the size of a form as compared to the space containing it, to another form, or
to the human body.
objects larger or smaller than normal, a viewer is made to see the form in a new
way. Such juxtapositions encourage audiences to take a fresh look at the
subject. A classic example is the diminutive effect, which is visible when a
human figure is arranged in conjunction with a massive natural or human-made
site such as the Grand Canyon or a Gothic cathedral. Dadaist and surrealist
artists often employed scale as a way to make the familiar strange and the
By showing objects larger or smaller than normal, a viewer is made to see the form in a new way. Such juxtapositions encourage audiences to take a fresh look at the subject. A classic example is the diminutive effect, which is visible when a human figure is arranged in conjunction with a massive natural or human-made site such as the Grand Canyon or a Gothic cathedral. Dadaist and surrealist artists often employed scale as a way to make the familiar strange and the strange familiar.
designs that can be held
designs equivalent in size to one’s body
Duane Hanson Tourists II 1988,
designs that dominate the immediate environment
Claes Oldenburg GiantThree-WayPlug1970 and Clothespin 1976
Claes Oldenburg and Coosje van Bruggen
Tom Otterness Crying Giant
The Listening Room 1958
smaller than object scale and/or of for example; humans
Marcel Duchamp Boite-enValise, 1940 Fountain (miniature) Fountain (1917/1964)
Environmental scale: dominates the landscape
Environmental sculpture uses natural materials such as leaves, grasses, stones, wood, sand, clay and ice to create works of art in the environment where they are found. An environmental sculptor plans a piece from the very beginning in relationship to its surroundings. The site is a catalyst, becoming part of the creative process. The finished sculpture and site become one integrated unit, working together to create a unified mood or atmosphere.Robert Smithson SPIRAL JETTY Rozel Point, Great Salt Lake, Utah April 1970
The measure of the scale of one form relative to another is termed proportion.
The Weather Project Olafur Eliasson
The subject of the weather has long shaped the content of everyday conversation. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’ In The Weather Project, the fourth in the annual Unilever Series of commissions for the Turbine Hall, Olafur Eliasson takes this ubiquitous subject as the basis for exploring ideas about experience, mediation and representation.
In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colors other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.
International® 7300 CXT
Thanks to Michael Kuehl
Overall length – 257 1/2"
Cab height – 108 1/4"
Standard bed length – 96"
Ground to bed floor – 57 1/2"
Ground to top of bed side – 77"
You get all the attributes of a commercial truck – but you don’t need a commercial driver’s license to drive it.*
Ron Mueck is a London-based
photo-realist artist. Born in Melbourne , Australia , to parents who were toy
makers, he labored on children's television shows for 15 years before working in
special effects for such films as Labyrinth (1986).
Mueck then started his own company in London, making models to be photographed for advertisements. He has lots of the dolls he made during his advertising years stored in his home. Although some still have a presence on their own. Many were made just to be photographed from a particular angle -one strip of a face, for example, with a lot of loose material lurking an inch outside the camera's frame.
Mueck's hyper-realistic sculptures in fiberglass and silicone, while extraordinarily lifelike, challenge us by their odd scale. The psychological confrontation for the viewer is to recognize and assimilate two contradictory realities.