Scenario An environmental charity is developing a campaign to raise awareness of the limit to the world’s resources. Artists and designers have been asked to develop a sculpture made from recycled materials for an exhibition that aims to promote awareness about recycling, sustainable living and eco – friendly practices.

P1: List 6 different artists who use recycled materials. 3 historical / 3 modern (contemporary)

M1: Explain why each of these artists uses this type of material and explain the meanings and messages behind the work.

D1: Compare and contrast the artists you have chosen. How are they similar / different to each other.

P3: Present information about the artwork in your own words.

M3: Your information should be detailed and you should explain your opinions about the work.

D3: Present imaginatively written information, giving your opinions about the work studied. Compare and contrast artists .

Use PowerPoint or Publisher

Send to print to RL6 and save in Student Shared Area – Art –

BTEC ARTIST HAND IN

http://www.andrewchase.com/index.php?p_resource=furnishings

Green Fiesta Jellyfish Lamp

David Edgar

Julia Anne Goodman

Another fan of junk-mail as material, Julia Goodman creates massive sculptures of recycled paper that’s been sculpted and cut, and mashed into a pulp before being reformed. She began making her own paper in 2003, which eventually led to her fascination with recycling paper in her art works. Goodman’s “Certain is Nothing Now”, is crafted entirely from locally collected blue junk mail, and shaped into a tornado-like vortex that likens paper waste to the incredible mess and destruction left behind by one of those terrible storms.

Miwa Koizumi

With a heat gun and some trashed water bottles, Miwa Koizumi created a small aquarium of “PET”s (PET standing for the polyethylene terephthalate plastic material from which her sea creatures are made), playfully “adopting” abandoned recyclables. Though her creatures seem light and playful, they are perhaps are intended to reference the countless plastics that end up in our oceans, and become artificial staples of our coastlines.

Sumer Erek

Sumer Erek‘s “Newspaper House” is exactly that: a house constructed out of used newspapers. To him, a house is a “repository for nationhood, identity and belonging”; in using old newspapers as materials, not only did he grant new life to the tired paper, but he also used the words and images they contained to become part of the structure that would house the identities of all those who had lived through the experiences the papers described

Caroline Saul‘s passion for transforming discarded objects destined for landfills has led her to create a whole series of “Bulbous forms” made of melted, reformed, and stained plastic materials. Through their transformation, they obtain a delicate softness that the hard plastics lacked in their first lives.

Nearly 10,000 plastic spoons and a third as many rubber bands went into Jill Townsley’s “Spoons”. Where normally a disposable spoon is only eaten with once before being discarded, her massive pyramid will last to demonstrate the sheer volume of what to the entire world may seem like only a small amount of waste. Her site also has a time-lapse video of the structure collapsing into a pile, not unlike a miniature landfill.

Kathrine Harvey‘s sculptural installations are composed of empty bottles and packages, and other cheap items intended for single use. Plastic trays cascade out of the top of her “Fountain”, while in a similar installation, a deluge of empty milk cartons and soda bottles spill from ceiling to floor. Somewhat haphazard and never forced, her works mimic the natural arrangement of waste accumulated by humans.

HA Schult’s haunting ‘trash people’ have graced the streets of many of the world’s most major cities … silently open to interpretation as they travel the world and sit everywhere from the parks of New York City to the Great Wall of China. It took Schult 6 months and 30 assistants to create these strange sculptures from crushed cans, computer parts and virtually anything else he could appropriate to assemble them. What is their purpose and meaning? It is difficult to say, but they are certainly trans-cultural and intended to engage, inspire and engender reflection in those who see them and are a foil to see the reactions of different nations and groups of people.

Tim Noble and Sue Webster are an incredible artistic duo based in England who have worked on a variety of related projects experimenting with trash and projected shadows. From looking at the rubbish they collect from the streets of London it is virtually impossible to determine a rhyme or reason to the apparent mess. However, once a projector is set up at just the right angle the art pops to life and animated shades are created with crisp and clear outlines delineating the controlled forms hidden with chaos.

Aurora Robson estimates that so far, she has salvaged about 30,000 plastic bottles, preventing them from entering our landfills, oceans, and the costly recycling system. With this seemingly cold and unyielding material, Robson masterfully creates sweeping organic sculptures and installations that hint at sea life and space. In addition to her three dimensional works, she also works in collage, using her own junk-mail as her medium.

Heather Jansch

Kyle Bean

http://www.telegraph.co.uk/news/picturegalleries/howaboutthat/6324239/Junk-sculptures-Leo-Sewell-makes-art-out-of-scraps-he-collects-from-rubbish-dumps.html

Data Spider’s Kingdom. (Image Source: PCB Creations)

Yuken Teruya Studio

Andy Goldsworthy

Anthony Gormley Title BedDate 1980-1 Medium: Bread and parafin wax on aluminium panels

Artist Anselm Kiefer (born 1945) Title Palm SundayPalmsonntagDate 2006 Medium: Palm tree and 40 works on fibreboard with clay, paint, shellac, adhesive, metal, palm fronds, fabric and paper

Walter Mason

Angela Palmer - Ghost Forest

Spiral Jetty is an earthwork sculpture constructed in April, 1970 that is considered to be the central work of American sculptor Robert Smithson. Smithson documented the construction of the sculpture in a 32-minute color film also titled Spiral Jetty.Built on the northeastern shore of the Great Salt Lake near Rozel Point in Utah entirely of mud, salt crystals, basalt rocks and water, Spiral Jetty forms a 1,500-foot-long (460 m), 15-foot-wide (4.6 m) counterclockwise coil jutting from the shore of the lake. The water level of the lake varies with precipitation in the mountains surrounding the area, revealing the jetty in times of drought and submerging it during times of normal precipitation.Originally black basalt rock against ruddy water, Spiral Jetty is now largely white against pink due to salt encrustation.

“I think it would be quite possible to make art in a quarry, a mine, a lake, or canal – you know, any number of places. To build directly out of the ground of the site is one of my intentions.” Smithson

‘After I had planted 32 trees all box elders, in the spring of 1907, I left them to grow in their new home for a year until they were six feet tall, before beginning the chair. In the spring of 1908 I gradually began the work of training the young and pliable stems to grow gradually in the shape of a chair. Most of this work consisted in bending the stems of these trees and tying and grafting them together so as to grow, if possible with all the joints cemented by nature. This was largely an experiment with me and it was with a great deal of interest that I watched and assisted nature in growing piece of furniture. The first summer's growth found all the joints I had made by tying and grafting grown firmly together. Some of the trees I found, however, grew much faster than others. To overcome this, I began to cut the stems of those trees that to my notion had grown large enough. This did not kill these trees but simply retarded their growth so as to give the weaker trees a chance to catch up.

In this manner I let these trees grow for seven years. During the last two years I had only four trees growing from the root. These were the four that consisted the legs of the chair and all the other stems kept alive from these four stems because they were grafted to them. After the seventh year all the trees were cut, making in all eleven years from the time the seed was sown until the chair was finally completed’John Krubsack (1858-1941)

Tree shaping (also known as Pooktre, arborsculpture, tree training, and by several other alternative names) is the practice of training living trees and other woody plants into artistic shapes and useful structures. There are a few different methods[2] of achieving a shaped tree, which share a common heritage with other artistic horticultural and agricultural practices, such as pleaching, bonsai, espalier, and topiary, and employing some similar techniques. Most artists use grafting to deliberately induce the inosculation of living trunks, branches, and roots, into artistic designs or functional structures.

Peter Cook sitting a growing chair. This chair is to remain alive. Planted in 1998

Needle & Thread Tree by Axel Erlandson

Giuseppe Arcimboldo (Italian: also spelled Arcimboldi) (1526 or 1527 – July 11, 1593) was an Italian painter best known for creating imaginative portrait heads made entirely of such objects as fruits, vegetables, flowers, fish, and books – that is, he painted representations of these objects on the canvas arranged in such a way that the whole collection of objects formed a recognizable likeness of the portrait subject.