Amit asked:


Born in Seattle in 1959, Stockholder grew up in Vancouver, British Columbia. She studied in the 1970s with sculptor Mowry Baden, whose architectural constructions from that period suggest bridges or passageways and other spaces through which the spectator moves. Baden’s commitment to physically involve the viewer in articulated arrangements of materials in space had a lasting influence on Stockholder. Originally a painter, she progressed from unstretched canvases to painted reliefs of cloth, wood and other materials before making her first large-scale installation in 1983. She received an MFA from Yale University in 1985 and lived in Brooklyn from 1985 until 1999. She is currently director of graduate studies in sculpture at Yale.Stockholder’s works consistently encourage movement around them and entice the spectator to peer behind them. Such curiosity is particularly rewarded by a 1990 sculpture (most studio works are identified only by the year of their creation rather than a title), the front of which is formed by a 5-foot-high rectangular wooden frame resembling stretcher bars with a slanted top. Supported by the frame, a blue panel bears a circular light failure with one red and one white bulb. Concealed by the front of the sculpture, which stands a foot or so away from the wall, is a string of crocheted flowers that dangles from one side of the sculpture’s back and is reflected in a square mirror mounted on the wall. Discovery of the mirror and yarn leads the viewer to another delightful surprise between the wall and the geometric face of the sculpture: a large, free-form concave disk made of papier-mache and painted red like a big poppy.

The concept of sculpture has changed so much in recent decades that most of what is currently classified as sculpture bears little resemblance to the millennia-old tradition of carved or cast figures. Practically any three-dimensional object serving a decorative, esthetic or conceptual purpose is now viewed as sculpture. The shift occurred in the 1960s, when Donald Judd argued that his planar wooden forms were not sculptures since they were neither “sculpted” nor statues. Sculpture, he proclaimed in 1965, “is finished.” In the late ’60s, Earth artist Michael Heizer declared that “the idea of sculpture has been destroyed, subverted, put down.” But sculpture, like painting, refused to die; instead, it was redefined to include the works of the very artists who rejected it.Two major exhibitions of Jessica Stockholder’s work have recently provided the opportunity to consider these issues. A new installation, Sam Ran Over Sand or Sand Ran Over Sam, was created for the Rice University Art Gallery in Houston, while “Jessica Stockholder, Kissing the Wall: Works, 1988-2003″ surveys Stockholder’s portable sculptures, which she calls “studio works.” The latter show debuted at the Blaffer Gallery, Art Museum of the University of Houston, and opens this month at the Weatherspoon Art Museum, Greensboro, N.C. Together, the two shows offered in-depth access to this prolific midcareer artist’s production, which reveals surprisingly little change over the course of 16 years. Throughout, she has maintained a consistent level of energy and formal complexity.

Priyanshu Shrivastava asked:

Wooden crafts carved from fragments of wood have been a popular form of art from the ancient times. The crafts having the flavor of the old world are high valued legacies that embody richness and diversity of the glorious culture and heritage of India. These time-honored creations of wood reflect the impeccable craftsmanship, creativity and artistic acumens of their creators.

Paragon of art and beauty the wooden crafts are the source of inspiration for the young artists and craftsmen. They have also invoked the modern art lovers and decorators with their remarkable finesses, aestheticism and durability. India-crafts one of the pioneering online crafts stores in India presents an impressive array of masterpieces in woods. A connoisseurs delight the variety of wooden crafts is sure to attract your attention. Explore interesting information on this particular kind of craft.

Natural and pure woods serve as the materials for woodcrafts. The texture of the woods plays an important role in the making of crafts. Oak, chestnut, mahogany, pine, maple, teakwood and walnut are commonly used to prepare woodcrafts. The application of woods varies according to the type of crafts.

The grains and textures used in delicate woodcrafts are different from those of heavy and utilitarian crafts. The crafts appear in various colors shapes and sizes. They make for graceful and stylish decorations for the indoor.

One of the most traditional forms of wooden crafts is the woodcarving. Beautiful figurines are carved out from pieces of fine wood with the aid of tools. The themes have regional variations. Deities of gods and goddesses, mythological figures, images of birds and animals, human figures are carved into engaging works of wood.

The wood sculptures with their ornate artistry and workmanship stand as grand mementos and prestigious home decors. Wood burning is another popular form of woodcraft. Beautiful inlays are carved into the woods by burning the woods on fire and applying specific amount of heat. An instance of folk art, wood burning add a rustic charm where embellished.

Spectacular home and office furniture are crafted from woods. Items of utility variety of wooden furniture like beds, sofa sets, tables, chairs, wardrobes, cabinets, chests, drawers, boxes etc. can deck up the spaces of the homes and offices in the most stylish and elegant way. The versatile designs and the medley of colors and craftsmanship celebrate the true spirit of Indian arts and crafts.

The wooden showpieces, vases, photo-frames are wooden crafts in miniature forms. Thy grace the corners of the rooms with their delicate details, meticulousness and refined beauty.

Another very cherished collectible of wood is the wooden boxes. The designed wooden boxes have beautiful woodcarvings, precious metals, stones and miniature paintings inlaid on them. In the early days the elite people used to store jewelries, cosmetics and valuable possessions in these boxes.

Nowadays the boxes are used as showpieces or for gifting. Wooden toys are delightful playthings of the kids. Replicas of animals, vehicles, human and cartoon figures whittled from slender pieces of wood attract kids with their bright colors, dexterity and realistic looks. Painted wooden dolls make for lovely gifts to the tiny tots.

Browse www.india-crafts.com to get more information on Wooden Crafts here.

Alexander Halim asked:

Introduction

Bali is an island, which throughout the ages has been influenced by many other cultures. While Bali’s religious root stems from animism and ancestral worship, Hindu mythology and Buddhism have been major influences. However, regardless of what they were practicing, one factor has always remained constant: “Life in Bali is governed by religion” . Therefore, it comes as no surprise that the art of mask making derived as a religious act, rather than a quest to create aesthetic beauty. Masks thus give form to godly and chthonic forces and are used in theatrical performances to teach adaptations of Indian Sanskrit Texts . In addition, theatrical mask dances are used for, “planting and harvest celebrations and at times of transition in the lives of individuals and communities”. Mask dances, such as Topeng, also discuss politics of the past and present, and morals. I will further discuss the masked dances in another section of this article.

Theatre in Bali, Indonesia is more than a distinguished discipline; it is a performance entwined with every day life. Theatre, like all art, is a part of the religion and culture in Bali; thus all Balinese participate in art in some way. Furthermore, music, dance, costumes, and drama are not separate entities, but rather pieces of Balinese Theatre that rely on each other to achieve their ultimate purpose: Creating unity and harmony between the three worlds. In this article, I am going to discuss Balinese masks and the religious-socio-cultural role they play in Balinese Theatre.

Balinese Beliefs & Mythology

The Bali Hindu religion, the foundation of the ordered Balinese society, pervades every aspect of life. Bali Hinduism, which has root in Indian Hinduism and in Buddhism, adopted the animistic traditions of the indigenes, who inhibited the island around the first millennium BC. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. However, even art shop masks, those wood masks made in an unconsecrated assembly-line manner to be sold to tourist, have been known to become possessed. A former director of Bali’s Art Center has a concise explanation: “If you make an attractive home, someone will want to live in it.” A desirable proposition

According to Bali Hinduism, for every positive principle or constructive force there is an equally powerful destructive forces. These are sometimes referred to as forces of the right (high) and forces of the left (low). The two elements ideally coexist in balance so that neither assumes too much power. Maintaining this precarious equilibrium is a constant preoccupation for the Balinese, who prepare daily offerings to satiate the spirits and keep them under control as well as plead for blessings.

Offerings, or banten, vary according to the nature of the ceremony and whether they are intended for a high or low spirit. They may consist of combination of incense, flowers, old Chinese coins, fabric, betel nuts, arak (liquor), holy water, palm-leaf decoration, and food. The food is not actually meant to be eaten by the gods but functions as means by which the people give back what rightfully belongs to the spirits. The most significant moment in the life of offering is its dedication. After that, what happens to it is important. Consequently, offerings to low spirit, which are left on the ground, are usually scavenged by chickens or dogs. The larger offerings to high spirits are taken back to the family home after residing for a while at the temple, and the edible parts are then consumed by family members.

Balinese temples, embellished with a decorative display of stones carvings, consist of breezy, open air courtyards, surrounded by a wall and entered through a large split gate. Once inside the entrance is a free standing wall (aling-aling). Beyond the wall is a large, open area with many small shrines of various sizes, each dedicated to a different god or goddess. At temple festivals, the normally somber shrines are highly decorated, and worshippers come to pray and dedicate their offerings, then retire to talk with friends. A festival is a highly social occasion, culminating in a live performance of mask dance or puppets presented for all to enjoy-local villagers and guests as well as the spirits of visiting deities and ancestors, and even an occasional tourists.

The dance and masks dramas that are performed at the temples as part of the odalan are considered important offerings to the god and goddess. The deities would be hesitant to attend any birthday celebration where there is no entertainment. A mask dancer makes an offering of his skills each time he performs, in some cases serving in a capacity similar o a priest. Wali dances, those permitted to occur in the inner sanctum of the temple complex, are directed toward the deified ancestors, who are honored guests, and tend to be involved with spirits rather than plot, character, or story.

Balinese Mask Performance

Masks performances have been important rituals on the Indonesian island of Bali for over a thousand years. Although many ancients societies used wooden masks to celebrate their religions, Bali is one of the few places where the ritual art has never disappeared and is, in fact, thriving. Wood carvers are producing more beautiful and more elaborate wood mask than ever, and thousands of people worldwide collect these compelling objects. The proliferation of Balinese artists and performance groups indicates that the tiny island is undergoing a cultural renaissance, the centerpiece of which is the tapel-the beautiful Balinese masks.

Masks may represent gods, animals, demons, or humans and can be whole masks or half masks depending on the dance they are used for. Masks can also be sacred or non-sacred depending on their purpose and preparation. Because the mystical theatre in Bali has captured the attention of so many foreigners to the land, non-sacred masks are made abundantly for sale. However, the best of the mask carvers have not abandoned their calling to create the sacred, consecrated masks when they have a “feeling” to do so.

The Balinese classify the masks of heroes, clowns, and low spirits according to their qualities. The dashing heroes (often incarnation of gods), beautiful queens, and virtuous kings are describe as halus, a Balinese word meaning “sweet,” “gentle,” and “refined.” Low spirits, animals, and brutish types, including antagonist kings, are referred to as keras, or “strong,” “rough,” and “forceful.” There are certain distinctions in between, which usually encompass the clowns and servants.

The three types of wood masks used in these dramas depict humans, animals, and demons. Human-looking masks can be full face or three-quarter face (extending to the upper lip), or can have a movable jaw. They are expected to resemble certain character types rather than specific people. Heroes and heroines are stereotypically handsome, with refined features matched b the movements of the dancers. The coarser a character is, he more exaggerated the features are: eyes bulge, mouths and noses thicken, and teeth become fangs. Color is also employed to reveal character of mask.

Animal masks are mythological rather than realistic. Conscious of the distinction between humans and animal, the Balinese emphasize the difference by designing animal wood masks that seem closely related to demons, even for magically powerful and god-related animals like the heroic and delightful Hanuman, the white monkey of the Ramayana epic. Birds, cows, and even frogs have gaping mouths and horrendous protruding fangs. Protuberant eyes with black pupils stare from golden irises in masks that can hardly be called attractive despite elaborate crowns and earrings.

Perhaps the most exciting wood masks are those of the witches and what are called low spirits. The low spirits, who can be troublesome if no appeased, are sometimes describe by Westeners as demons. This is inaccurate, since low spirits have power to perform good deads and provide protection. The Balinese do not separate the supernatural from the natural. The spirit world is a living force that must be recognize and appeased through rituals and offerings. Because the Balinese grant the masks powers that befit their roles and society, the masks of witches and low spirits are the largest and most grotesque of all traditional masks. The imposing wigs on most of these wood masks magnify the head and stature of the wearer. A basket device attached inside the construction holds it to the wearer’s head. Since the arrangement is relatively unstable, dancers often steady their unwieldy wood masks while they perform.

In some parts of Bali, trance is a frequent part of ritual; elsewhere, it is nonexistent. In Calonarang and Barong mask dramas, trance is common. The subject matter of these dramas is witchcraft, the supernatural, and the battle of positive and negative forces. The major characters, Durga, the Goddess of Death as Rangda, and Barong Ket, Lord of the Jungle, battle with every ounce of magical power they can harness, occasionally assisted by armies.

Kerambitan in southwest Bali is one of the areas known for highly active spirits and the frequencies of trance possession. A dancer who once worked as director of Bali’s Art Center tells a story about the Rangda and Barong masks of Kerambitan, his village: “Our priest had a dream that Rangda and Barong masks must be part of the village temple, so we had them created in the prescribed manner. Once they were brought to their temple home, they began fighting with each other while they were inside their baskets. They created so much noise and tension that the masks had to be separated.” Although the Rangda mask was moved to another temple, the two mask still fought and the Rangda mask was moved to another village. On the mask’s birthday, the day they were both consecrated, they had to be united in the temple again. Rangda was brought from the other village, displayed in the ceremony, and then immediately put away.

Balinese Mask With Supernatural Energy

Masks are regarded as powerful receptacles for wandering spirits. A wooden mask filled with divine energy becomes tenget (metaphysically charged). Made from a particular wood that is cut at specific times, tenget masks are generally associated with a certain number of rituals. Wooden masks in a tenget state may lose some of their special energy over time and need to be “recharged” in a special ceremony Initiations of renewed or new masks, called pasupati, can involve as many as ten days of feasting, performances of dance and Wayang Kulit (shadow puppets), cockfights, and processions. A high priest is called to officiate the exact moment when the “body” of the wood mask separates from the “head” (spirit) and the god inhabiting the wood mask is “sent home”. After the newly vitalized mask is returned to the temple, another set of ceremonies is held to invite the spirit back to the wood mask. The powerful mask of Durga, Goddess of Death and Black magic, and sometimes called Rangda is occasionally tested to see if its power is still burning. If explosions of fire come from the eyes, ears, head, nose, or mouth of the mask, it is considered sakti (sacred or powerful). It is placed in the village cemetery in the middle of the night during an especially auspicious time called Kanjeng Kliwon Pamelastali, a powerful time when spirits are present and must be acknowledge with offerings.

Sacred wood masks are never displayed on walls as works of art as in Western homes, but are kept in simple fabric bags with drawstring tops. The color of the bag is important-whether yellow, white, or black-and-white checked-because color symbolism affects the spirit of the wood masks. Once encased in the bags, the wood masks are placed in baskets, which in turn are stored within the temple complex. If a wood mask belongs to an individual, it will probably be kept inside the family temple. Sacred wood masks are only displayed for their birthdays, which will be apart of an odalan, or temple festival. Dancers unveil their wood masks when commissioned to perform at an odalan. Only rarely is a wood mask uncovered in order to be reconditioned: the paint refreshed, worm holes filled, and gold leaf touched up. This is never done casually, but in conjunction with elaborate rituals.

Masks made from the same tree are felt to have family ties. When a tree produce a knot like growth, it is called beling, which means “pregnant.” Care is taken not to damage the tree, and when the cut is made, a special ceremony is held to appease the spirits of the tree. If these rituals are not followed, a spiritually powerful tree could use its energy to cause destruction. In Singapudu village, home of two Bali’s most renowned woodcarvers, wood is no longer taken from an especially tenget tree that grows at the edge of the village. Two priests performed the requisite ceremonies before removing wood, but within a week both died of mysterious causes.

Conclusion:

Through this brief examination of Balinese Masked Performances, it becomes clear that the elements of theatre, the story, the masks, the performance, are all special and require much preparation. Balinese masks that are used in religious ceremonies have great concentrations of power and, therefore, must be treated very carefully. Woodcarving masks used in traditional dance and drama performances, even if not sacred, also must not be handled casually

It helps to understand that to the Balinese, there is not the same differentiation that we in the West make between animate and inanimate objects. Everything contains spirit. When you consider that some of the woodcarving masks represent evil spirits, such as Rangda, queen of the witches, or that some represent gods or mythical protectors, such as the Barong, it is a big responsibility to wear these woodcarving masks and blend with these powers. This is usually done either in ceremonies or as part of acting out the great dramas that derive mostly from ancient Hindu epics. In Bali, it is customary that the dramas will end with neither side “winning” out over the other – instead, there is a restoration of the harmony between the good and evil forces, which, according to Balinese belief, must be kept in balance.

When someone from the West puts on a mask, he’s usually pretending to be someone else. But in Bali when someone puts on mask, especially a sacred mask, he becomes someone else. The mask has a life force – a spiritual magic. A sacred mask is considered to be literally alive, and when the performer puts it on, the mask’s power also enters his body. The Balinese world is filled with magical power. Objects that we as westerners would normally consider to be devoid of the ability to exert influence on other objects or people to them may possess a mystical force.

By examining the craftsmanship of these masks, it is crystalline why Bali is famed for its beautiful masks and masked dance performance.

Jeff A Hardy asked:

Summer time is the beach time. And if you want to make it a fun time too, there’s nothing great than making a sand sculpture. It will take only some time, patience and tools, apart from, of course, sand- and you can make sand sculpture that can compete with any professional sand sculptor’s work.

Tools Needed for Sand Sculpture

You’ll need only some basic tools that can be collected from kitchen or your home tool sets.

Shovel: A long-handled shovel with a small scoop is a must.

Carving Tools: Simple tools- masonry trowels, spatulas, apple corers, chisels, Popsicle sticks, spoons, knives, pastry brushes, melon ballers- all will do.

Spray bottle with water: You’ll need it to keep the surface wet to avoid crumbling.

Bucket: You might need it to carry water for making sand more wet.

Finding the Right Location

You need a good location where you can get fine-grained, silty sand as it works the best. Search for the high-tide line, a spot where the darker, wet sand shifts to white sand that blows easily. Set up your construction site just up hill from it. You’ll have to dig a hole down to the water table. If you dig too far from the shoreline you’ll have to dig a very deep hole but if it’s too close, it might get wiped out by waves or incoming tides. Also ensure an easily accessible water source, you might have to bring some from time to time.

Test the sand by picking up a fistful of wet sand and compress it into a ball or a roll. When released and rolled, if it remains fairly intact, it’ll work but if it disintegrates, it’s not good for sand sculpture. An alternative option for digging a hole is to mix the sand and water in a bucket and build out of it instead.

Basic Methods for Building Sand Sculptures

Compaction is what make sand stand. There are three basic ways to compact sand- softpack, Handstacking, and using forms.

Softpack: packing and patting moist sand into a mound that roughly resembles the shape you want to make.

Handstacking: Setting the wet sand with gentle pressures by hand helps one achieve higher structures while letting water and gravity do the compacting.

Forms: Using some kind of mold or frame is good for getting perfect shapes. Forms can be anything like a wooden box or plastic trash can with no bottom.

Professional sand sculptors generally use a combination of all the three methods.

Construction of Sand Sculpture

Use your hands to scoop out a large doublehandful of very wet sand from the bottom of the hole. Pull the sand towards you. Move the sand fast so that the water is not lost before reaching its destination. Start making your sand structure, say a castle, on top of the mound of sand that has been dug from the hole.

For making towers, flatten the wet sand into pancakes by jiggling them with gentle pressure with the aim of distributing the water consistently through the patty so it settles into and binds to the patty below. Stack sand patties piled on top of each other. Use smaller handfuls at higher portions so that the tower tapers at the top and doesn’t get top-heavy and fall over before carving is started.

For making walls, hold the sides of wet sand between flattened hands and jiggle so that the sand takes a brick shape. Lay bricks end to end for the required length of the wall, then lay another layer on top, repeating until you reach the desired height.

Carving the Sand Sculpture

When the rough structure is ready for carving, start working from the top. Work down, and always carve outward to retain structural integrity. Remove like amounts of sand from all sides of the sculpture. Never attempt to complete one side at a time. First build a simple shape as the main structure and add sand later for other structures.

Admire your creation and if you are afraid that your sand sculpture will be washed away, then you can also make permanent sand sculpture. Just give it a try and keep your creation forever!

Kathryn Dawson asked:


Tribal art has been part of African culture for more than 6,000 year. There are hundreds of tribes in Africa and each one of them has their own unique style of art forms adding wide diversity to African tribal art. The best known of the forms of African tribal art are:

1. Sculpture

Most of the African sculptures are done in wood. Often in these wooden sculptures, artists depict the spirits of deceased people. Features like the symmetric ****** expressions, strong, unmoving posture, and portrayal of humans in the prime of life, large heads, and prominent navels can be noticed in the wooden human sculptures.

2. Pottery

The beauty of the African artwork can also be noticed in the traditional utensils and various pottery items. Hand made vases, pots, plates and bowls made of clay were further painted by artists to make each of the items more appealing. Along with wood and clay, some terracotta pieces of genuine antiquity have also been found which tell us about the ingenuity of these ancient people.

3. Jewellery

Items like earrings, neck pieces, bracelets or other jewelry pieces of African tribal society are one of a kind and have a genuine ceremonial or daily usage background. Hand crafted jewelleries, made from elephant hair, giraffe hair, lion claw, ivory, bones of animals, are not only beautiful but also unique in their own way.

4. Masks

Now let’s move on to masks. Who does not know about African masks? In most of the traditional dance forms, dancers wear masks. In fact ritual African costumes remain incomplete without masks. Face masks are used during processions, local festivals and other celebrations and even at funerals. There are even tribal masks of African animals such as elephants, zebras and antelopes.

5. Paintings

African painters use highly abstracted and regimented visual canons along with different shades of colors to represent the qualities and characteristics of any subject. Nature is the most common subject in African paintings.

In many of the African tribal art forms, artists try to capture the various forms of animals and plant life. However, the unifying theme is the fascination with the human figure. There are some famous painters of the Western world who were highly influenced by African paintings such as Gauguin, Modigliani, Van Gogh, Matisse, and Picasso.