How to Write a Descriptive Essay on a Sculpture
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But then, talking about pedestals, Monahan, who is a sparky guy in this trialog, erupts with a small essay on sculpture’s place in the world — and art’s place in the world. It’s worth the price of the book. Art is this special thing, Monahan says. It’s not going to change the world…and please, he continues, let’s have fewer installations.
"In this book, I have ventured an initial investigation into onesense in relation to one art and one class of concepts." Herdermakes this summary statement in the fifth and final section of hisessay on sculpture. Part One sets out to define the individualsenses as they relate to the various art forms. In Part Two Herderposes and answers some practical questions about artistictechniques and the effects they produce, always with a view toshowing sculpture's superiority. He compares the depiction ofclothing in painting and sculpture, asks when and where the use ofcolour is fitting and whether the artist should represent uglysubjects. Some questions are less practical, such as the one towhich Herder replies that the forms of sculpture are as constantand eternal as human nature. The last three sections are lessstructured. Here Herder refers to a wide range of works bothancient and contemporary in his discussions of allegory, symmetry,proportion, movement, and perfection. Herder's history of artisticdevelopment and his comparative study of cultures begin from hisconviction that the sublimity of art is divine in origin.With introductions by Professor John C. Welchman, editor of Sculpture and the Vitrine, and Paul Becker, author of , issue 68 in our journal Essays on Sculpture.'Sculpture and the Vitrine' and issue 68 of Essays on Sculpture
6th November 2013
Henry Moore Institute reception, 6-7pmAdapting our course title from Rosalind Krauss's prominent essay on sculpture (1979) but not strictly following its argument, we will pay special attention to ways that architecture intersects newly with art and other disciplines, whether through direct collaboration, cross-referencing, role-swapping, or the engagement of parallel topics or methods. A series of dialogues between internationally known practitioners who work at the interface of architecture and art will form the basis of our discussions. (Five such "Don 18" events plus one "Schwerpunkte" lecture will take place at Cabaret Voltaire and at HIL E67 over the course of the semester --- always on Thursdays at 6pm --- with attendance required of students.)