INTRODUCTION TO SCULPTURAL PRACTICES

(1001 - FRESHMEN only)

This course is designed to provide a firm grounding on the rudiments of sculptural practice. Drawing on historical, aesthetic, and technical strategies of generating and understanding sculpture, students are guided toward the realization of three dimensional form.  Discussions on materials, themes and concepts are balanced by practical hands-on experience with demonstrations on additive and subtractive methods of production in wood, metal, plaster and found materials.  Students are empowered to move from concept to completed work, engendering a better understanding of how sculpture gets situated within the context of culture and society at large. Assignments, slide presentations, discussions and critiques help students build an aesthetic language on formal principles of art, artistic genealogies of ideas and contemporary discourse. 

 

Course Requirements & OUTCOMES

3 credit course load entails 6 in-class production hours and 3 studio hours for drafting and design per week. Students are expected to complete 7 class assignments, participate in class discussions, and complete three individual studio visits. Please come prepared with sketches, tools and materials ready to work. Critiques are

scheduled 2 weeks after projects are assigned with 20 minutes allocated per student .

For final assessment, students must send jpeg documentation of all assigned projects in a zip file (Year_last name_first name) send by email to mtuazon@saic.edu.

Learning Goals 

  • SKILL  Through technical demonstrations in wood, metal and digital fabrication, hands on building experience and production of work, students will understand how to manipulate material through additive and subtractive methods of production.  Students are deemed technically proficient when they have the ability to design and execute ideas to completion in a manner where material and form are conceptually integrated.

 

  • DISCIPLINE  Through learning different methods of creating a form (planes and axes, structure and skin, cross-sectional design,  technical processes qualities and its relationship to social contexts of meaning.  ) students will learn the various techniques of building and the advantages and qualities of each method.

  •  PRACTICE  Through the production of new work, students are able to show aesthetic understanding when concepts are materially evident in the formal execution of ideas.

  • CRITIQUE  Through participation in discussions students show formal and conceptual comprehension of aesthetic language, principles, and history when they are able to relate knowledge from slide lectures and apply it during relevant points in critiques.  

 

SEMESTER SCHEDULE

CLASS 1: INTRODUCTION TO SCULPTURE

Lecture presentation on an expanded definition of the sculptural field with a focus on Rodin's challenge to art as original, objective representation, and marker of history.  Students will interview a classmate and introduce them in class.  Planes and Axes assignment: using planes and axes of variable sizes in wood, students will design a free-standing sculpture using only three points of contact on the horizontal and/or vertical plane.  Wood workshop authorization.

CLASS 2: ON BALANCE AND MOVEMENT

Artist work presentations on Mark di Suvero, Fred Sandback, Mckendree Key, Sarah Oppenheimer. In class demo on fasteners and basic wood joinery: lap, butt , rabbet , and tongue and groove.  Assignment sketches due for review and construction.

 

CLASS 3: STUDENT CRITIQUES

In class installation for critiques. Cross-section assignment: students will design a large-scale sculpture using 3-5 cross sections to build a volume.

CLASS 4: ON DISPLAY

Lecture presentation on Brancusi, Donald Judd’s Specific Objects, Allan McCollum, Damien Hirst, Math Bass.  Class discussion on the pedestal, base and the white cube as representational site. Digital Fabrication authorization.  Assignment sketches due for review and in-class production.

CLASS 5: STUDENT CRITIQUES

In class installation for critique. Break the box assignment: students will create an object where form, surface, negative space, and/or the interior is integral to the object ’s embodiment of meaning.

 

CLASS 6: ON FORM AND CONCEPT

Artist work presentation on Robert Morris, Richard Artschwager, Claes Oldenburg, Yves Klein, Paul Thek, Hans Haacke, Tom Friedman, and Lee Lozano.  Metal workshop authorization and basic introduction to welding, grinding and buffing.  Assignment sketches due for review and construction.

 

CLASS 7: STUDENT CRITIQUES

In class installation for critique. Raw material assignment: using salvaged materials, students will invent a new raw material.

CLASS 8: ON MATERIALITY

Presentation on Secondary Use Design and 5 methods of re-use strategies. Assignment sketches due for review and construction.  Authorization on Plasma Cutting Part 1: File preparation.

 

CLASS 9: STUDENT CRITIQUES

In class installation for critique. Tool assignment : students will design and produce an instrument to functionally perform a task.

 

CLASS 10: ON FUNCTION AND VALUE

Artist work presentation: Man Ray, Alberto Giacometti, Piero Manzoni, Daniel Buren, Jimmie Durham, Martha Rosler, Mier le Laderman Ukeles, Valerie Export, Felix Gonzales Torres, Hi Red Center, Janine Antoni, Pilvi Takala, Pedro Reyes, Francis Alys and Allora & Calzadilla. Demonstration on Plasma Cutting: part 2.

 

CLASS 11: STUDENT CRITIQUES

In class installation for critique. Art as trace assignment: students will create a sculptural still-life focusing on absence as index of narrative. 

CLASS 12: ON ABSENCE

Artist work presentations on Duchamp, Bas Jan Ader, Robert Barry, Anish Kapoor, Alfredo Jaar, Rachel Whiteread, James Turrell, Micheal Asher, Gordon Mat ta Clark, Eva Hess, Hans Peter Feldman, and Felix Gonzales Torres.  Assignment sketches due for review and construction.  Class demonstration on casting.

CLASS 13: STUDENT CRITIQUES

In class installation for critique. Body in Place or Wild Card assignment: students will install or perform a work, using place as site construction or as marked site.  Students may pull a wildcard, and reject the assignment to make a self-guided work or return to an older work for final revision.

CLASS 14: ON CONTEXT AND SITE SPECIFICITY

Artist work presentation on Robert Smithson, Richard Serra, John Ahearn, Krzysztof Wodiczko, Augusto Boal, Anna Mendietta, and Virginia Poundstone.

 

CLASS 15: FINAL CRITIQUE

In class installation for critique. Student work documentation due by email.

  

© 2017 LAN TUAZON.