Vocational

Vocational

Higher vocational education and training takes place at the non-university tertiary level. Such education combines teaching of both practical skills and theoretical expertise. Higher education differs from other forms of post-secondary education such as that offered by institutions of vocational education, which are more colloquially known as trade schools. Higher vocational education might be contrasted with education in a usually broader scientific field, which might concentrate on theory and abstract conceptual knowledge. A Vocational university is an institution of higher education and sometime research, which grants Professional degrees like Professional Bachelor's degree, Professional Master's degree and Professional doctorates) in a variety of subjects.

There are vocational universities in Applied sciences and Applied arts

Recognition of studies

Universities are fairly large employers. Depending on the funding, a university typically has a teacher per 3-20 students. According to the ideal of research-university, the university teaching staff is actively involved in the research of the institution. In addition, the university usually also has dedicated research staff and a considerable support staff. Typically to work in higher education as a member of the academic faculty, a candidate must first obtain a doctorate in an academic field, although some lower teaching positions require only master's degree. Member of the staff or administration usually have education that is necessary for the fulfilment of their duties. Depending on the university, the main administration is more or less centralized. Typically most of the administrative staff works in different administrative sections, such as Student Affairs. In addition, there may be central support units, such as a university library which have a dedicated staff.

The professional field involving the collection, analysis, and reporting of higher education data is called institutional research. Professionals in this field can be found, in addition to universities, in e.g. state educational departments.

woodworking

Woodworking

History

Ancient Egyptian woodworking

Along with stone, mud, and animal parts, wood was certainly one of the first materials worked by primitive human beings. Microwear analysis of the Mousterian stone tools used by the Neanderthals show that many were used to work wood. The development of civilization was closely tied to the development of increasingly greater degrees of skill in working these materials.
Among early finds of wooden tools are the worked sticks from Kalambo Falls, Clacton-on-Sea and Lehringen. The spears from Schöningen (Germany) provide some of the first examples of wooden hunting gear. Flint tools were used for carving. Since Neolithic times, carved wooden vessels are known, for example, from the Linear Pottery culture wells at Kückhofen and Eythra. Examples of Bronze Age wood-carving include trees worked into coffins from northern Germany and Denmarkand wooden folding-chairs. The site of Fellbach-Schmieden in Germany has provided fine examples of wooden animal statues from the Iron Age. Wooden idols from the La Tène period are known from a sanctuary at the source of the Seine in France.

Two ancient civilizations that used woodworking were the Egyptians and the Chinese. Woodworking is depicted in many ancient Egyptian drawings, and a considerable amount of ancient Egyptian furniture (such as stools, chairs, tables, beds, chests) has been preserved in tombs. As well, the inner coffins found in the tombs were also made of wood. The metal used by the Egyptians for woodworking tools was originally copper and eventually, after 2000 BC bronze as ironworking was unknown until much later. Commonly used woodworking tools included axes, adzes, chisels, pull saws, and bow drills. Mortise and tenon joints are attested from the earliest Predynastic period. These joints were strengthened using pegs, dowels and leather or cord lashings. Animal glue came to be used only in the New Kingdom period. Ancient Egyptians invented the art of veneering and used varnishes whose composition is not known as finishes. Although different native acacias were used, as was the wood from the local sycomore and tamarisk trees, deforestation in the Nile valley resulted in the need for importation of wood, notably cedar, but also Aleppo pine, boxwood and oak, starting from the Second Dynasty.

The progenitors of Chinese woodworking are considered to be Lu Ban (魯班) and his wife Lady Yun, from the Spring and Autumn Period. Lu Ban is said to have brought the plane, chalkline, and other tools to China. His teachings are supposedly left behind in the book Lu Ban Jing (魯班經, "Manuscript of Lu Ban"), although it was written some 1500 years after his death. This book is filled largely with descriptions of dimensions for use in building various items—such as flower pots, tables, altars, etc.—and also contains extensive instructions concerning Feng Shui. It mentions almost nothing of the intricate glueless and nailless joinery for which Chinese furniture was so famous.

Materials

Historically, woodworkers relied upon the woods native to their region, until transportation and trade innovations made more exotic woods available to the craftsman. Woods can be sorted into three basic types: hardwoods typified by tight grain and derived from broadleaf trees, softwoods from coniferous trees, and man-made materials such as plywood and MDF.

Metalworking

Metalworking

From Wikipedia, the free encyclopedia This article or section includes a list of references or external links, but its sources remain unclear because it has insufficient inline citations.
You can improve this article by introducing more precise citations where appropriate. (October 2008)
Metalworking is craft and practice of working with metals to create individual parts, assemblies, or large scale structures. The term covers a wide range of work from large ships, bridges and oil refineries to delicate jewellery. It therefore includes a correspondingly wide range of skills and the use of many different types of metalworking processes and their related tools.

Metalworking is an art, hobby, industry, and trade. It relates to metallurgy, a science, jewellery making, an art-and-craft, and as a trade and industry with ancient roots spanning all cultures and civilizations. Metalworking had its beginnings millennia in the past. At some imprecise point in the distant past humankind discovered that certain rocks now called ores could be smelted, producing metal. Further, they discovered that the metal product was malleable and ductile and thus able to be formed into various tools, adornments and put to other practical uses. Humans over the millennia learned to work raw metals into objects of art, adornment, practicality, trade, and engineering.

Prehistory

Metalworking predates history. No one knows with any certainty where or when metalworking began. The earliest technologies were impermanent to say the least and were unlikely to leave any evidence for long. The advance that brought metal into focus was the connection of fire and metals. Who accomplished this is as unknown as the when and where.

Not all metal required fire to obtain it or work it. Isaac Asimov speculated that gold was the "first metal." His reasoning is that gold by its chemistry is found in nature as nuggets of pure gold. In other words, only gold, as rare as it is, is found in nature as the metal that it is. There are a few exceptions as a result of meteors. All other metals are found in ores, a mineral bearing rock, that require heat or some other process to liberate the metal. Another feature of gold is that it is workable as it is found, meaning that no technology beyond eyes to find a nugget and a hammer and an anvil to work the metal is needed. Stone hammer and stone anvil will suffice for technology. This is the result of gold's properties of malleability and ductility. The earliest tools were stone, bone, wood, and sinew. They sufficed to work gold.

At some unknown point the connection between heat and the liberation of metals from rock became clear, rocks rich in copper, tin, and lead came into demand. These ores were mined where ever they were recognized. Remnants of such ancient mines have been found all over what is today the Middle East. Metalworking was being carried out by the South Asian inhabitants of Mehrgarh between 7000–3300 BCE. The end of the beginning of metalworking occurs sometime around 6000 BCE when copper smelting became common in the Middle East.

The ancients knew of seven metals. Here they are arranged in order of their oxidation potential:
Iron +0.44,
Tin +0.14
Lead +0.13
Copper -0.34
Mercury -0.79
Silver -0.80
Gold -1.50

The oxidation potential is important because it is one indicator of how tightly bound to the ore the metal is likely to be. As can be seen, iron is significantly higher than the other six metals while gold is dramatically lower than the six above it. Gold's low oxidation is one of the main reasons that gold is found in nuggets. These nuggets are relatively pure gold and are workable as they are found.

Copper ore, being relatively abundant, and tin ore became the next important players in the story of metalworking. Using heat to smelt copper from ore, a great deal of copper was produced. It was used for both jewelry and simple tools. However, copper by itself was too soft for tools requiring edges and stiffness. At some point tin was added into the molten copper and bronze was born. Bronze is an alloy of copper and tin. Bronze was an important advance because it had the edge-durability and stiffness that pure copper lacked. Until the advent of iron, bronze was the most advanced metal for tools and weapons in common use.

Looking beyond the Middle East, these same advances and materials were being discovered and used the world around. China and Britain jumped into the use of bronze with little time being devoted to copper. Japan began the use of bronze and iron almost simultaneously. In the Americas things were different. Although the peoples of the Americas knew of metals, it wasn't until the arrival of Europeans that metal for tools and weapons took off. Jewelry and art were the principal uses of metals in the Americas prior to European influence.

Around the date 2700 BCE, production of bronze was common in locales where the necessary materials could be assembled for smelting, heating, and working the metal. Iron was beginning to be smelted. Iron began its emergence as an important metal for tools and weapons. The Iron Age was dawning.

History

By the historical periods of the Pharaohs in Egypt, the Vedic Kings in India, the Tribes of Israel, and the Mayan Civilization in North America, among other ancient populations, precious metals began to have value attached to them. In some cases rules for ownership, distribution, and trade were created, enforced, and agreed upon by the respective peoples. By the above periods metalworkers were very skilled at creating objects of adornment, religious artifacts, and trade instruments of precious metals (non-ferrous), as well as weaponry usually of ferrous metals and/or alloys. These skills were finely honed and well executed. The techniques were practiced by artisans, blacksmiths, atharvavedic practitioners, alchemists, and other categories of metalworkers around the globe. For example, the ancient technique of granulation is found around the world in numerous ancient cultures before the historic record shows people traveled seas or overland to far regions of the earth to share this process that still being used by metalsmiths today.

As time progressed metal objects became more common, and ever more complex. The need to further acquire and work metals grew in importance. Skills related to extracting metal ores from the earth began to evolve, and metalsmiths became more knowledgeable. Metalsmiths became important members of society. Fates and economies of entire civilizations were greatly affected by the availability of metals and metalsmiths. Today modern mining practices are more efficient, but more damaging to the earth and to the workers that are engaged in the industry. Those that finance the operations are driven by profits per ounce of extracted precious metals. The metalworker depends on the extraction of precious metals to make jewellery, build more efficient electronics, and for industrial and technological applications from construction to shipping containers to rail, and air transport. Without metals, goods and services would cease to move around the globe on the scale we know today.

More individuals than ever before are learning metalworking as a creative outlet in the forms of jewellery making, hobby restoration of aircraft and cars, blacksmithing, tinsmithing, tinkering, and in other art and craft pursuits. Trade schools continue to teach welding in all of its forms, and there is a proliferation of schools of Lapidary and Jewelers arts and sciences at this- the beginning of the 21st Century AD.

General metalworking processes

Metalworking generally is divided into the following categories, forming, cutting, and, joining. Each of these categories contain various processes.

Forming processes

These processes modify the shape of the object being formed by deforming the object, that is, without removing any material.

Forming is a collection of processes wherein the metal is rearranged into a specified geometry (shape) by:
heating until molten, poured into a mold, and cooled,
heating until the metal becomes plastically deformable by application of mechanical force,
by the simple application of mechanical force.

Casting is an example of achieving a specific form by pouring molten metal into a mold and allowing it to cool. Hot forging is an example of moving heated metal into a specific form by deforming it with tools such as hammers or hydraulic presses while the material is at forging temperature. Drawing copper wire to a specific size is an example of forming by the use of mechanical tooling and mechanical force.

Casting

A sand casting mold.
Sand casting
Shell casting
Investment casting (called lost wax casting in art)
Die casting
Spin casting

Plastic deforming

A red-hot metal workpiece is inserted into a forging press.
Forging
Rolling
Extrusion
Spinning
Stamping
Raising

Sheet metal forming

A metal spun brass vase.
Main article: Sheet metal
Bending
Drawing
Pressing
Spinning
Flow turning
Roll forming
Wheeling using an English wheel (Wheeling machine)

Cutting processes

Cutting is a collection of processes wherein material is brought to a specified geometry by removing excess material using various kinds of tooling leaving a finished part matching a set of specifications. The net result of cutting is two products, the waste or excess material, and the finished part. If this were a discussion of woodworking, the waste would be sawdust and excess wood. In cutting metals the waste is chips or swarf and excess metal. These processes can be divided into chip producing cutting, generally known as machining. Burning or cutting with an oxyfuel torch is a welding process not machining. There are also miscellaneous specialty processes such as chemical milling.

Cutting is nearly fully represented by:
Chip producing processes most commonly known as machining
Burning, a set of processes which cut by oxidizing a kerf to separate pieces of metal
Specialty processes

Drilling a hole in a metal part is the most common example of a chip producing process. Using an oxy-fuel cutting torch to separate a plate of steel into smaller pieces is an example of burning. Chemical milling is an example of a specialty process that removes excess material by the use of etching chemicals and masking chemicals.

There are many technologies available to cut metal.
Manual technologies: saw, chisel, shear or snips
Machine technologies: turning, milling, drilling, grinding, sawing
Welding/burning technologies: burning by laser, oxy-fuel burning, and plasma
Erosion technologies:by water jet or electric discharge.

Cutting fluid or coolant is used where there is significant friction and heat at the cutting interface between a cutter such as a drill or an end mill and the workpiece. Coolant is generally introduced by a spray across the face of the tool and workpiece to decrease friction and temperature at the cutting tool/workpiece interface to prevent excessive tool wear. In practice there are many methods of delivering coolant.


Milling

Milling is the complex shaping of metal (or possibly other materials) parts, by removing unneeded material to form the final shape. It is generally done on a milling machine, a power-driven machine that in its basic form is comprised of a milling cutter that rotates about the spindle axis (like a drill), and a worktable that can move in multiple directions (usually three dimensions [x,y,z axis] relative to the workpiece, whereas a drill can only move in one dimension [z axis] while cutting). The motion across the surface of the workpiece is usually accomplished by moving the table on which the workpiece is mounted, in the x and y directions. Milling machines may be operated manually or under computer numerical control (CNC), and can perform a vast number of complex operations, such as slot cutting, planing, drilling and threading, rabbeting, routing, etc. Two common types of millers are the horizontal miller and vertical miller.


Turning

A lathe is a machine tool which spins a block of material so that when abrasive, cutting, or deformation tools are applied to the workpiece, it can be shaped to produce an object which has rotational symmetry about an axis of rotation. Examples of objects that can be produced on a lathe include candlestick holders, table legs, bowls, baseball bats, crankshafts or camshafts.

The material may be secured in the lathe with a chuck and/or one or two "centers", of which at least one can be moved to accommodate varying material lengths. In a metalworking lathe, metal is removed from the workpiece using a hardened cutting tool which is usually fixed to a solid movable mounting called the "toolpost". The toolpost is then moved around the workpiece using handwheels and/or computer controlled motors, while the workpiece is rotated. Modern CNC lathes can do secondary operations, like milling, by using driven tools. When driven tools are used the work piece stops rotating and the driven tool executes the machining operation with a rotating cutting tool.

Drilling and tapping

Drilling is the process of using a drill bit in a drill to produce holes. Under normal usage, swarf is carried up and away from the tip of the drill bit by the fluting. The continued production of chips from the cutting edges pushes the older chips outwards from the hole. This continues until the chips pack too tightly, either because of deeper than normal holes or insufficient backing off (removing the drill slightly [breaking the chip] or totally from the hole [clearing the bit] while drilling). Lubricants (or coolants) (i.e. cutting fluid) are sometimes used to ease this problem and to prolong the tool's life by cooling, lubricating the tip and improving chip flow.

Taps and dies are tools commonly used for the cutting of screw threads in metal parts. A tap is used to cut a female thread on the inside surface of a pre-drilled hole, while a die cuts a male thread on a preformed cylindrical rod.

Grinding

Grinding uses an abrasive process to remove material from the workpiece. A grinding machine is a machine tool used for producing very fine finishes, making very light cuts, or high precision forms using a abrasive wheel as the cutting device. This wheel can be made up of various sizes and types of stones, diamonds or inorganic materials.

The simplest grinder is a bench grinder or a hand-held angle grinder, for deburring parts or cutting metal with a zip-disc.

Grinders have increased in size and complexity with advances in time and technology. From the old days of a manual toolroom grinder sharpening endmills for a production shop, to today's 30000rpm CNC auto-loading manufacturing cell producing jet turbines, grinding processes vary greatly.

Grinders need to be very rigid machines to produce the required finish. Some grinders are even used to produce glass scales for positioning CNC machine axis. The common rule is the machines used to produce scales be 10 times more accurate than the machines the parts are produced for.

In the past grinders were used for finishing operations only because of limitations of tooling. Modern grinding wheel materials and the use of industrial diamonds or other made-made coatings (cubic boron nitride) on wheel forms have allowed grinders to achieve excellent results in production environments instead of being relegated to the back of the shop.

Modern technology has advanced grinding operations to include CNC controls, high material removal rates with high precision, lending itself well to aerospace applications and high volume production runs of precision components.

Filing

Filing is combination of grinding and saw tooth cutting using a file. It is usually used in the deburring process.

Broaching

Broaching is machining operation used to cut keyways into shafts.

Joining processes

Mig welding

Welding

Welding is a fabrication process that joins materials, usually metals or thermoplastics, by causing coalescence. This is often done by melting the workpieces and adding a filler material to form a pool of molten material that cools to become a strong joint, but sometimes pressure is used in conjunction with heat, or by itself, to produce the weld.

Many different energy sources can be used for welding, including a gas flame, an electric arc, a laser, an electron beam, friction, and ultrasound. While often an industrial process, welding can be done in many different environments, including open air, underwater and in space. Regardless of location, however, welding remains dangerous, and precautions must be taken to avoid burns, electric shock, poisonous fumes, and overexposure to ultraviolet light.

Brazing

Brazing is a joining process in which a filler metal is melted and drawn into a capillary formed by the assembly of two or more work pieces. The filler metal reacts metallurgically with the workpiece(s) and solidifies in the capillary, forming a strong joint. Unlike welding, the work piece is not melted. Brazing is similar to soldering, but occurs at temperatures in excess of 450 degrees Celsius. Brazing has the advantage of producing less thermal stresses than welding, and brazed assemblies tend to be more ductile than weldments because alloying elements can not segregate and precipitate.

Brazing techniques include, flame brazing, resistance brazing, furnace brazing, diffusion brazing, and inductive brazing.

Soldering

Soldering is a joining process that occurs at temperatures below 449 Celsius. It is similar to brazing in the fact that a filler is melted and drawn into a capillary to form a join, although at a lower temperature. Because of this lower temperature and different alloys used as fillers, the metallurgical reaction between filler and work piece is minimal, resulting in a weaker joint.

Marking out

Marking out (also known as layout) is the process of transferring a design or pattern to a workpiece and is the first step in the handcraft of metalworking. It is performed in many industries or hobbies, although in the repetition industries the need to mark out every individual piece is eliminated.

In the metal trades area, marking out consists of transferring the engineer's plan to the workpiece in preparation for the next step, machining or manufacture.

Land art

Land art

Land art, Earthworks, or Earth art is an art movement which emerged in the United States in the late 1960s and early 1970s, in which landscape and the work of art are inextricably linked. Sculptures are not placed in the landscape, rather the landscape is the very means of their creation. The works frequently exist in the open, located well away from civilization, left to change and erode under natural conditions. Many of the first works, created in the deserts of Nevada, New Mexico, Utah or Arizona were ephemeral in nature and now only exist as video recordings or photographic documents.

History

Land art is to be understood as a protest against the artificiality, plastic aesthetics and ruthless commercialisation of art at the end of the 1960s in America. Exponents of land art rejected the museum as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of the commercial art market. Land art was inspired by minimal art and concept art but also by modern and minimal movements such as De Stijl, cubism, minimalism and the work of Constantin Brancusi and Joseph Beuys. Many of the artist associated with land art had been involved with minimal art and conceptual art. Isamu Noguchi's 1941 design for Contoured Playground in New York is sometimes interpreted as an important early piece of land art even though the artist himself never called his work "land art" but simply "sculpture". His influence on contemporary land art, landscape architecture and environmental sculpture is evident in many works today.

Alan Sonfist is a pioneer of an alternative approach to working with nature and culture that he began in 1965 by bringing historical nature and sustainable art back into New York City. According to critic Barbara Rose, writing in Artforum in 1969, she had become disillusioned with the commodification and insularity of gallery bound art. In 1967, the art critic Grace Glueck writing in the New York Times declared the first earthwork was done by Douglas Leichter and Richard Saba at the Skowhegan School of Painting and Sculpture. The sudden appearance of land art in 1968 can be located as a response by a generation of artists mostly in their late twenties to the heightened political activism of the year and the emerging environmental and women's liberation movements.

The movement was "launched" in October 1968 by the group exhibition Earthworks at the Dwan Gallery in New York. In February 1969, Willoughby Sharp curated the Earth Art exhibition at the Andrew Dickson White Museum of Art at Cornell University, Ithaca New York. The artists included in the Earth Art exhibition were: Walter De Maria, Jan Dibbets, Hans Haacke, Michael Heizer, Neil Jenney, Richard Long, David Medalla, Robert Morris, Dennis Oppenheim, Robert Smithson, and Gunther Uecker. The exhibition was directed by Thomas W. Leavitt. Gordon Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in "Earth Art" with the on-site execution of their works for the exhibition. Perhaps the best known artist who worked in this genre was the American Robert Smithson whose 1968 essay "The Sedimentation of the Mind: Earth Projects" provided a critical framework for the movement as a reaction to the disengagement of Modernism from social issues as represented by the critic Clement Greenberg. His best known piece, and probably the most famous piece of all land art, is Spiral Jetty (1970), for which Smithson arranged rock, earth and algae so as to form a long (1500 ft) spiral-shape jetty protruding into Great Salt Lake in Utah. How much of the work, if any, is visible is dependent on the fluctuating water levels. Since its creation, the work has been completely covered, and then uncovered again, by water.

Smithson's Gravel Mirror with Cracks and Dust (1968) is an example of land art existing in a gallery space rather than in the natural environment. It consists of a pile of gravel by the side of a partially mirrored gallery wall. In its simplicity of form and concentration on the materials themselves, this and other pieces of land art have an affinity with minimalism. There is also a relationship to Arte Povera in the use of materials traditionally considered "unartistic" or "worthless".

Land artists have tended to be American, with other prominent artists in this field including Nancy Holt, Walter De Maria, Hans Haacke, Alice Aycock, Dennis Oppenheim, Michael Heizer, Andrew Rogers, Alan Sonfist, and James Turrell. Turrell began work in 1972 on possibly the largest piece of land art thus far, reshaping the earth surrounding the extinct Roden Crater volcano in Arizona. Perhaps the most prominent non-American land artists are the British Chris Drury, Andy Goldsworthy Richard Long and the Australian Andrew Rogers.

Some projects by the artist Christo (who is famous for wrapping monuments, buildings and landscapes in fabric) have also been considered land art by some, though the artist himself considers this incorrect.[1] Joseph Beuys' concept of 'social sculpture' influenced 'Land art' and his 'Eichen' project of 1972 to plant 7000 Oak trees has many similarities to 'Land art' processes. Rogers' “Rhythms of Life” project is the largest contemporary land-art undertaking in the world, forming a chain of stone sculptures, or geoglyphs, around the globe – 12 sites – in disparate exotic locations (from below sea level and up to altitudes of 4,300 m/14,107 ft). Up to three geoglyphs (ranging in size up to 200 sq m/660 sq ft) are located in each site.

Land artists in America relied mostly on wealthy patrons and private foundations to fund their often costly projects. With the sudden economic down turn of the mid 1970s funds from these sources largely dried up. With the death of Robert Smithson in a plane crash in 1973 the movement lost one of its most important figureheads and petered out. James Turrell continues to work on the Roden Crater project. In most respects 'Land Art' has become part of mainstream public art and in many cases the term "Land Art" is misused to label any kind of art in nature even though conceptually not related to the avant-garde works by the pioneers of Land Art.

Ceramic art

Ceramic art

Ceramics and ceramic art in the art world means artwork made out of clay bodies and fired to form a ceramic. Some ceramic pieces are classified as fine art, while many others can be classified as one of the decorative, industrial or applied arts (the application of design and aesthetics to objects of function and everyday use). The identification of a specific pottery piece as a "work of art" is not always clear. Ceramic art usually, but not always, was intended by the maker as art. It may have a signature, designer name or brand name stamp on the bottom. Ceramic art can be either manufactured by individuals or in a factory that employs artists to design, produce or decorate the ware.

Historically, ceramic articles were prepared by shaping the clay body, a clay rich mixture of various minerals, into the desired shapes before being subjected to high temperatures in a kiln. However ceramics now refers to a very diverse group of materials which, while all are fired to high temperature, may not have been shaped from material containing any clay. The origin of the word is the ancient Greek keramikos, from Keramos, meaning "potter's clay."

Ancient history


Ceramic art has an extensive prehistoric development in the Chinese, Cretan, Greek, Roman, Persian, Mayan, and numerous other cultures.


European

Mediterranean

On the Greek island of Santorini are some of the earliest finds dating to the third millennium BC, with the original settlement at Akrotiri dating to the fourth millennium BC; excavation work continues at the principal archaeological site of Akrotiri. Some of the excavated homes contain huge ceramic storage jars known as pithoi. Ancient Etruscan and Grecian ceramics are renowned for their figurative painting.


Venus Figurines


A number of Gravettian figurines found in the Czech Republic are believed to represent the earliest known works of ceramic artwork made of the human form. One such figurine is the Venus of Dolní Věstonice (Moravian), which was made between 27,000 and 31,000 years ago. The designation of this, and other similar figurines, as "venus" has no relation to the classical goddess of love, but reflects the figure's state of undress. The Venus figurine was made by molding and then firing a mixture of clay and powdered bone. This is the earliest known figurine made of ceramics representing the human form. Scholars do not know if it was intended as fine art, as religious icon, or some other intent; they just do not know the original meaning to the original culture. Similar figurines found throughout Eurasia are called Venus figurines and are noted for their natural looking representations of the female form with some artistic merit. Here are examples of what has been written about them:
Venus figurines are the name given to a nearly universal type of art, appearing first in the Upper Paleolithic period between 30,000 and 15,000 years ago.
The world's oldest surviving works of art fashioned after the human image appear in the archaeological strata of the Upper Paleolithic in Europe.


Asian

Chinese Longquan celadon, Song Dynasty, 13th century. Celadon was first made in China, and then exported to various parts of Asia and Europe. Celadon became a favourite of various kings and monarchs, such as the Ottoman Sultans, because of its pristine beauty, its resemblance to Chinese jade, and the belief that the celadon would change its colour if the food or wine were poisoned


The earliest known ceramic objects are Gravettian figurines such as those discovered at Dolni Vestonice in the modern-day Czech Republic. The Venus of Dolní Věstonice (Věstonická Venuše in Czech) is a Venus figurine, a statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). The earliest known pottery vessels may be those made by the Incipient Jōmon people of Japan around 10,500 BCE. The term "Jōmon" means "cord-marked" in Japanese. This refers to the markings made on clay vessels and figures using sticks with cords wrapped around them. Pottery which dates back to 10,000 BCE have also been excavated in China. Chinese porcelain comes from the late Eastern Han period (100 to 200 AD), the Three Kingdoms period (220 to 280 AD), the Six Dynasties period (220 to 589 AD), and the Tang Dynasty (618 to 906 AD).


American

The oldest ceramics known in the Americas — made from 5,000 to 6,000 years ago — are found in the Andean region, along the Pacific coast of Ecuador at Valdivia and Puerto Hormiga, and in the San Jacinto Valley of Colombia; objects from 3,800 to 4,000 years old have been discovered in Peru. Some archaeologists believe that ceramics know-how found its way by sea to Mesoamerica, the second great cradle of civilization in the Americas.

The best-developed styles found in the central and southern Andes are the ceramics found near the ceremonial site at Chavín de Huántar (800–400 B.C.) and Cupisnique (1000–400 B.C.). During the same period, another culture developed on the southern coast of Peru, in the area called Paracas. The Paracas culture (600–100 B.C.) produced marvelous works of embossed ceramic finished with a thick oil applied after firing. This colorful tradition in ceramics and textiles was followed by the Nazca culture (A.D. 1–600), whose potters developed improved techniques for preparing clay and for decorating objects, using fine brushes to paint sophisticated motifs. In the early stage of Nazca ceramics, potters painted realistic characters and landscapes. The Moche cultures (A.D. 1–800) that flourished on the northern coast produced extraordinary clay sculptures and effigies decorated with fine lines of red on a beige background. Moche artists also developed the ceramic technique of modeling. Their pottery stands out for its huacos retrato (portrait vases),works on which human faces are shown expressing different emotions—happiness, sadness, anger, melancholy—as well for its complicated drawings of wars, human sacrifices, and celebrations.

The Mayans were a relative latecomer to ceramic development, as their ceramic arts flourished in the Maya Classic Period, or the second to tenth century AD. One important site in southern Belize is known as Lubaantun, that boasts particularly detailed and prolific works. As evidence of the extent to which these ceramic art works were prized, many specimens traced to Lubaantun have been found at distant Mayan sites in Honduras and Guatemala. Furthermore, the current Mayan people of Lubaantun continue to hand produce copies of many of the original designs found at Lubaantun.


The Hopi in Northern Arizona and several other Puebloan peoples including the Taos, Acoma, and Zuñi people (all in the Southwestern United States) are renowned for painted pottery in several different styles of ceramic art. Nampeyo and her relatives created pottery that became highly sought after beginning in the early 20th century.


Fine art ceramics


Fine art ceramics include ceramic art made by hand and designed to be purely art, that is to be looked at and enjoyed visually and contemplatively, without any further uses. It is often one of a kind.

In modern art theory, the fine art pot or expressive pot has been used as a name of pottery that aspires to the conditions of fine art, generally by prioritizing conceptual and aesthetic qualities over functionality or usefulness. Fine art pot has been used as a term opposite of the phrase ethical pot (meaning utilitarian pottery) - at least by ceramic art theorists defining art styles and their merits since the 1940s.

Fine art pot styles were led and taught by William Staite Murray and other post-war potters such as Lucie Rie and Hans Coper. The alternative Arts and Crafts style of ethical pot (simple and utilitarian studio pottery) was explored by potter Bernard Leach and his followers.

The modern art movement in pottery is experimental in nature. Many styles originated from the Arts and Crafts movement when studio potters were looking to find a place and definition for the crafts in the age of industrialisation and mechanised-production, and from the desire to re-establish ceramics as a fine art mediu.

Modern ceramic artists and potters often engage in what has become know as the "Art versus Craft debate", in which the merits of each pottery approach are perpetually reiterated without resolution.


Industrial art ceramics


Industrial art ceramics includes ceramics made in factories that employ artists to design or hand paint the ceramics, or industrial-minded art collectives, and is often known by the name of the founder or the brand name of the product line. In general, industrial ceramics are not one of a kind, and are intended to be duplicated and sold on the market, using methods of limited or mass production. Some factories are known for their fine materials, intricate designs, elaborate painting and glazing by artisans. Many are of the objects produced are decorative by design, while others adhere to the idea of form follows function and purposefully designed to be utilitarian, however still considered a "work of art." Industrial ceramic art can be identified by brand name or distinctive styles. Examples include:Delftware


Environmental issues of production


Although many of the environmental effects of the workplace of ceramic art have existed for millennia, some of these have been amplified with modern technology and scales of production. The principal factors for consideration fall into two categories: (a] effects on workers and (b) effects on the general environment. Within the effects on workers, chief impacts are indoor air quality, sound levels and possible over-illumination. Regarding the general environment, factors of interest are off-site water pollution, air pollution and disposal of hazardous materials.

Historically plumbism, lead poisoning, was a significant health concern to those glazing pottery. This was recognised at least as early as the nineteenth century, and the first legislation in the United Kingdom to limit pottery workers’ exposure was introduced in 1899. [19] Whilst the risk of to those working in ceramics is now much reduced it can still not be ignored. With respect to indoor air quality, workers can be exposed to fine particulate matter, carbon monoxide and certain heavy metals. The greatest health risk is the potential to develop silicosis from the long-term exposure to crystalline silica. Proper ventilation can reduce the risks, and the first legislation in the United Kingdom to govern ventilation was introduced in 1899. Another, more recent study at Laney College, Oakland, California suggests that all these factors can be controlled in a well designed workshop environment.

The use of energy and pollutants in the production of ceramics is a growing concern. Electric firing is arguably more environmentally friendly than combustion firing, although the source of the electricity varies in environmental impact.

Architecture

Architecture


This article is about building architecture. For other uses, see Architecture (disambiguation).

The term architecture (from Greek αρχιτεκτονική, architektonike) can be used to mean a process, a profession or documentation.

As a process, architecture is the activity of designing and constructing buildings and other physical structures by a person or a machine, primarily to provide socially purposeful shelter. A wider definition often includes the design of the total built environment, from the macro level of how a building integrates with its surrounding man made landscape (see town planning, urban design, and landscape architecture) to the micro level of architectural or construction details and, sometimes, furniture. Wider still, architecture is the activity of designing any kind of system.

As documentation, usually based on drawings, architecture defines the structure and/or behavior of a building or any other kind of system that is to be or has been constructed.

Architects have as their primary object providing for the spatial and shelter needs of people in groups of some kind (families, schools, churches, businesses, etc.) by the creative organisation of materials and components in a land- or city-scape, dealing with mass, space, form, volume, texture, structure, light, shadow, materials, program, and pragmatic elements such as cost, construction limitations and ass, to achieve an end which is functional, economical, practical and often with artistic and aesthetic aspects. This distinguishes architecture from engineering design, which has as its primary object the creative manipulation of materials and forms using mathematical and scientific principles.

Separate from the design process, architecture is also experienced through the senses, which therefore gives rise to aural, visual, olfactory, and tactile architecture. As people move through a space, architecture is experienced as a time sequence. Even though our culture considers architecture to be a visual experience, the other senses play a role in how we experience both natural and built environments. Attitudes towards the senses depend on culture. The design process and the sensory experience of a space are distinctly separate views, each with its own language and assumptions.

Architectural works are perceived as cultural and political symbols and works of art. Historical civilizations are often known primarily through their architectural achievements. Such buildings as the pyramids of Egypt and the Roman Colosseum are cultural symbols, and are an important link in public consciousness, even when scholars have discovered much about a past civilization through other means. Cities, regions and cultures continue to identify themselves with (and are known by) their architectural monuments.

Theory of Architecture

Historic treatises


The earliest written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century CE. According to Vitruvius, a good building should satisfy the three principles of firmitatis utilitatis venustatis, which translates roughly as -
Durability - it should stand up robustly and remain in good condition.
Utility - it should be useful and function well for the people using it.
Beauty - it should delight people and raise their spirits.

According to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible.


Leone Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden Mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something applied superficially; and was based on universal, recognisable truths. The notion of style in the arts was not developed until the 16th century, with the writing of Vasari. The treatises, by the 18th century, had been translated into Italian, French, Spanish and English.

In the early nineteenth century, Augustus Welby Northmore Pugin wrote Contrasts (1836) that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only “true Christian form of architecture.”

The 19th century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849, was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by men ... that the sight of them" contributes "to his mental health, power, and pleasure". For Ruskin, the aesthetic was of overriding significance. His work goes on to state that a building is not truly a work of architecture unless it is in some way "adorned". For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the very least.

On the difference between the ideals of "architecture" and mere "construction", the renowned 20th C. architect Le Corbusier wrote: "You employ stone, wood, and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: This is beautiful. That is Architecture".

Modern concepts of architecture


While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius "utility". "Function" came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.

Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development. To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".

Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.


In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability. To satisfy the modern ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.


History


Origins and the ancient world

Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, architecture became a craft. Here there is first a process of trial and error, and later improvisation or replication of a successful trial. What is termed Vernacular architecture continues to be produced in many parts of the world. Indeed, vernacular buildings make up most of the built world that people experience every day.


Early human settlements were mostly rural. Due to a surplus in production the economy began to expand resulting in urbanization thus creating urban areas which grew and evolved very rapidly in some cases, such as that of Çatal Huyuk in Anatolia and Mohenjo Daro in Pakistan. In many ancient civilizations, like the Egyptians' and Mesopotamians', architecture and urbanism reflected the constant engagement with the divine and the supernatural, while in other ancient cultures such as Persia architecture and urban planning was used to exemplify the power of the state.

The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged. Architectural styles developed.

Texts on architecture began to be written in the Classical period. These became canons to be followed in important works, especially religious architecture. Some examples of canons are found in the writings of Vitruvius, the Kao Gong Ji of ancient China and Vaastu Shastra of ancient India.

The architecture of different parts of Asia developed along different lines to that of Europe, Buddhist, Hindu and Sikh architecture each having different characteristics. Buddhist architecture, in particular, showed great regional diversity. In many Asian countries a pantheistic religion led to architectural forms that were designed specifically to enhance the natural landscape.

The Taj Mahal, in India, is a UNESCO World Heritage Site and was cited as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage."


The Medieval builder This section does not cite any references or sources.
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Islamic architecture began in the 7th century CE, developing from the architectural forms of the ancient Middle East but developing features to suit the religious and social needs of the society. Examples can be found throughout the Middle East, North Africa and Spain, and were to become a significant stylistic influence on European architecture during the Medieval period.


In Europe, in both the Classical and Medieval periods, buildings were not attributed to specific individuals and the names of the architects frequently unknown, despite the vast scale of the many religious buildings extant from this period. During the Medieval period guilds were formed by craftsmen to organise their trade and written contracts have survived, particularly in relation to ecclesiastical buildings. The role of architect was usually one with master builder, except in the case where a cleric, such as the Abbot Suger at Saint Denis, Paris, provided the design. Over time the complexity of buildings and their types increased. General civil construction such as roads and bridges began to be built. Many new building types such as schools, hospitals, and recreational facilities emerged.


With the Renaissance and its emphasis on the individual and humanity rather than religion, and with all its attendant progress and achievements, a new chapter began. Buildings were ascribed to specific architects - Brunelleschi, Alberti, Michelangelo, Palladio - and the cult of the individual had begun. But there was no dividing line between artist, architect and engineer, or any of the related vocations. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved was within the scope of the generalist.

With the emerging knowledge in scientific fields and the rise of new materials and technology, architecture and engineering began to separate, and the architect began to lose ground on some technical aspects of building design. He therefore concentrated on aesthetics and the humanist aspects.


There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish Baronial styles.

Formal architectural training, in the 19th century, at, for example Ecole des Beaux Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility. Effective architects generally received their training in the offices of other architects, graduating to the role from draughtsmen or clerks.

Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production. Vernacular architecture became increasingly ornamental. House builders could access current architectural design in their work by combining features found in pattern books and architectural journals.


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The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here.

Following this lead, the Bauhaus school, founded in Germany in 1919, consciously rejected history and looked at architecture as a synthesis of art, craft, and technology.

When Modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after World War I, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes. They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order.


The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functionalist details. Buildings that displayed their construction and structure, exposing steel beams and concrete surfaces instead of hiding them behind traditional forms, were seen as beautiful in their own right. Architects such as Mies van der Rohe worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution.

Many architects resisted Modernism, finding it devoid of the decorative richness of ornamented styles. As the founders of the International Style lost influence in the late 1970s, Postmodernism developed as a reaction against the austerity of Modernism. Robert Venturi's contention that a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) was better than a "duck" (a building in which the whole form and its function are tied together) gives an idea of this approach.

Architecture today


Part of the architectural profession, and also some non-architects, responded to Modernism and Postmodernism by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment. The Design Methodology Movement involving people such as Christopher Alexander started searching for more people-oriented designs. Extensive studies on areas such as behavioral, environmental, and social sciences were done and started informing the design process.

As the complexity of buildings began to increase (in terms of structural systems, services, energy and technologies), architecture started becoming more multi-disciplinary. Architecture today usually requires a team of specialist professionals, with the architect being one of many, although usually the team leader.

During the last two decades of the twentieth century and into the new millennium, the field of architecture saw the rise of specializations by project type, technological expertise or project delivery methods. In addition, there has been an increased separation of the 'design' architect from the 'project' architect.

Moving the issues of environmental sustainability into the mainstream is a significant development in the architecture profession. Sustainability in architecture was pioneered in the 1970s by architects such as Ian McHarg in the US and Brenda and Robert Vale in the UK and New Zealand. There has been an acceleration in the number of buildings which seek to meet green building sustainable design principles.

It is now expected that architects will integrate sustainable principles into their projects.

The American Institute of Architects acknowledges that half of today's global warming greenhouse gas emissions come from buildings - more than transportation or industry. AIA states that immediate action by the building sector is essential to avoid hazardous man-made climate change. They have an "Architecture 2030" plan to reduce new building energy consumption by 90% in 2030, and net zero greenhouse gas emissions by 2035. Passive solar building design has been demonstrating essential elements of 70% to 90% energy consumption reduction in roughly 300,000 buildings since the 1978 U.S. Solar Energy Tax Incentives. Many of these energy efficiency features can be added at little-or-no additional net cost during construction. Newer zero energy buildings have reduced net annual energy consumption, producing excess energy and selling it back to the power company during moderate months. The demand for zero energy buildings is growing rapidly - subsidies are available for this type of building - The supply of zero energy buildings has fallen far short of current demand. Off-the-grid buildings are now demonstrating total self sufficiency. The 2009 Bank of America Tower (New York) has many innovative energy features.

President George W. Bush’s 2006 Solar America Initiative expects architects and builders to design and construct new zero energy buildings by 2015. The U.S. Energy Independence and Security Act of 2007 funded the new Solar Air Conditioning Research and Development Program, to develop technology innovations and mass production economies of scale. The U.S. Department of Energy and the National Renewable Energy Laboratory (NREL) also sponsor The Solar Decathlon, an international competition among universities for solar energy alternatives when it comes to houses. The houses built by the team are exhibited on the National Mall for the public to experience.

Fine art

Fine art

Fine art describes any art form developed primarily for aesthetics rather than utility. This type of art is often expressed in the production of art objects using visual and performing art forms, including painting, sculpture, dance, theatre, architecture, photography and printmaking. Schools, institutes, and other organizations still use the term to indicate a traditional perspective on the art forms, often implying an association with classic or academic art.

Background

The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline.

"Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry." -Aristotle

This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The more recent term visual arts is widely considered to be a more inclusive and descriptive phrase for today's variety of current art practices, and for the multitude of media in which high art is now more widely recognized to occur.

The term is still often used outside of the arts to denote when someone has perfected an activity to a very high level of skill. For example, one might metaphorically say that "Pelé took football to the level of a fine art."

That fine art is seen as being distinct from applied arts is largely the result of an issue raised in Britain by the conflict between the followers of the Arts and Crafts Movement, including William Morris, and the early modernists, including Virginia Woolf and the Bloomsbury Group. The former sought to bring socialist principles to bear on the arts by including the more commonplace crafts of the masses within the realm of the arts, while the modernists sought to keep artistic endeavor as exclusive and esoteric.

Confusion often occurs when people mistakenly refer to the Fine Arts but mean the Performing Arts (Music, Dance, Drama, etc). However, there is some disagreement here, as, for example, at York University, Fine Arts is a faculty that includes the "traditional" fine arts, design, and the "Performing Arts". Furthermore, creative writing is frequently considered a fine art as well.


Two dimensional work


Illustration

An illustration is a visualization such as a drawing, painting, photograph or other work of art that stresses subject more than form. The aim of an illustration is to elucidate or decorate textual information (such as a story, poem or newspaper article) by providing a visual representation.


Painting and drawing

Drawing is a form of visual expression and is one of the major forms within the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, or various metals like silverpoint. There are a number of subcategories of drawing, including cartooning. Certain drawing methods or approaches, such as "doodling" and other informal kinds of drawing such as drawing in the fog a shower leaves on a bathroom mirror, or the surrealist method of "entopic graphomania," in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots, may or may not be considered as part of "drawing" as a "fine art."

Comics are a graphic medium in which images are utilised in order to convey a sequential narrative. Comics are typically seen as a low art, although there are a few exceptions, such as Krazy Kat and Barnaby. In the late 20th and early 21st century there has been a movement to rehabilitate the medium.


Printmaking and imaging


Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on the other hand, create a unique original piece of artwork. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. But there are many other kinds, discussed below. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.


Photography


Fine Art Photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography. Photojournalism provides visual support for stories, mainly in the print media. Fine art photography is created primarily as an expression of the artist’s vision, but has also been important in advancing certain causes. The work of Ansel Adams' in Yosemite and Yellowstone provides an example. Adams is one of the most widely recognized fine art photographers of the 20th century, and was an avid promoter of conservation. While his primary focus was on photography as art, his work raised public awareness of the beauty of the Sierra Nevada mountains and helped to build political support for their protection.


Sculpture


Sculpture is three-dimensional artwork created by shaping hard or plastic material, commonly stone (either rock or marble), metal, or wood. Some sculptures are created directly by carving; others are assembled, built up and fired, welded, molded, or cast. Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. Many sculptures together in a garden setting may be referred to as a sculpture garden.


Conceptual Art


Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. The inception of the term in the 1960s referred to a strict and focused practice of idea-based art that often defied traditional visual criteria associated with the visual arts in its presentation as text. However, through its association with the Young British Artists and the Turner Prize during the 1990s, its popular usage, particularly in the UK, developed as a synonym for all contemporary art that does not practise the traditional skills of painting and sculpture.