look at Claes' art with his partner or wife or muse or whoever she was. There are his artist statements on the work he's created. This work is in the Netherlands. What a kooky piece of art. The yellow was chosen to brighten up the area's consistently gloomy weather. What happens when an individual in the depths of a hallucinatory drug binge walk across Claes' art? I'm too frightened to extrapolate.
J. Entry #4
Born in Switzerland in 1929, his family moved to Chigago and Oldengburg attended the Latin School of Chicago. Later he attended Yale University from 1946 to 1950. He is well known for his large sculptures. He takes an everyday object and makes it big enough that his art is mostly displayed outdoors. His wife and him do many collaberatios together including Lipstick (Ascending) on Caterpillr Tracks.
***Blog site is having trouble with pictures apperently. It is not letting me post any of them...
Journal entry 4 (Michaela)
Claes Oldenburg is a Swedish sculpter who best is known for his large scale renditions of everyday objects. He took classes at The School of The Art Institute of Chicago, after this is worked on his sculpting part time and also held a job as a reporter. In 1953 Claes Oldenburg opened his own studio and became a United States citizen. Oldenburg did a lot of work in conjunction with his late wife, Coosje Van Bruggen. Many of his works of art are placed outdoors for decoration because they are so large.
Claes Oldenburg Post #4
Journal Entry #4
Journal Entry #3
journal # 4 claes
here are only a few of his famous large sculptures and also some of his smaller ones as well.