ART 208
Introduction to Sculpture
Project #1: Monolithic Form

Assignment: Make six models in oil clay. Three should engage monolithic effects and three should engage multilithic effects. Choosing one of your three monolith models, make 3 more focus models that explore other variation possibilities. From those focus models carve a full scale monolithic sculpture in foam. Link your expressive intentions with the way you handle specific elements of your sculpture ( contour, composition, massing, gesture, visual focus etc.)

Definitions: A monolith is, strictly speaking, a form consisting of a single stone (mono = one, lith = stone). A multilith is a form made from a number of parts. These two form types might simply refer to the way a thing is constructed; is it carved from one mass or is it an assemblage of many? But we are more concerned with the visual effect and meaning of these two opposite forms types. By visual analysis of historical examples and by sketching directly in oil clay, you should become familiar with how to create a sculpture with monolithic or multilithic effects.




Monolith-
Slide example: Amenhotep III, New Kingdom, Egyptian, 1397-1360 BC

Qualities or meanings expressed:
1. A sense of permanence
2. Singularity/ absolute focus
3. Irreducibility
4. Unity through sameness

How the form achieves these qualities:
1. A sense of the block
2. A contour that contains (no intrusions of negative space or extensions into environment)
3. Equal distribution and emphasis of parts
4. Symmetrical composition creating a central focus
5. Minimizing differences
6. Static composition (the effect of perpendicular structuring)






























Multilith-
Slide example: "The Laccoon", Greek, Hellenistic, Late 2nd c. BC

Qualities or meanings expressed:
1. Struggle
2. Confusion
3. Power through movement
4. Difference/ conflict

How the form achieves these qualities:
1. Mass is dispersed
2. Contour acts to break up the form into discrete parts
3. Complexity/ multiplicity of parts (no apparent ordering system)
4. Decentralized, asymmetrical composition
5. Maximizing differences
6. Rapidly shifting focus ( eye moves rapidly from part to part).



















Other Slide examples:


Form as singular contrasted to form as multiple. Note how detail in the monolith has been reduced to create an essentialized single object and how the multilith is based on a part to part relationship.

Monolith example: A. Archipenko, "Lean Torso", 1914 Multilith example; J. Lipschitz, "The Guitarist", 1918





Articulation of the joints between forms. Both works seem to have parts but observe the difference in how the connective details are handled.

Monolith example: R. Therrien, "No Title", 1983 Multilith example: Brancusi, "Adam and Eve", 1922





Again, note how connective detail are detailed. In the monolith example the shapes are distinct but are locked together. In the multilith example the shapes barely touch and look not even connected.

Monolith example: W. Kelly,"Arrested Action", 1932 Multilith example: D. Smith, "Cubi XII", 1963





The effect of contour. In the monolithic example, the contour (outside edge of the sculpture) seems to contain the form. In the mutilith example deep cuts invade the interior space and act to break up the form.

Monolith example: J. Lipschitz, "Seated Bather", 1917 Mutilith example: S. Lipton, "Swing Low", 1942

Monolith example: J. Storrs, "Architectural Form", 1932Mutilith example: J. Arp,"Growth", 1938








In the monolith example, the effect of a flowing, continuous contour acts to unify and centralize your gaze toward a singular wholeness. In the multilith example, the work appears area oriented. You focus on local areas before you see it as a whole.

Monolith example: A. Archipenko, "Seated Black Concave", 1916 Mutilith example: H. Matissee, "Seated Nude I", 1907



Again, the same type of example as above but with two abstract works. Notice how your eye continues around the monolith while the deep intrusive cuts into the contour of the multilith tends to trap your gaze.

Monolith example: J. Arp, "Configuration in Serpentine"Mutilith example: M. Kendrick, "Fine Piece", 1984




In the monolith example, parts do not seem multiple because they are made into a great wholeness thru repetition. In the multilith example, parts are not organized and therefore appear as diverse elements.


Monolith example: I. Noguchi, "Endless Coupling", 1954 Mutilith example: I. Noguchi, "Cronos", 1949






In the monolith example, symmetry holds your gaze with its centralizing focus and creates the sense of sameness. In the multilith example, imbalance heightens a sense of difference in the work.

Monolith example: C. Brancusi, "The Kiss", 1910Mutilith example: I. Noguchi, "The Cry", 1959