Pedestals for sculpture

[Don Dougan <dondougan@zzzzzzzz>]

Re: [stone] Pedestals for sculpture

Bill (and others interested in pedestals);

The discussion of pedestals is off-topic at all.  In fact, since the
issue of pedestals is inescapable if the stone sculptor does not work in
a freestanding scale or in architectural venues, it is a topic that needs
to be considered by anyone who wants to exhibit their work to the public.

I realize you probably asked the question in hopes of obtaining a simple,
easy answer to the problem, but I don't think that there is a single easy
answer.
However, I also feel the subject deserves a closer look, so hopefully you
will forgive the length of the following paragraphs to set forth and
define the issues that every sculptor will have to deal with in their own
manner.
I will subsequently provide my solutions to the problem(s).

Like the base, the pedestal for a sculptural work is often a functional
necessity in order to present the form in space in a way which best
conveys the expression desired.  How the base relates to the sculptural
form and what expression the base itself gives the viewer are often
overlooked concerns in sculpture classes, and in the list as well.  The
question of the base is of particular interest to those who are working
with traditional materials and methods of sculpture, such as carved
stone, wood, and cast metal.
The base and the pedestal for a piece of sculpture are in many ways like
a frame around a picture ? to locate the work, define the space around
the form, and serving to hold or present the work in a specific place for
the most ideal viewing conditions.
There are two basic approaches to the base: serving as a functional
accessory to the actual form of the sculpture; or, as an integral element
to the sculpture as a whole.

APPROACHED AS A FUNCTIONAL ACCESSORY
As a functional accessory to the primary form of the sculpture, the base
and pedestal must first fulfill their functions to stabilize and support
the form, and as such should also serve to focus the viewer's attention
on the form itself.  They should not compete for the viewer's attention
but should be subservient to the qualities of the primary form.  Often
this is accomplished by use of plain, simple geometric forms such as
cylinders or rectangular blocks, made from materials that have qualities
which harmonize with both the materials in the sculpture and with the
architectural surroundings.  The intent is to integrate the sculpture
into the architectural structure of the space where it is placed, and to
help define the space in which the sculpture inhabits.  This type of
base/pedestal is a formal means of presenting the form of the sculpture.
(most of the previous replies in this thread refer to pedestals of this
type)

APPROACHED AS AN INTEGRAL AESTHETIC ELEMENT
Another way of considering the base/pedestal is as a an integral element
to the whole sculpture, and though it must first fulfill its primary
function to stabilize and support the form.  In addition, it is used to
contrast or complement the main focus of the sculpture, completing the
expression of character in the work.  This can be accomplished by using
contrasting qualities of color, texture, material, or form ? so applied
as to create/remove drama and increase/decrease dynamism or the degree of
tension with the primary form.  It can also echo colors, textures,
materials, or forms from the primary so as to unite the two aspects of
the whole.  This serves to 'set the stage' for the primary action and
gives the viewer a context for the story the sculpture expresses.  If
this type of element were to be removed or changed into a simple
pedestal, it would diminish the overall expression of the work.  (Carl
Andre's stacked wood 'bases' are of this type, as mentioned by Bill
Knight on this thread, or I might suggest looking at the image of
DEMETER'S DOLL by  Arp as pictured in Dona Meilach's CONTEMPORARY STONE
SCULPTURE, a book which I am sure most of you own. )

Either of the two approaches to present a sculpture can be appropriate ?
the choice will depend on the artist's intent and perception of the form
or the meanings it conveys.  Generally, it probably will require less
design time but more complete technical skills and equipment to fabricate
a simple interchangeable pedestal.  Sometimes this problem can be simply
solved by just purchasing prefabricated pedestals from a supplier or
contractor.
More thought and time will be probably be needed to design and make the
second type of pedestal or presentation as an integral aesthetic element.
 However, making this will usually require approximately the same or
similar skills and equipment that the primary form itself required, and
since each piece is a unique statement each pedestal/ presentation
becomes a unique problem to solve.

I make my own simple functional pedestals, each of which is
interchangeable for use with different 'pedestal-type' sculptures, but
for major works I also create sculptural elements that serve to present
the main expression in a supportive and integrated manner.
The sculpture itself determines which type I will employ: my more
straightforward pieces (more traditional works, if you will) are usually
presented on an assortment of self-made pedestals that are usually
painted all the same shade of off-white flat latex paint, with slightly
recessed flat-black 'kicks' at the bottom.

The more versatile and purely functional pedestal solutions are further
addressed below, but each of the integral type is a solution unique unto
the specific sculpture or exhibit, so perhaps the best way to share my
solutions is to look at them on my website:
http://www.dondougan.homestead.com/indexdd.html
For examples of the integral element type of presentation, look at the
full photos of THREE HILLS FOR REMUS or FOUR HILLS FOR ROMULUS (where the
'pedestals' are so much integral elements that they cannot be considered
as a separate things that can be removed  ?  compare them to EYONDER
which is a 'pedestal piece' ), ATHYR AGAIN or ACTEON'S DILEMMA (where the
'pedestals' are a distinct elements on which the sculptures are
presented, but changing these elements would drastically alter the
expression of the works, and ICARIAN NOCTURNE (where the 'pedestal'
concept is dispensed with entirely through design).

GENERALLY INTERCHANGEABLE PEDESTALS
Back in the 1970's I originally began copying a construction style used
by the High Museum's carpenter; a style which employed 3/4-inch plywood
panels with mitered edge joints on five sides, with a 2x4 kick at the
open bottom.  This construction method made for clean and simple visual
lines, and for strong, durable, and stable pedestals.  However, they were
very heavy and difficult to move around by oneself and required a large
tablesaw to fabricate successfully (without either space or budget for a
tablesaw this meant working in someone else's shop).

By stages the designs for my pedestals moved away from this rather
cumbersome and relatively expensive design into something that was
lightweight and portable, easier to maintain and keep looking good while
at the same time fulfilling its primary function of supporting the work
without providing visual distraction from the art.

Briefly, my current design format for traditional pedestals uses 2x2s for
a strong framework (think Sol Lewitt's modular cube frames) that are clad
with lightweight 1/4-inch luan plywood, and painted with off-white flat
latex paint.  Variations include weighting the bottoms of small-footprint
pedestals to enhance stability, incorporating hidden electrical
connections for 'cords-free' appearance of  electrically-powered works,
or different types of mechanical solutions for enhancing security of
small works in public spaces.  Sometimes where the off-white is just too
stark for the exhibit space the pedestal(s) will be painted gray or black
for specific exhibits.  If making or employing an existing pedestal for a
client to present the purchased sculpture in their space I will either
use materials or finishes complementary to the decor of their spaces, but
at additional pre-agreed-upon prices.

In conclusion, the pedestal is one of the fundamental issues that must
concern the sculptor, and no one single solution is going to meet the
needs of all sculptors.  What is certain is that proper presentation is
essential, and that unless the design of the 'pedestal' adds to the
expression of the work, it should be as unobtrusive as possible.  As I
consider myself a discerning artist, I feel that it is imperative that I
should take just as much care and responsibility with my presentation as
I do with all the other processes used in creating my work.

Though I don't have any drawings or plans for my pedestal design, I will
be happy to provide a few photos and a description of the typical
construction and fabrication steps to those who are interested and
request them from me off-list (please note: I will have to photograph the
pedestals which are stored away from my studio, so allow me a few days to
reply).

Good Pedestals to You,
Don

http://www.dondougan.homestead.com/indexdd.html