Soft Sculpture And Other Soft Art Forms
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Soft Sculpture And Other Soft Art Forms
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Author : Dona Zweigoron Meilach
language : en
Publisher:
Release Date : 1974
Soft Sculpture And Other Soft Art Forms written by Dona Zweigoron Meilach and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1974 with Soft sculpture categories.
Soft Sculpture And Other Soft Art Forms With Stuffed Fabrics Fibers And Plastics
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Author : Dona Z. Meilach
language : en
Publisher:
Release Date : 1977
Soft Sculpture And Other Soft Art Forms With Stuffed Fabrics Fibers And Plastics written by Dona Z. Meilach and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1977 with categories.
Soft Sculpture And Other Soft Art Forms With Stuffed Fabrics
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Author : Dona Z. Meilach
language : en
Publisher:
Release Date : 1974
Soft Sculpture And Other Soft Art Forms With Stuffed Fabrics written by Dona Z. Meilach and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1974 with Sculpture categories.
Soft Sculpture
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Author : Carolyn Vosburg Hall
language : en
Publisher:
Release Date : 1981
Soft Sculpture written by Carolyn Vosburg Hall and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1981 with Art categories.
Soft Sculpture And Beyond
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Author : Jutta Feddersen
language : en
Publisher: Craftsman House (AU)
Release Date : 1993-01
Soft Sculpture And Beyond written by Jutta Feddersen and has been published by Craftsman House (AU) this book supported file pdf, txt, epub, kindle and other format this book has been release on 1993-01 with Art categories.
Soft Sculpture
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Author : Lucina Ward
language : en
Publisher:
Release Date : 2009
Soft Sculpture written by Lucina Ward and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2009 with Sculpture, Modern categories.
SOFT SCULPTURE looks at the ways artists use unconventional materials and methods to challenge the nature of traditional notions of sculpture. It includes works by American and European artists Eva Hesse, Robert Morris, Claes Oldenburg, Robert Rauschenberg, Joseph Beuys and Annette Messager as well as works by Australian artists such as Mikala Dwyer, David Jensz and Ricky Swallow
Material Difference
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Author : Polly Ullrich
language : en
Publisher: University of Washington Press
Release Date : 2006
Material Difference written by Polly Ullrich and has been published by University of Washington Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2006 with Art categories.
Pictures sculptures of the human form constructed of thread, sticks, cantaloupe peels and beads
An Intimate Affair
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Author : Jill Fields
language : en
Publisher: Univ of California Press
Release Date : 2007
An Intimate Affair written by Jill Fields and has been published by Univ of California Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2007 with Business & Economics categories.
Presents the history of twentieth-century lingerie. This book examines the ways cultural meanings are orchestrated by the 'fashion-industrial complex, ' and the ways in which individuals and groups embrace, reject, or derive meaning from these everyday, yet significant, intimate articles of clothing.
From Soft Sculpture To Soft Ware Webbing And Interlinking The Material History Of Women S Practice
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Author : Cevahir Özdoğan
language : en
Publisher:
Release Date : 2019
From Soft Sculpture To Soft Ware Webbing And Interlinking The Material History Of Women S Practice written by Cevahir Özdoğan and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2019 with Art, Modern categories.
"The material history of women s craft precipitates and generates a model for soft resistance in responding to the hard, masculine, patriarchal world. Through an articulation of softness softening materials and technology we can restructure our relationship to hard, material impositions and carve new soft, interwoven, communal-communicative spaces. The opposition is subject to power. Shifting the position of women s craft from striving towards entering and simulating male spaces is a way of manipulating intersectionality. In this particular case, there is a certain intersection and interdisciplinary culture that occurs. On the other hand, what fascinates me in terms of materiality, is that the softness and hardness relationship is polarized by gender-based material and gender mainstreaming. The environment we are living is designed by humans through materials and tools that have been changing continuously. In early history, humans divided themselves by daily duties based on their gender role. There were many domains of this division but one of the elements that interests me is softness and hardness. At that point, the characterization of gender and material create the power balance. Feminizing male material through technology, sculptural and constructive materials (hard) as well as digitizing female material (soft) is the core of the thesis. As a result of the transverse of the material we see the non-binary aspect in my works. Technology is inherently masculine because it is always related to power. Particularly, a computer is a woman-made tool, however it is shown as an inherently male tool. There is an extremely strong relationship between soft-ware and soft-art made and shaped by women at the very beginning. However, hard power (masculine) conquered the tool to use for oppression of women. In my practice, using computer soft-ware is a way to take the tool back and women's soft-empowerment. Soft forms adapt to the body, connect with bodies. However, hard forms impose themselves on the body. If 'softness' is a role that is supposed to be adopted by gender, it is definitely supposed to be internalized by all genders as a soft ideology and as a principle of non-binary identities. In this thesis, I started to research the Anatolian Goddess to understand the history of women's craft practice in the particular region where I am from, in conjunction with that history, especially with regard to materials and tools, softness and hardness, woman and man, tradition and technology. It can be seen in this combination as a concern from my wall pieces. I used wood made of laser cut (software) and fur yarn knitting (tangible softness) behind the wood piece. However, the knitting yarn comes out of the wood with the soft body. This wood can be considered more masculine and the fur-knitted yarn is inherently belong to women's practice. In this piece I show the history of women's technological creation and invention behind the history hidden by patriarchy. The next chapter will examine this more closely. The tools we have now are the most efficient ways of effecting positive change and creating space where women can collaborate organically. The space is either cyber or physical potentiality. And the possibility of access by women that is community, national, and international. The most important point revolves around the communities of women crafters organized around technological crafting methods thanks to the internet, accelerated modes of communication, and the distribution and accessibility of new tools for crafting. It is in these spaces that new modes of making are explored, as well as the formation of strong feminine communities that, through their making, can imagine and build a world beyond the patriarchy."--Artist's abstract
From Hard To Soft
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Author : Hanna Shim
language : en
Publisher:
Release Date : 2016
From Hard To Soft written by Hanna Shim and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2016 with Femininity in art categories.
Repressive masculinity is understood as the nature of sculpture, while sculpture’s fundamental states — molded, carved, constructed, surfaced and hard —are then thrown back upon maleness. It was amongst apotheosis of Modernism when amorphousness started to trespass the circuit of masculinity. Right after Salvador Dali signalled the start of the soft genre with his portraiture of the melting watch in The Persistence of Memory, 1931. Soon, the soft object appeared in three-dimensional forms — ‘Soft Sculpture’. Soft sculpture is the type of sculpture made using soft materials like fabric, rope, foam, rubber, plastic, latex, vinyl, fur, felt, paper, fibre and similar material that are supple and nonrigid. This kind of materials consists little of the freedom from the terror of the formless. It dangles, flops and piles up. It does not resist gravity. It is the direct confrontation of natural forces. Soft sculptors must deal with its softness. Soft material evokes certain sensation — forms that are persistent rather than rigid or permanent, and objects that are soft to touch which contains the visceral qualities of the body, that somehow all retains the “memory” of form. In the 1960s the industrialisation and mass production propelled artists to use these nontraditional art materials and often instills with craft and textile skills. Because the material itself has the significant history associated with women and women’s role, it had to endure gendered (feminine) bias. This study investigates the general materialism of soft sculpture — how the style transfigured from 20th century’s image of rationality; its anti-form quality; and the hierarchy of the ‘low’ craft and ‘high’ art world which derive from the gendered bias. I challenged myself to confront the obstinate material with things and bodies that it must regulate or exclude: in particular, bodies in the transition form one state to the next, from male to female, hard to soft.