SCULPTURAL: CONCEPTS, MATERIALS, & PROCESSES

(Introduction for FRESHMEN & Sophomores)

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.  This course is similar to 1000 Level Introduction to Sculpture, but is designed for sophomores and transfer students.

 

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

Introduction to the course and requirements.  Class discussion on the definition of sculpture.  Class ice-breaker: students will interview another student and class and present them to the group.  Homework: wood workshop authorization.

CLASS 2: ON Shape Positive & Negative

Artist work presentation on Anish Kapoor, Eva Hesse, Henry Moore, Isamu Noguchi, Brancusi, Rachel Whiteread and Allan McCollum. Model assignment: students will design and build a scale model of a sculptural form that shows weight, surface texture, positive and negative space.  Drawing instruction on plan, elevation and cross-sectional views. 

 

CLASS 3: on the pedestal

Reading on Rosalind Krauss’ Sculpture in the Expanded Field.  Class discussion on display, base and the white cube as representational site.  Pedestal assignment: students will build a pedestal as a representational site. Class instruction on proportion and scale.  Wood shop demonstration on frame and plane construction.

CLASS 4: student critiques

Discussion on the purpose of critique. Homework: metal workshop authorization.

CLASS 5: on space & scale

Artists work presentation on Ana Mendieta, Janine Antoni, N55, Tatzu Nishi, Nutshell Studies by Frances Lee, Nils Norman, and Andrea Zittel. Reading Robert Irwin’s 1985 artist statement on Being and Circumstance.  Context assignment: students will create a sculpture that has both a scale relationship to the body and a parasitic/symbiotic relationship to architecture. 

 

CLASS 6: STUDENT CRITIQUES

Homework: students will complete a digital lab authorization.

 

CLASS 7: on the multiple & circulation

Artist work presentation on Minerva Cuevas, Francis Alys, Dave McKenzie, Wage Artists, Grand Fury, and Group Material.  Circulation assignment: students will produce and distribute a multiple or serial work of art that shows consideration of context and audience.

CLASS 8: student critiques

CLASS 9: on the "sick" readymade

Artist work presentation on Jimmie Durham, Alicja Kwade, Annika Yi, Sanford Biggers, Steven Shearer and Daniel Guzman.  Reading Marcel Duchamp’s 1957 artist statement on The Creative Act & 1969 Apropos of Readymades. Assemblage assignment: students will create an assemblage to “fix” a found object.   

 

CLASS 10: student critiques

 

CLASS 11: on accumulation & collection

Artist work presentation on Marcel Broodthaers, Claes Oldenburg, Hanna Darboven, Haim Steinbach, Damien Hirst, Carol Bove, Steven Shearer, Joel Otterson, and Allen Ruppersberg.  Collection assignment: students will create a method of display to archive an order of objects.

CLASS 12: student critiques

CLASS 13: wildcard

Reading on Richard Tuttle’s 1972 artist statement on "Work is the Justification for the Excuse" and Claes Oldenburg’s 1961 artist statement on  "I Am for an Art."   WILDCARD assignment: students will create a new work based on their own interest or choose to rebuild and expand on a past project.

CLASS 14: FINAL CRITIQUE

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

  

© 2017 LAN TUAZON.