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reading 1

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Reading 2
Here is a digital copy of the Khan Academy Article on Rodin.  Please take some time this weekend to read it one more time. Focus on how Rodin used OBJECTIVE Formal choices in Outline and Surface, Density, Openness, and Activity to convey SUBJECTIVE moods or feelings to his viewers to tell a story in a figurative monument.

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Rodin, The Burghers of Calais (article) | Khan Academy

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Plaster Carving

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Unique Forms _ Boccioni

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The Futurists wanted art to break from the Classical and Renaissance styles still dominant in Italy at the start of the Twentieth Century. For some, Unique Forms of Continuity in Space shows a figure striding into the future. Its undulating surfaces seem to transform before our eyes. About fifty years after Charles Darwin introduced the theory of evolution and about thirty years after Nietzsche described his "super-man," Boccioni sculpted a future-man: muscular, dynamic and driven.

The face of the sculpture is abstracted into a cross, suggesting a helmet, an appropriate reference for the war-hungry Futurists. The figure doesn't appear to have arms, though wing-like forms seem to emerge the rippling back. However, these protrusions are not necessarily even a part of the figure itself, since Boccioni sculpted both the figure and its immediate environment. The air displaced by the figure's movement is rendered in forms no different than those of the actual body. See, for example, the flame-like shapes that begin at the calves and show the air swirling away from the body in motion.

This idea of sculpting the environment around a figure is expressed in Boccioni's "Technical

Manifesto of Futurist Sculpture" (1912) and shows the influence of the sculptor Medardo Rosso, an Italian contemporary of Auguste Rodin who worked in Paris (and who was becoming more popular back in Italy in this period thanks to the efforts of sometime-Futurist Ardengo Soffici. Rosso made impressionistic plaster or bronze busts, covered in wax, of people in Paris, in which the figures merge into the space around them, as seen in his Impressions of the Boulevard: Woman with a Veil, 1893. Unique Forms of Continuity in Space has also been compared to Rodin's armless Walking Man of 1907.

Unique Forms is one of a series of sculptures of striding figures that Boccioni created in 1913. Up until 1912, Boccioni had been a painter, but after visiting

Paris and the seeing sculptural innovations like Braque's three-dimensional Cubist experiments in paper, Boccioni became obsessed with sculpture. His striding sculptures continued the theme of human movement seen in his paintings such as Dynamism of a Soccer Player, 1913.

Movement was a key element for Boccioni and the other Futurists, as the technology of transportation (cars, bicycles, and advanced trains) allowed people to experience ever greater speeds. The Futurist artists often depicted motorized vehicles and the perceptions they made possible-the blurry, fleeting, fragmentary sight created by this new velocity.

Unlike fellow Futurist Giacomo Balla, who used repeated forms to represent movement, in work such as Dynamism of a Dog on a Leash (1912), Boccioni synthesized different positions into one dynamic figure. Although Unique Forms of Continuity in Space is the most famous Futurist sculpture, there are some aspects of the work that do not fit neatly with the artists' declarations. For example, three years before he made this sculpture, Boccioni and the other Futurist artists had banned the painting of nudes for being hopelessly mired in tradition-and Unique Forms is a nude male, albeit one abstracted through exaggerated muscles and possibly shielding its head with a helmet.

Boccioni also breaks rules from his "Technical Manifesto of Futurist Sculpture" where he declared that Futurist sculpture should be made of strong, straight lines, "The straight line is the only way to achieve the primitive purity of a new architectonic structure of masses or sculptural zones." Clearly, he had not yet recognized the potential for the dynamic curves so powerfully expressed here. His manifesto also states that sculpture should not be made from a single material or from traditional materials such as marble or bronze.

Boccioni produced several mixed media sculptures and the original Unique Forms of Continuity in Space, was, like the majority of his sculptures, made of plaster. The bronze versions we are so familiar with are casts made long after the artist's death in 1916. The original white plaster sculpture, today in São Paulo, looks more transient and delicate than the later bronze casts, and is thus far more fitting for Futurism, since many Futurists claimed to want their works of art destroyed by more innovative artist successors, rather than preserved in a museum.

Unique Forms appears on the Italian 20-cent Euro coin and is both Futurism's most famous symbol and a reminder that the movement itself was dynamic

and did not always follow its own declarations. The Futurists sought to clear away the legacy of art's history so that the future could come more quickly, but Unique Forms has often been compared to the ancient Greek Nike of Samothrace and Gian Lorenzo Bernini's Apollo and Daphne. The Futurists wanted to destroy the museums, but in the end, their work was added to the canon of Italian sculpture.

"Museums: absurd abattoirs for painters and sculptors who ferociously slaughter each other with colour-blows and line-blows along the disputed walls!"

-F.T. Marinetti, "The Founding and Manifesto of Futurism," 1909

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Umberto Boccioni, Unique Forms of Continuity in Space (article) | Khan Academy

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Learn for free about math, art, computer programming, economics, physics, chemistry, biology, medicine, finance, history, and more. Khan Academy is a nonprofit with the mission of providing a free, world-class education for anyone, anywhere.

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Gabo + Pevsner

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Credits

Executive Producer: Tina Kukielski. Series Producer: Nick Ravich. Directors: Rafael Salazar & Ava Wiland. Producer: Ava Wiland. Editor: Thomas Niles. Director of Photography: Rafael Salazar.

Production Coordinator: Ife Adelona. Curatorial Assistant: Danielle Brock. Advising Producer: Ian Forster.

Title Sequence & Typography: Afternoon Inc. Composer: Joel Pickard. Narration: Carrie Mae Weems. Additional Photography: Rehana Esmail, Christoph Lerch, & Anne Misselwitz. Aerial Camera: Martin Paschkowski. Sound: Jaime Guijarro-Bustamante. Additional Sound: Rasmus Damsgaard, Marc Parisotto, Fokke van Saane, & Ava Wiland. Production Assistant: Flavia Barragan Clavero, Claudia Gülzow, Tim Oppermann, & Manuel Schmit.

Digital Intermediate: Blue Table Post. Post-Production Producer: Oliver Lief. Colorist: Natacha Ikoli. Re-Recording Mixer & Dialogue Editor: Rich Cutler. Additional Animation: Andy Cahill. Assistant Editor: Caroline Berler, Adam Boese, Maya Elany, & Jonah Greenstein. Technical Evaluation: Pillar To Post. Translation: Rehana Esmail & Ridwan Zebari.

Artwork Courtesy: Nathalie Djurberg & Hans Berg, Olafur Eliasson, Hiwa K, Susan Philipsz, KOW, Lisson Gallery, & Tanya Bonakdar Gallery. Eliasson Artwork: "Cirkelbroen," Copenhagen, 2015; "Din blinde passager (Your blind passenger)," ARKEN Museum of Modern Art, Copenhagen, 2010; "Ice Watch," Place du Panthéon, Paris, 2015; "Map for unthought thoughts," Fondation Louis Vuitton, Paris, 2014; Rainbow assembly, Leeum, Samsung Museum of Art, Seoul, 2016; "Reality projector," Marciano Foundation, Los Angeles, 2018; "Riverbed," Louisiana Museum of Modern Art, Humlebæk, Denmark, 2014; "Sphere," Fünf Höfe, Viscardihof, Munich, 2003; "The weather project," Tate Modern, London, 2003; "Umschreibung," KPMG Deutsche Treuhand-Gesellschaft, Munich, 2004; "Vejr i vejret," Ordrupgaard Kunstpark, Denmark, 2016; "Wirbelwerk," Lenbachhaus, Munich, 2011; "Your rainbow panorama," ARoS Aarhus Kunstmuseum, Denmark, 2011; "Your split second house," 12th International Architecture Exhibition of La Biennale di Venezia, Venice, 2010.

Archival Materials: 47 Film / Andy Cameron; BBC Motion Gallery / Getty Images; Critical Past; Footage of Olafur Eliasson's "Waterfall, Versailles, 2016 by Barbara Fecchio, Courtesy of Sculpture Nature; Internationale Filmfestspiele Berlin; Newsroom GmbH / Max Roehrle; NPR; Olafur Eliasson interview courtesy Public Art Fund; Pond5; SHIMURAbros; Studio Olafur Eliasson; Transit Film; & Walker Art Center / Andy Underwood.

Additional Art21 Staff: Maggie Albert, Lindsey Davis, Lolita Fierro, Joe Fusaro, & Jonathan Munar. Interns: Diane Huerta, Esther Knuth, Sunny Leerasanthanah, & Kristopher Neira. Public Relations: Sutton. Station Relations: De Shields Associates, Inc. Legal Counsel: Barbara T. Hoffman, Esq.

Special Thanks: The Art21 Board of Trustees, Leila Akhmetova, Bakir Ali, Bettina Bärnighausen, Sebastian Behmann, Finn Bergquist, Thomas Blees. Rainer Brennecke, Johanna Chromik, CityQuartier FÜNF HÖFE, De Appel, Ina Dinter, Documenta 14, Joel Draper, Caroline Eggel, Jeremy Eichenbaum , El Otmani Gym, Anna Engberg-Pedersen, Emilie Engbirk, Anna Fedotova, Guillermo F. Florez, Annie Claire Geisinger , Glasgow International Festival of Visual Art, Nora Gomez-Strauss, Marina Greiner , Felix Hallwachs, Christine Hauptsummer , Haus der Geschichte Österreich, Lauren Jack, Patricia Kamp, Wanås Konst, KPMG Deutsche Treuhand-Gesellschaft Munich, Camilla Kragelund, KW Institute for Contemporary Art, Sharron Lee, Clara Jungman Malmquist, Julia Jungman Malmquist , Marciano Art Foundation, Augustin Maurs , Eoghan McTigue, Alan Miller, Elisabeth Millqvist , Museum Frieder Burda | Salon Berlin, Nationalgalerie im Hamburger Bahnhof, Alexander Psavke, Sara Roffino, Schlossmuseum Sondershausen, Emily Skeppner, United States Holocaust Memorial Museum, Niels Van Tomme , Lucie von Eugen, Jill Vuchetich, Wanås Konst, Sven Weigel, Wolfgang Wenke, Robin Woerlen-Leikam, Michaela Zach, & Katja Zeidler.

Series Created By: Susan Dowling & Susan Sollins.

Major support for Season 9 is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, Ford Foundation, The Andy Warhol Foundation for the Visual Arts, The Anna-Maria and Stephen Kellen Foundation, The Horace W. Goldsmith Foundation, Toby Devan Lewis, Nion McEvoy, and The Phyllis C. Wattis Foundation.

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Since the 1990s Berlin has become a haven for artists from all over the world-a free zone where experimentation, individual expression, and international influences converge. The artists in this episode demonstrate the diversity of practice and sensibilities in the German capital, expose its complicated history of war and migration, and convey hopes for finding systems that foster a better tomorrow.

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Robert Irwin + Friends

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vance + octavia Shadow Pics
Olivia + Mia Maquettes

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Vance
Octavia

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Positive Negative Digital Sculpture Due May 1

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Positive Negative Digital Sculpture Due May 1

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Tinkercad is a free, easy-to-use app for 3D design, electronics, and coding.

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make a tube 4" in Diameter

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3D design Vance_Inflatafungus | Tinkercad

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Tinkercad is a free, easy-to-use app for 3D design, electronics, and coding.