Friday, February 8, 2013

Mi-Kyoung Lee, artist

Here is an example of making one sculpture out of one material, twist ties.
 Source is Frankly Penn, link here.

Mourning Jewelry

Made from weaving the hair of the deceased.

1866.  Source is Lori McLean.  Link here.

Source is Thread for Thought.  Link here.

Peter Root, Artist

Source link here.

Soap Carving

Source link here.

Bernie Peterson, Artist

Source is Chad Buri.  Link here.

Source is Independent Curators.  Link here.

Bernie Peterson, Soap Carvings: soap dish, 1983–1994. Soap.
Source is Miranda.  Link

"Bernie Peterson (South Dakota) started carving soap in the 1980’s. For People’s Biennial, Peterson will exhibit a selection of these small sculptures produced with a paring knife in between 1983-1994. Although soap carving might sound like a strange choice of medium, it has a long history as a hobby and art. Originally started in Thailand, the activity became increasingly popular in the United States, with Ivory holding the first soap sculpture contest in 1924."

Scold's Bridle

"A scold's bridle is a British invention, possibly originating in Scotland, used between the 16th and 19th Century. It was a device used to control, humiliate and punish gossiping, troublesome women by effectively gagging them. Scold comes from the 'common scold': a public nuisance, more often than not women, who habitually gossiped and quarrelled with their neighbours, while the name bridle describes a part that fitted into the mouth. The scold's bridle was also known as the 'gossiping bridle' and the 'Brank(s)', and was commonly used by husbands on their nagging or swearing wives. The device was occasionally used on men; however, it was primarily used on women who agitated the male-dominated society of the era. (image source: Old Electronic Library)"
Images and text found on US Slave Blog.  Link here.

A Belgian Iron 'scold's bridle' or 'branks' mask, with bell, used to publicly humiliate and punish, mainly women, for speaking out against authority, nagging, brawling with neighbors, blaspheming or lying. c.1550-1800.  Source is Welcome Collection, link here


Many of us have grown up with the idea that the scold's bridle was used for hundreds of years for women who nagged their husbands, perpetuating the 'enquiry' we have on many tours about whether we sell bridles in the shop. The reality is, of course, more complex.
Firstly, it is necessary to look at the late medieval definition of a Scold. This was a woman who had a 'vicious tongue' or was 'causing nuisance by loud invective', meaning she quarrelled with her neighbours or, more worryingly for them, the authorities. There was a male equivalent, the Barrator or 'a common wrangler who setteth men at odds, and is himself never quiet but at brawl with one and another'. This term and the punishment for it appears to have gone out of use by the early 17th Century at about the same time as the bridle appeared in England. 
In the late 16th Century and the early 17th Century there is also great concern about women 'running out of control' by, amongst other things, defying husbands, rioting and challenging priests. The preoccupation with women's behaviour in the period is reflected in such writings as Shakespeare's Taming of the Shrew.
The origins of the bridle are not clear but it is currently thought to have originated in Europe sometime in the Middle Ages and was used as part of the penal system. It is first heard of in Britain as a punishment for witches in Scotland in the 16th Century and one of the worst examples of it is the so-called 'Forfar Bridle'. This is particularly horrible, having spikes on the top and bottom of the bitt to pierce the tongue and palate. There is an equally gruesome instrument kept at Stockport and known as the 'Stockport Bridle' and this also has spikes on the top and bottom of the bitt. 
The first recorded use of the bridle for scolds, in England, was in the 17th Century. Use was predominantly in towns in the North of England though there are other examples and styles of bridles preserved further south. Its use was mostly sanctioned by the Manorial or Church courts and, even then, it was an illegal punishment. 
The official punishment for a scold was the 'Ducking Stool' and all communities were obliged by law to maintain one and there are many recorded instances of them being used for scolds. Communities had their own established punishment for nagging wives and cuckolded husbands as both were against popular notions of appropriate social behaviour. These punishments were designed, primarily, to be humiliating as well as physically uncomfortable. The humiliation aspect of these punishments also provided a form of sexual titillation as the much-treasured reputation for modesty of women in the period was compromised. 
This aspect of the bridle's history has caused endless fascination for observers since that time. Historical enthusiasts such as Victorian gentlemen historians, including a vicar of that era, have written copiously and energetically on punishment instruments for women reserving particular descriptive relish for the scold's bridle. 
The emergence of the bridle in England coincided with the arrival of James I (James VI of Scotland). As King of Scotland, he had encouraged harsh punishments for female offenders and was very fearful of witches. There are a number of documented uses of the bridle for women in Scotland during his reign. 
There are cases in England where the victims of the bridle were involved in social protest or, as in the case of Dorothy Waugh, in dissenting religious movements. Dorothy was from Westmorland and had become a Quaker and her story of what it was like to wear the bridle is the only known written account. The Mayor of Carlisle put her in it for preaching in the market place. To speak publicly was regarded as a very immodest thing for a woman to do at that time. She was in the bridle for four hours, taken out and put back into gaol and then put back in the bridle for another four hours. Afterwards, she was released, whipped and chased out of the town. Unlike many women who were punished in this way, she was not subjected to abuse, lewd comment and sexual assault but drew great sympathy from the townspeople. This undermined the Mayor's purpose as he wanted to make an example of her and discourage other Quaker preachers. Whether the sympathy of the people was because she was a young religious woman posing little threat instead of an older woman seen as a nuisance, is debatable. 
Many of the bridle's victims were older women such as widows and paupers who were seen either as a drain on the parish or women not under the control of a man, eg husband or son. This often meant that they were perceived as a threat to the moral or economic well-being of the community. Many of these women were also accused of witchcraft. 
Despite the notion of the bridle as a woman's punishment providing a lurid spectacle in a more brutal age, there are claims that men had been bridled for a variety of crimes. There is an alleged example in Nottingham in the 18th Century of a blind beggar who was put into the bridle to keep him quiet in prison prior to his hanging for murder. There is another story from Scotland during the 16th Century of David Persoun being bridled for fornication; though it does seem more likely that his lover would have been bridled. 
The Royal Navy used gags which could be described as based on the bridle. The gags were pieces of wood put into the mouth and held in place by a frame which went around the head and were part of a means of punishment for sailors for a number of offences. Happily, they have not been used since the early 19th Century. he scant evidence to support claims of bridled men is vague and it is more likely the bridle was predominantly a woman's punishment.

The bridled woman was really an outspoken woman and it took a brave one to incur the punishment for being so. This made the bridle a very effective means of social control. Her fate was to be dragged through the streets in the bridle as it shook about on her head; often with her jaw broken, spitting out teeth, blood and vomit and receiving all forms of abuse.
text source is

A branked scold in New England, from an 1885 lithograph.


Memento Mori

Rosary, ca. 1500–1525
Ivory, silver, partially gilded mounts

Overall: 24 11/16 x 2 1/8 x 1 3/4 in. (62.7 x 5.4 x 4.5 cm)
Gift of J. Pierpont Morgan, 1917 (17.190.306)
ON VIEW: GALLERY 306   Last Updated January 21, 2013

Each bead of the rosary represents the bust of a well-fed burgher or maiden on one side, and a skeleton on the other. The terminals, even more graphically, show the head of a deceased man, with half the image eaten away from decay. Such images served as reminders that life is fleeting and that leading a virtuous life as a faithful Christian is key to salvation.

Form the Metropolitan Museum of Art.  Link here.

MakerBot 3D Printer, Micah Ganske, Designer

My sculptures are designed digitally and produced using a MakerBot 3D printer. Just as important to me as the amazing results that can be achieved with this exciting technology, is what it represents as a forward-looking technology. The dream of being able to replicate objects has always been a fixture of science fiction and I whole-heartedly embrace it as a way to create impossible artworks.

Micah Ganske was born in Honolulu, Hawaii in 1980. In 2002 he received his BFA from the School of the Art Institute of Chicago and a Post-Baccalaureate certificate from the Maryland Institute College of Art in 2003. In 2005 he received his MFA in painting from the Yale School of Art.  In 2005 he was the recipient of the Adobe Design Achiement Award in Digital Photography at a reception held at the Guggenheim Museum in New York where his work was also displayed.  In October 2007 Deitch Projects exhibited Ganske’s first solo exhibition. In 2011 he launched his second solo exhibition with RH Gallery in Tribeca, where he is now represented. Micah Ganske is also a 2012 Fellow in Painting from the New York Foundation for the Arts.

Source link here.

Student Work, Alex McNutt, Memento Assignment

Balsa Wood, Yellow Yarn, Yellow Paint
Measures 3" x 1.5" x 2"

I created this box to represent my memories of the van my parents had when I was a child. We called the van Colonel Mustard because it was yellow. In the back of the van were two, long wooden bench seats covered in golden yellow shag carpet. I have many fond memories of riding in this van. My souvenir I used is a little toy van that my mother gave me that looks quite similar to Colonel Mustard. 

I made a box to represent the wooden box seats and the idea that a van is much like a box, a mobile box, in which you sit and go from place to place. A small piece of wood is wedged into the lid to keep the lid open.

Yellow Yarn
To represent the yellow shag carpet and visually suggest the warm fuzzy memories of our family vehicle.

I spray painted the box yellow because I wanted it to have a somewhat shiny finish similar to that of the van.

Note  from Laura - This is successful solution to the assignment. Poor quality photos do not allow the piece to succeed in visual images. 

Sunday, February 3, 2013

Stacked Paper, Student Work

Kiara Sanchez
Paper Stacking, Student Design (inspired by architecture)
Paper, glue, ink. Approx. 4" x 3"

Porsha, invented form, inspired by architecture. Approx. 5" x 2.5" x 2.5". Paper, wood glue, ink.

Michael Stingle, paper stack form covered in resin, approx. 6" x 2.5".