This project has explored the use of leather as a nonfunctional sculptural medium. The sculptures in this project had their design and construction roots in the historical use of leather for clothing, shelter, tools, and protection. The scultpures differed from leather objects in the past by being solely involved with the aesthetic possibilities of leather and curvilinear relationships, hard and soft oppositions, and surface decoration.There were four sculptures in this project. Each sculpture was built entirely of leather. There were no metal or wood armatures. The construction and the end results of these sculptures depended entirely on the various shaping properties of leather.

It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, Durban, 2004. / This dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel. / M

A writer may choose many points of view in considering works of art. Frequently the work of an artist is regarded purely for its own merit. Or it may be considered in relation to the work of other artists or periods. Here, the writer has chosen to consider certain sculptural works of the English artist Henry Moore in relation to the cityscape and landscape settings in which they have been placed. In order to more fully understand the works, how they relate or do not relate to their settings and what effects the settings have upon them, the thesis has been broken into several major sections which in turn have been further divided. A section dealing with Henry Moore as a man and an artist, the pattern of development which his work has taken, and a clarification of the meaning of his work is placed first in order that the reader may more fully understand the specific pieces when they are considered. This section is followed by a chapter devoted to a generalized discussion of the development of sculpture from earliest times to the present day and its various uses within cities and landscape both in the past and in the 20th century. Continuing the thesis, a number of Henry Moore's major works are discussed. The pieces are considered for their significance within the 'oeuvre' of Moore. They are also considered for their function in relationship to their setting -- cityscape or landscape. Certain of Moore's bronzes have been placed in both landscape and cityscape locations and in these cases it has been possible to consider the relative impact of the works within each type of setting. The pieces are not discussed in chronological order, but rather in the order which best suits both the subject and its setting. Those sculptures which have as their setting, the city, have been discussed first as it is in this environment that sculpture is most frequently found. Several of the pieces have both landscape and cityscape sites and thus provide the transition to the setting of pure natural landscape in which are placed other works of sculptor Henry Moore. Finally, a number of works having the exhibition space in the museum or gallery as their setting are given consideration. In a few cases the pieces are not permanently located. However, most of the works considered are in permanent collections and the landscape or cityscape settings in which they are found today are their permanent sites. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1999.

Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

I begin by describing Western culture in the way proposed by Fritjof Capra whose ideas remain seminal to my argument throughout this examination. I argue that Western value systems are in the midst of a major transformation, exhibiting an increasing Ecological awareness. I define Ecology as an all-encompassing phenomenon which includes the biological definition of the term as well as the practice of environmental, peace and feminist groups and movements. As such it is seen as a philosophy or approach to experiencing the world which has much in common with many spiritual traditions, contentions and intuitions. I concentrate especially on Buddhism and Taoism insofar as they articulate seminal aspects of Ecology. Situating this notion of cultural transformation and Ecology into a South African context, I interpret Waiter Oltmann's sculptures in relation to this, inherently and consciously embracing Ecological concepts and ideas and redressing cultural imbalances with his images and techniques. Andries Botha's work is likewise seen to question cultural imbalances and to pose questions about new and dynamic relationships within society and culture. His work is seen to relate very closely to Capra's ideas. Finally I discuss my own sculptures, noting how they relate to Botha's and Oltmann's works and how I consciously set out to address and articulate ideas pertaining to Ecology and my experience of the world in these terms. I discuss the origins of my images, techniques and materials and the construction of my works, describing how these relate intentionally and intuitively to the ideas which inform my work. My discussion of art making in terms of Ecology intends as much to offer a new interpretation of this art making as it does to illuminate and illustrate aspects of Ecology. In conclusion I situate this argument in the South African context, discussing how my discourse can be seen to enrich and compliment a particularly South African interpretation of these artists' works which could draw on traditional South African or Christian cultures and traditions. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1995.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

Art History, Visual Arts & Music / D. Litt. et. Phil. (Art History)

Art History, Visual Arts and Music / D. Litt. et. Phil. (Art History)