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Pop Culture Influenced Sculpture
(Abstract/ Non-Objective)
By Hannah Steiner
Essential Understandings:
Visual arts can be a means to express a personal idea or feeling about current
issues or culture. Creating three-dimension artwork is a series of processes. Abstract and
non-representational artwork are two different types of art but the lines between the two
can be blurred as well as interpreted differently from viewer to viewer.
 Art and design have purpose and function
 Assess and produce art with various materials and methods
 Make judgments from visual messages
 Commutation through advanced visual methods is a necessary skill in
everyday life
 Interpretation is a means fur understanding and evaluating works of art
 A personal philosophy of art is accomplished through use of sophisticated
language and studio art processes
 Visual art has inherent characteristics and expressive features
Objectives:
1. Students will be able to identify the works of Sarah Sze, Judy Pfaff, Ming Fay,
Henry Moore, Anish Kapoor and Joana Vasconcelos and determine if the artist’s
work is Abstract or Non-representational. (Understanding; Comprehend: Art and
design have purpose and function)
2. Students will be able demonstrate the techniques of wire and stockings,
newspaper pulp and wheat paste, and plaster relief to create a sculpture from each.
(Applying/Creating; Create; Assess and produce art with various materials and
methods)
3. Students will be able to use an armature and report its function for their sculpture.
(Applying/Creating; Make judgments from visual messages)
4. Students will be able to defend and explain their emotional response to current
pop culture and how it translates into their sculpture. (Understanding/Evaluating;
Transfer: Commutation through advanced visual methods is a necessary skill in
everyday life. Reflect: Interpretation is a means fur understanding and evaluating
works of art)
5. Students will be able to define Abstract and Non-representational artwork.
(Remembering; Comprehend: Visual art has inherent characteristics and
expressive features)
6. Students will be able to create an abstract or non-representational sculpture that
represents an emotional response to current pop culture. (Applying/Creating;
Reflect: A personal philosophy of art is accomplished through use of
sophisticated language and studio art processes.)
Pre-Assessment:
 Can students identify the artworks of Sarah Sze, Judy Pfaff, Ming Fay,
Henry Moore, Anish Kapoor and Joana Vasconcelos and determine if the
artist’s work is Abstract or Non-representational?
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Can the students demonstrate the techniques of wire and stockings,
newspaper pulp and wheat paste, and plaster relief to create a sculpture
from each?
 Can the students use an armature and report its function for their
sculpture?
 Can the students defend and explain their emotional response to current
pop culture and how it translates into their sculpture?
 Can the students define abstract and non-representational artwork?
 Can the students create an abstract or non-representational sculpture that
represents an emotional response to current pop culture?
Accommodations and modifications:
Students will be challenged by having to interpret their response to current pop culture
into one emotion then be able to translate that emotion into an abstract/non-objective
sculpture. This process with in itself can be challenging for most, especially since most of
the class is 2D oriented. To accommodate those who are struggling to translate their
emotion into visual features, I will pose extra questions to push along brainstorming.
Materials:
 Plaster
 Clay
 Wire (copper and black) and chicken wire
 Sand
 Mixing bowls/Water cups
 Newspaper
 Newspaper pulp
 Wheat paste
 Masking tape
 Water color paint
 Shoe polish
 Acrylic Paints
 Palettes
 Glue
 Scissors
 Pedestals
 Cardboard
 Found objects
 Stockings
 Spray paint
 Buckets
 Relief Containers
 Note cards with assessment
 Power point
 Examples
 Pencils and Notebooks
 Paint brushes
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 Pliers/Gloves
 Face masks
 Wax paper
 Popsicle sticks
Resources:
 http://www.joanavasconcelos.com/det_en.aspx?f=693&o=1208
 Sarah Sze, “unknown title”
 Anish Kapoor, “Cloud Gate” and “Orbit”
 Henry More, “Reclining figure”
 http://www.henrymoore.com/biography.shtml
 Judy Pfaff, “installation”
 http://www.pbs.org/art21/artists/judy-pfaff
 Ming Fay, “Canutopia”
 http://mingfay.com/exhibit2/ramapo.html
Preparations:
 Write news letter and give to students
 Create a power point with images
 Create examples of each sculpture (plaster relief, wire sculpture and wheat paste
and pulp)
 Set up work stations/ put out materials
 Set up Gallery with pedestals for the exhibition
 Wash/cover pedestals
 Create assessment note cards with assessment inquiry question
 Write on white board cleaning duties along with the goal for the day
Safety:
Students need to be aware that the plaster particles and spray paint can be harmful when
inhaled thus they need to be wearing a face mask when working with these materials.
Students also need to know that plaster cannot be dumped down the drain because it will
destroy the piping system. When cutting or working with wire, the students should know
it could have sharp edges that can cause small cuts. The wheat paste is not to be ingested
because of pesticides in the make up of the wheat paste.
Motivation/Anticipatory Set and Ideation/Inquiry:
1. Start with discussion on the definition of “abstract” artwork in groups
 We’re going to start with a discussion. I want you and your group
mates to discuss the meaning of abstract sculpture and come up
with a definition and possibly an example.
2. Come back together as a class and have each group share their definitions of
“abstract”.
3. Then we will look at the actual definition and compare our answers to it.
 What do you think about the “actual” definition to
“abstract”?
 Do you agree or disagree? Why ?
4. Next go on to a discussion on Non-representational art?
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Now do the same thing that we did for “abstract” discuss in groups
and come up with a definition and possibly an example of a nonrepresentational artwork.
5. Come back together once more and share our definitions of “non-representational
or objective” artwork.
6. Look again at the “actual” definition of “non-representational” artwork and
compare and contrast our answers
 What do you think about the definition of non-representational
artwork?
 Do you agree or disagree? Why?
7. Start the class to think about the differences between the two (abstract and nonrepresentational artwork)
 So, now that we know the differences between abstract and nonrepresentational artwork, what are you own opinions on this?
 Do you really think they are that different?
 What is the major difference between the two?
 Can an artwork be viewed as one and not the other depending on who is
viewing the artwork?
 Where does the line get drawn from bring abstract or non-objective?
 Do you think their needs to be a huge difference? Why?
 Do you agree that it should be left up to the viewer to decide which one it
is?
 Do they even need to decide or put a label on it?
Procedures:
Day 1:
1. Begin with Motivation. (Have students take out sketchbook to take notes)
a. Start with discussion on the definition of “abstract” artwork in groups
 We’re going to start with a discussion. I want you and your group
mates to discuss the meaning of abstract sculpture and come up
with a definition and possibly an example.
b. Come back together as a class and have each group share their definitions of
“abstract”.
c. Then we will look at the actual definition and compare our answers to it.
 What do you think about the “actual” definition to
“abstract”?
 Do you agree or disagree? Why ?
d. Next go on to a discussion on Non-representational art?
 Now do the same thing that we did for “abstract” discuss in groups
and come up with a definition and possibly an example of a nonrepresentational artwork.
e. Come back together once more and share our definitions of “non-representational
or objective” artwork.
f. Look again at the “actual” definition of “non-representational” artwork and
compare and contrast our answers
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What do you think about the definition of non-representational
artwork?
 Do you agree or disagree? Why?
g. Start the class to think about the differences between the two (abstract and nonrepresentational artwork)
 So, now that we know the differences between abstract and nonrepresentational artwork, what are you own opinions on this?
 Do you really think they are that different?
 What is the major difference between the two?
 Can an artwork be viewed as one and not the other depending on who is
viewing the artwork?
 Where does the line get drawn from bring abstract or non-objective?
 Do you think their needs to be a huge difference? Why?
 Do you agree that it should be left up to the viewer to decide which one it
is?
 Do they even need to decide or put a label on it?
2. Move into Artist Presentation
 Now we’re going to look at some famous sculpture artists who create artwork that
is abstract or non-presentational
a. Joana Vasconcelos
 Contemporary Artist who works in London, with all types of
materials mostly textiles
 Would you consider this piece an abstract artwork? Why?
 I would because it is slightly abstracted from its original form.
 “The nature of Joana Vasconcelos’ creative process is based on the
appropriation, decontextualisation and subversion of pre-existent
objects and everyday realities. Starting out from ingenious
operations of displacement, a reminiscence of the ready-made and
the grammars of Nouveau Réalisme and pop, the artist offers us a
complicit vision, but one which is at the same time critical of
contemporary society and the several features which serve the
enunciations of collective identity, especially those that concern
the status of women, class distinction or national identity.”
 *Would you consider her work abstract or non-objective?
b. Ming Fay
 Contemporary Artist, works with Wax, glass and other materials
 “The creation of gardens is an elaborate display of human control
over its surroundings. Gardens are also a reflection of paradise, the
location for the ultimate desirable state of being”
 Abstract because it is an abstracted representation of a garden
setting, which is visible.
c. Henry Moore
 Contemporary Artist, Figural bronze sculptures
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"In my opinion, everything, every shape, every bit of natural form,
animals, people, pebbles, shells, anything you like are all things
that can help you to make a sculpture." ~ Henry Moore
 Would you consider his work abstract? I would because this piece
in particular is an abstracted form of a reclining person.
 A key note to remember, an artist can give information through the
title of a work, especially sculpture.
d. Sarah Sze
 Contemporary Artist, Boston, works with found objects
 “Sze builds her installations and intricate sculptures from the
minutiae of everyday life, imbuing mundane materials, marks, and
processes with surprising significance. Combining domestic
detritus and office supplies into fantastical miniatures, she builds
her works, fractal-like, on an architectural scale. Often
incorporating electric lights and fans, water systems, and
houseplants, Sze’s installations balance whimsy with ecological
themes of interconnectivity and sustainability.
 I would consider her non-representational because her works are
based on conceptual ideas as well as feed of themselves to create
content and meaning.
e. Anish Kapoor
 Can any one identify this artist? * Show “Orbit”
 Next slide, “How about now?”
 Anish Kapoor, contemporary artist who looks with large scale
sculptures and is known for his reflective surfaces
 Can anyone give me the actual name of this piece?
 “Cloud Gate”
 It’s the idea of distorting the image of the viewer, which explores
the boundary between limit and limit ness”
 Very much Non-objective because the object itself is
unrecognizable but lives within its conceptual construction.
f. Judy Pfaff
 Contemporary Artist, works with 2D-3D works of art
 Pfaff synthesizes sculpture, painting, and architecture into dynamic
environments, in which space seems to expand and collapse,
fluctuating between the two- and three-dimensional. Pfaff’s sitespecific installations pierce through walls and careen through the
air, achieving lightness and explosive energy. Pfaff’s work is a
complex ordering of visual information, composed of steel,
fiberglass, and plaster as well as salvaged signage and natural
elements such as tree roots.
 Non-representational Artwork because of its reliance of concepts
that are represented through her sculpture.
3. Transfer into the conceptual theme of the project:
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We’re going to talk about the conceptual idea of your sculpture that you
will create, which is: Pop Culture.
 What is pop culture? Can anyone give me examples or explain pop
culture?
 What aspects create pop culture?
 is the entirety of ideas, perspectives, attitudes, memes, images and other
phenomena that are preferred[citation needed] by an informal consensus
within the mainstream of a given culture, especially Western culture of the
early to mid 20th century and the emerging global mainstream of the late
20th and early 21st century. Heavily influenced by mass media, this
collection of ideas permeates the everyday lives of the society.
 Can we name some aspect of today’s pop culture? (These will be written
on the board as a means of brain storming)
4. Your personal reaction to pop culture
 Think about today’s current pop culture, what do you think about it?
 How does that make you feel?
 Pick three different emotions that pop culture evokes onto you
 Write these down in your sketchbook.
5. Explain to the students what we are going to be doing.
 What we are going to do is create an abstract or non-objective sculpture
that represents your personal emotional reaction to today’s current pop
culture.
6. Visual features of your emotion
 Now that you have your one emotion, I want you to think about different
characteristics of that emotion
 What expressive features does it have; line, shape form, volume, pattern,
repetition?
 Specific characteristics; Texture, movement?
 Recognizable aspects; color?
 List these next to your emotion
7. Sketches (5-10 mins)
 I want you to do at least two different sketches that represent your emotion
that will be translated into a sculpture
8. After the students have created 2 different sketches in their sketchbooks, I will
transition into doing demonstrations of the different materials they will be using.
 Since everyone is about done sketching, we’re going to move into the
other room so I can go over some materials you will be working with.
 Everyone gather around the wire table and bring a sketchbook to take
some notes.
 Oh yes, before we get into the demos, I want to tell you that we will be
having a gallery exhibition with our sculptures and they will be displayed
on pedestals. In this gallery exhibition, art critics will be giving your
constructive criticism on your sculptural piece.
9. Wire Demonstration:
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Before I get started I want to mention that creating sculpture is a
process. Sculptors plan a lot before they get started but doesn’t
mean they don’t improvise during the creation process. A
sculptural process usually involves 5 steps. Planning, creating,
improvisation, finishing and display. All of these are so incredibly
important a successful sculpture.
 Step 1. First I will explain the different materials. This station you
will be expected to create a wire sculpture with stockings. The
materials at this table are; wire (two types, you can experiment
with both), stockings and glue.
 Step 2: To create your sculpture you will have to create an
armature. Does anyone know what an armature is? Can you give
an example of one? An armature is the or a structure that the
sculpture is either build off of or around. It offered strength and
stability. A create example of an armature is a cake pan. A cake
pan offers a structure for the cake batter until it is cooked. After the
cake is cooked the armature or pan can be removed. But remember
some armatures are incorporated into the piece and cannot be
removed.
 Step 3: Cut the wire to length that you think you will need. You
can do this with the wire cutters. * Remember be careful because
the wire ends can be very sharp and can cut you very easily. If you
want to you can always sand down the edge to create a blunt
surface.
 Step 4: Bend the wire to desired shape. This is where your features
of your emotion come into play. Think about those features you
wrote down and how they can be translated into the wire materials
to best represent your emotional response to current pop culture.
Be thinking about how this is also going to be displayed.
 Step 5: Now that you have your shape, you are going to cover it
with your leggings or stockings. I have two types, knee-highs and
full stockings. Completely cover your armature with the stockings
to create your sculpture. At the end tie a knot to secure the
stockings.
 Step 6. After your sculpture is covered, you want to paint the
surface with a watered down glue paste. This paste is going to
allow us to give it its finishing look, that we will talk about next
class. You want to cover your stockings completely with the glue
paste, make sure there are no holes.
 Step 7: When you are finished “glazing” your stocking sculpture
you can put it in the kiln room to dry with your name next to it on
masking tape.
 Any Questions?
10. Plaster Relief demonstration:
 Now were going to move onto another sculptural processes.
 Plaster relief.
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Who can tell me what a relief is?
A relief is a process that when you take away material (or press
into it) it creates a concave shape that when a materials is poured
into that material it drys in such a way that it picks up all those
marks and creates an opposite “print” or relief. A relief is usually
done with carving wood or stone and even bronze but in this case
were going to use our found objects and plaster
Who’s worked with plaster before?
We’re going to do two different relief’s using sand and clay. You
only have to do one.
Sand Step 1: You going to put sand into half of the container.
Make sure you have a diving line, other wise the plaster will spill
everywhere you don’t want it to. You can use cardboard and tape
the edges or I recommend using clay because it creates a better
seal. Remember to build it higher than you want you relief to be.
Sand Step 2: You are going to wet the sand to compact it. After the
sand is completely malleable and can hold its shape, you want to
press into the sand and create a composition with your found
objects. Remember it has to embody your emotional reaction to
pop culture.
Clay Step 1: You are going to follow the same steps you did with
the sand as you do with the clay. Except don’t add water to the
clay.
Sand and Clay Step 3: Now that you have your armature to create a
relief out of you’re going to get the plaster ready. When working
with plaster I highly recommend wearing a safety mask because
plaster is tiny particle that you can inhale and it can affect your
lungs in high doses. I like to be over cautious. Since we’re only
working with a small amount, I will leave it up to you whether or
not to wear a face mask.
Step 4: Get a container and fill it with water. The warmer the water
the faster the plaster sets, so I recommend a little warmer than luke
warm. Next you will need the actual plaster itself. To mix the
plaster you will slowly add the plaster with your hands or another
container and sprinkle it over the top. You will continue this
process until you see a mountain start to form in the middle. This is
when you know you added enough plaster.
Step 5: Start mixing. You want to start mixing you plaster in a
figure 8 motion. In this motion be breaking up any chunks you
feel. When the plaster is mixed, you will be able to draw a line on
the top and it will somewhat hold its shape.
Step 6: Now you want to pour your plaster into your container with
either clay or sand. Slowly pour the plaster from one side so that it
flows across the armature and create less air bubbles.
Step 7: You have to get the air bubbles out. You want to shake
your hand in your plaster to agitate the bubbles to come out. Then
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you want to hit the table to do the same. Keep doing this until you
don’t see any bubbles pop up anymore.
 Step 8: Dry time. Once the plaster starts to set you can crave with
your finger your initials so we can tells whose is who. Plaster when
it dries is an exothermic reaction. This means when its drying it
releases heat and become warm to the touch as it bines with the
water. You can tell once it’s dry when the temperature comes back
down. Do not pull out if it is damp. You want you plaster to be
cool but not damp.
 Step 9: Place plaster relief on the floor over by the throwing
wheels to dry.
 Step 10: Now if you have left over plaster you need to dump it
either in the water bucket in the sink or in the trash. If you dump
the plaster down the drain it will be an automatic failure for the
lesson. Its that important that you do not dump plaster down the
drain. It can harden and destroy the pipes. That also goes with
rinsing you hands; do it in the bucket first then you can wash them
with soap and water.
 Any Questions?
11. Wheat Paste and Newspaper pulp demonstration:
 Last demonstration. Remember you have to try each material but
you only have to display one for our gallery exhibition.
 This station is newspaper pulp and wheat paste. I know some of
your already used this on Friday, but who else has used this
material?
 This process is similar to paper mache, but just different materials
and can be less expensive. It can also save your students sculptures
from little critters eating it.
 Step 1: Grab a container and fill it with room temperature water.
 Step 2: Grab the wheat paste and start adding it to the water. This
is a similar process to plaster. DO NOT EAT THE WHEAT
PASTE. The wheat paste is processed with pesticides so little
critters don’t eat it. I know it smells good, but don’t ingest the
wheat paste. I also recommend wearing a mask because with any
particulate materials you always run the risk of inhaling the
material.
 Step 3: Mix wheat paste into a good consistency.
 Step 4: Star adding the newspaper pulp. The newspaper pulp is a
really great and cheap alternative to paper mache and plus the
aesthetic when it dries is really cool too. It dries super hard like
concrete but light like paper. It’s pretty cool. You want to get the
mixture of paste and pulp to a consistency where you mush it in
your hand and it starts to hold its shape. You can always add more
wheat paste if you need to thicken it up.
 Step 5: When you have your paste mixture ready, you can do two
different things with the mixture. You can, get out your bowl I
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asked you to bring) and use it here. Before you use your bowl, you
want to cover the surface with wax paper, so you can get it off of
your bowl. Using either side of the bowl you can start to construct
a sculpture that represents your emotion. A side note to remember
that it does take a while to dry, so I suggest small amounts that are
thin.
Step 6: You can also create an armature out of chicken wire for
your paste mixture. Make sure your armature is the way you want
it before you start adding the mixture. After your armature is
created you want to cover the chicken wire with newspaper and
masking tape because if you don’t, the paste will just fall right
through the chicken wire. You need to use masking tape because
the paste will just make the newspaper soggy, where as the
masking tape offers more structure.
Step 7: The table over there will be a place you can leave your
paste sculpture to dry. Don’t forget to put your name on it.
Step 8: Clean up wise. See if someone else can use your paste
mixture, if not I do not want this mixture down the drain either.
You can put it in the plaster bucket or trash.
Any Questions?
12. Work time
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You have the rest of class today for work time.
By the end of today you need to have completed all of your
armatures for each sculpture because on Wednesday we going to
go over finishing techniques and I need everyone to be ready to do
so.
Cleaning duties are on the white board along with the goal for
today and inquiry questions to think about when creating your
sculptures.
Finally before I let you loose, Remember you are creating a
abstract or non-objective sculpture that represents your emotional
reaction to current pop culture.
If you need me I will be floating around helping.
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13. Clean up
 Start clean up about 10 minutes before class ends
 Put all sculptures to dry in appropriate places
 Plaster Table: Teal, Eun Soo, Brooke,
1. Plaster in bucket
2. Dry plaster sealed and put on the table
3. Cover clay and put sand back into bucket
4. Stack containers neatly
5. Bucket dumped outside in grass
 Wheat Paste Table: Becca, Alison, Grahm
o Throw away extra paste mixture
o Put chicken wire in the closet
o Wheat paste away
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o Newspaper pulp away
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Wire Table: Kelsey, Eileen, Mary
o Wire needs to be put away
o Stockings in box
o Tools away
o Glue paste dumped
 Floors: Janis and Hilary
 Mop: Mel and Kirsten
14. Final Note
 Before you leave, make sure your name is on everything
 You have to have all three armatures done for Wednesday. I
don’t like to give homework but we need those done so we can
talk about finishing techniques.
 See you everyone on Wednesday
Day 2:
1. Quick Review
 How is everyone feeling about his or her sculptures?
 Anyone want to share anything the found out?
 Anyone have any questions or need anything clarified?
 Remember our objective is to create an abstract or non-objective
sculpture that represents your emotional reaction to current pop
culture.
2. Go over the plan for today
 First we’re going to go over different processes of finishing techniques for
each material.
 Work time
 Clean up
 Once almost everyone has a final piece for the gallery exhibition, then we
will have a short individual reflective time with a mini-quiz over the artists
we learned about on Monday.
 Finally we will get into our gallery exhibition and I will explain more then
we get to that.
 Go home
 For now I need everyone to head outside for our first finishing technique.
Bring your jackets if it’s cold and your notebook to take notes. Everyone
grab a facemask as well.
3. Demonstration for finishing the Wire Sculpture:
 Everyone head outside for our finishing technique of our wire sculptures.
 Step 1: Make sure you have cardboard covering the ground or you will be
scrubbing the cement.
 Step 2: Since you covered your stockings with that glue paste, it creates a
good surface to paint on. We’re going to use spray paint to finish this
piece. Please wear a facemask when working with spray paint. Protect
your health the flumes are not good for you.
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4.
5.
6.
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Step 3: Shake the can of spray paint you wish to use. If you want to create
a pattern or what not, there is masking tape for you to block off areas if
you want to. Hold the spray paint can away from you ( the tiny hole) and
spray your sculpture with a dusting motion about 3 feet away. You can
add up to three coats depending on intention. Keep in mind, with sculpture
or any artwork, color can play a huge role in display and can affect
content.
 Step 4. Let dry
 Make sure you clean up the cardboard when you are done.
 Any questions?
Demonstration for finishing the Plaster Relief’s:
 Now everyone come back inside for our next finishing demo.
 Finishing our plaster relief’s.
 You can use so many different materials when finishing plaster. You can
use watercolors, acrylic paint, spray paint or shoe polish.
 For this sculpture I want you to use either paint or shoe polish, no spray
paint. I know everyone knows how to use watercolor and acrylic paint but
remember that plaster is a porous surface, so it will soak up the materials
and make it become more opaque.
 The shoe polish you want to dip the cloth into the polish and rub it onto
the surface of the plaster. You can use many different motions to get
different effects.
 Again be thinking about how this finishing technique is going to affect
your viewer’s interpretation of your emotional response to pop culture.
 Any questions?
Demonstration for finishing Wheat paste Sculpture:
 Let’s all head over to the wheat paste sculpture station.
 This is where I will let you chose your finishing technique.
 You have the option of painting it with acrylic paint or spray paint. I don’t
think watercolor paint would work but you can always try.
 If you think of another way you want to finish this sculpture, come to me
and we’ll talk about it.
 Any questions?
Work time
 Now I want everyone to try all of the different finishing techniques on
each of their three sculptures.
 You only have to have one finished piece for our galley exhibition. Pick
your best piece that you feel is the strongest in translating your emotional
response to pop culture.
 You have most of today to work on finishing your sculptures. At about
7pm we’re going to start our individual reflective activity and then get into
the gallery exhibition. Or sooner depending on where everyone is.
Individual Student reflective activity
 Everyone is going to get a note card
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On the back is a short little quiz on the artist we talked about. Match the
artist to the picture and whether that artist’s work is abstract or nonobjective.
 On the front I want you to write on the top your emotion
 Underneath that emotion, I want you to explain how you translated that
emotion into an either abstract or non-objective sculpture. I also want you
to write down the materials and processes you used to create your
sculpture. For example: if I used the wire stocking, I would write wire
stocking with a spray painted finish.
 Once everyone is finished we will get into our gallery exhibition.
8. Explain Gallery exhibition game
 Each one of you are going to submit your piece to be juried to be
entered into our gallery exhibition. The show’s title is “Reactions to
Pop culture in the third-dimension”. In this gallery show, you are the
artists and the jeer. When your piece is on the pedestal you will be the
artist and when it is not you will be the jeer.
 Each one of you will get a piece of paper that you will write your
emotion on. This will serve as your sculpture’s title. You will display
this title with your sculpture of your choice.
 While the sculptures are being juried the critics will have time to
analyze and observe them to create their opinions on your work.
 We will go through piece by piece and a jeer will discuss at least one
attribute that worked well in presenting their emotion and one attribute
that did not.
 When we have finished going through all the sculptures we will pick
just 4 to represent our gallery show. Together we will come up with
three attributes of our show that the pieces will represent.
 To vote each of you will be put into groups. Each group will get a set
of 3 or 4 sculptures to vote on the best to represent their show.
9. Begin to jury the sculptures
 First set of sculptures needs to be set up with title.
 Jeer’s come up and analyze the works.
 Next I need one aspect of the piece that is working well and one that is not
from two different people.
 This will repeat 4 times until everyone has been both a jeer and artist.
10. Gallery exhibition attributes:
 We are going to come up with three themes or attributes we want to
consider when accepting work into our show.
 The title of the show is “Reactions to Pop culture in the third-dimension”.
 What kinds of things do we want to think about when accepting artwork
into our show?
 Be thinking about what makes a good gallery show?
 What response to pop culture do we want to give through our show?
 Which are most successful?
 Do you want variety or consistency?
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These ideas will be written on the board.
After we have three themes to our show that we will be looking for, now it
is time to decided.
11. Each group of artwork that was juried together needs to be on separate tables.
Everyone find a table that does not include your artwork. This will be the table
you and your fellow jeers will decide on which piece to include into our show.
12. All accepted pieces would be placed on the pedestals for one final look.
 Have each group explain their choice of sculpture.
 Overall as a whole, these pieces that made it into the show were the best
representations of the artist emotional response.
 Do you see any commonalities between the sculptures?
 Know that sculpture is a hard medium to work with because it is a process
and has to be visualized as features to express an idea or concept.
 Would anyone like to comment on our gallery choices?
 Any comments or questions for the artists?
13. Clean up
 Plaster finishing Table: Teal, Eun Soo, Brooke
 Wheat Paste finishing Table: Becca, Alison, Grahm
 Wire finishing space: Kelsey, Eileen, Mary
 Floors: Janis, Hilary
 Mop: Mel, Kirsten
14. Final Thoughts
 Thank everyone for doing a great job. Before you leave give me your note
cards.
 Would anyone like to add any final thoughts about the lesson or anything
in general?
 Have a great weekend and hope those of your who are teaching on Friday,
Kudos.
Student-Reflective Activity: (Student-Centered)
The student-reflective activity will happen in two ways. The first way I will assess the
students is by giving them a short quiz about the artists on a note card along with the
student explaining his or her reasoning behind the sculpture that was created. The other
activity will be during the gallery exhibition. The students will be judging their peers
work and deciding, which work to enter into the show.
Teacher-Reflective Activity: (Teacher-Centered)
 Can students identify the artworks of Sarah Sze, Judy Pfaff, Ming Fay,
Henry Moore, Anish Kapoor and Joana Vasconcelos and determine if the
artist’s work is Abstract or Non-representational?
 Can the students demonstrate the techniques of wire and stockings,
newspaper pulp and wheat paste, and plaster relief to create a sculpture
from each?
 Can the students use an armature and report its function for their
sculpture?
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Can the students defend and explain their emotional response to current
pop culture and how it translates into their sculpture?
Can the students define and debate abstract and non-representational
artwork?
Can the students create an abstract or non-representational sculpture that
represents an emotional response to current pop culture?
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Advanced
Proficient
Partially
Proficient
Basic
Can the student
identify the artworks
of Sarah Sze, Judy
Pfaff, Ming Fay,
Henry Moore, Anish
Kapoor and Joana
Vasconcelos and
determine if the
artist’s work is
Abstract or Nonrepresentational
Can the student
demonstrate the
techniques of wire
and stockings,
newspaper pulp and
wheat paste, and
plaster relief and
their finishing
techniques to create a
sculpture from each
Can the student use
an armature and
report its function for
their sculpture
Student can clearly
identify the works of
various artists and
can always
determine if that
artist’s work is
abstract or nonobjective.
Student can mostly
identify the works of
various artists and
can almost always
determine if that
artist’s work is
abstract or nonobjective.
Student can
somewhat identify
the works of various
artists and can
sometimes determine
if that artist’s work is
abstract or nonobjective.
Student cannot
identify the works of
various artists and
never determines if
that artist’s work is
abstract or nonobjective.
Student can clearly
demonstrate the
techniques of
materials given along
with accompanying
finishing techniques
every time.
Student can mostly
demonstrate the
techniques of
materials given along
with accompanying
finishing techniques
almost every time.
Student can
somewhat
demonstrate the
techniques of
materials given along
with accompanying
finishing techniques
sometimes.
Student cannot
demonstrate the
techniques of
materials given along
with accompanying
finishing techniques
any of the time.
Student can clearly
use an armature and
can always report its
function for their
sculpture.
Student can mostly
use an armature and
can almost always
report its function for
their sculpture.
Student cannot use
an armature and
never report its
function for their
sculpture.
Can the student
defend and explain
their emotional
response to current
pop culture and how
it translates into their
sculpture.
Student can clearly
defend and always
explain their
emotional response
to current pop culture
and how it translates
into their sculpture.
Student can mostly
defend and almost
always explain their
emotional response
to current pop culture
and how it translates
into their sculpture.
Can the student
define and debate
abstract and nonrepresentational
artwork.
Student can always
define and always
debate abstract and
non-representational
artwork.
Can the student
create an abstract or
non-representational
sculpture that
represents an
emotional response
to current pop culture
Student’s abstract or
non-representational
sculpture always
clearly represents an
emotional response
to current pop
culture.
Student can almost
define and almost
always debate
abstract and nonrepresentational
artwork.
Student’s abstract or
non-representational
sculpture mostly and
almost always
represents an
emotional response
to current pop
culture.
Student can
somewhat use an
armature and can
sometimes report its
function for their
sculpture.
Student can
somewhat defend
and sometimes
explain their
emotional response
to current pop culture
and how it translates
into their sculpture.
Student can
somewhat define and
sometimes debate
abstract and nonrepresentational
artwork.
Student’s abstract or
non-representational
sculpture sometimes
and somewhat
represents an
emotional response
to current pop
culture.
Reflection:
This will be included after the lesson is completed.
Student cannot
defend and never
explains their
emotional response
to current pop culture
and how it translates
into their sculpture.
Student cannot
define and never
debates abstract and
non-representational
artwork.
Student’s abstract or
non-representational
sculpture never
represents an
emotional response
to current pop
culture.
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Match the Artist to the correct picture and identify whether it is
Abstract (A) or Non-Objective (N)
a. Sarah Sze
b. Ming Fay
c. Henry Moore
d. Anish Kapoor
e. Judy Pfaff
f. Joana Vasconcelos
Match the Artist to the correct picture and identify whether it is
Abstract (A) or Non-Objective (N)
a. Sarah Sze
b. Ming Fay
c. Henry Moore
d. Anish Kapoor
e. Judy Pfaff
f. Joana Vasconcelos
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Other Sculpture Materials
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Plaster/Plaster strips
Wheat paste & newspaper pulp
Paper Mache
Wire & stockings
Clay
Card board
Found objects/reusable objects
Stockings/sewing/fabric
Wire
Foam core
Stone (Alabaster)
Wood/wood scraps
Jell-O (eatable solid food), spray foam (used with a mother mold)
Duct tape
Resins (pro-a mold, Por-a-kast, soft kits, medium kits, hard kits)
Silicone rubber
Resource Websites:
http://www.getty.edu/education/teachers/classroom_resources/curricula/sculpture/lesson_
plan_index.html
http://www.metmuseum.org/en/learn/for-educators/lesson-plans-and-pre-visitguides?pg=1&subcat=Visual+Arts&cat=Subject+Area