Advanced Sculpture

This course provides a forum for in depth critiques and exploration of students’ individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. We will ask students to experiment with many media and ideas, think critically, and articulate their ideas, processes, and intentions. We will expand upon the broad base of information given in Beginning and Intermediate Sculpture classes acknowledging that advanced-level students may be gravitating toward certain aesthetics, working processes and historical alignments.  This class will be structured in a way as to allow students to work through these issues. We expect students to be self-motivated, conduct themselves professionally, and have an active studio practice.


Course Requirements & OUTCOMES

  • Participation in all course activities: Active participation is required in addition to attendance.

  • Critiques: There will be two critiques during the semester, a midterm and a final crit. All students will participate in the final class critique in the BaseSpace. Crits begin at 9:30am promptly unless otherwise noted.  Attendance is mandatory.

  • Discussions: Numerous readings and discussions will be held during the semester, each focusing on a theme, a reading, or a relevant Visiting Artist Program lecture.

  • Assignments: A limited number of assignments will augment the self directed work of the students. Satisfactory responses to these assignments is required.  Professor Tuazon and Professor Whitehead will assign specific readings and projects for their course day.  

  • Creative Projects: In consultation with faculty, each student is required to conceive and articulate what they will work on for the semester as a “Work Plan which will  be discussed and reflected upon throughout the semester.  


The Ambition and quality of the Work Plan and the results of the Work Plan in Creative Work.  Participation in all group activities and discussion, making a contribution to the level of discourse and conversation in the Studio as an outgrowth of formulating and articulating an aesthetic position.

Artistic and intellectual growth through productivity, discussion, and self reflection.

Learning Goals 

PRESENTATION: Practice organizing visual and verbal material to communicate complex ideas from studio practice, contemporary theory, art history Learn to be self aware and challenge one’s own habits in order to deepen understanding.

DISCOURSE: Understand Art Historical perspectives and contemporary discursive alignments of art disciplines and media.

CRITIQUE: Critically compare and contrast work of many materials, genres and styles, and draw analogies between conceptual structure of differing art works (pattern and system recognition). Develop critical narratives that connect many ideas and communicate those succinctly. Participate in group learning and emergent knowledge from dialogical exchange. 

Create a unfied body of art work.




AM - Each Student will present a 5-8 minute presentation of their work

PM - Presentation of syllabus and course requirements. 

 2. STUDIO WORK PLAN: Due: Sat September 6, 2014

Prepare a written Work Plan for the semester and email to BOTH faculty by due date.

Work Plans will be reviewed individually with faculty the following week.




Group Critique and Discussion of Student Work in Base Space – Set up night before

Self Assessment + Review of Work Plan after critique. 

Work Plans can be discussed with faculty if they need major revisions.

6. STUDIO WORK PLAN FINAL REVIEW Due: Friday December 5, 2013

Each student reviews their written Work Plan and Revisions for discussion with both faculty in individual  studio advisement sessions.  Students review their progress with Prof. Tuazon on Monday and Prof. Whitehead on Tuesday in preparation for final critique and semester wrap-up one week later.  To prepare for these conversations, students should consider and make notes on the following questions: 


1. Practice and Work habits/discipline

Did you establish good work habits?  Does your studio practice demonstrate self-discipline, an ability work through limitations and obstacles? Do you show commitment to your process and development? 

2. Participation in critiques, discussion, studio community

Critiques are not only beneficial to the person whose work is being critiqued, but also to those who participate fully, working to articulate their thoughts, forcing themselves to engage with the work and the concerns raised by the artist. Were you an engaged and generous participant? Did you contribute to dialogue and discussion? Did you listen to critiques of your own work with openness?  Did you participate in the studio community outside of critique day?

3. Development of work

Did you clarify and develop your intentions and your conceptual concerns? Have you made progress in synthesizing these with craft, with an awareness of history, and current discourse? Did you experiment within the parameters of your intentions?  And finally, were you surprised by anything, did your process lead to exciting and compelling artworks? How would you evaluate the quality and “poetics” of your work and your practice? 



SET UP IN BASE SPACE the Sunday before after 4pm


Please send 3-4 low resolution images in a zip folder saved as [YEAR_4020_Lastname] to both faculty:

Monday’s class is organized around a series of topical readings and discussions in the mornings.  In the afternoon, each student will advise with Professor Tuazon on a rotating basis. 



CLASS 1: introduction to the course

CLASS 2: aesthetics & anaesthetics

Readings due for class discussion on Susan Buck Morss’ Aesthetics and Anaesthetics: Walter Benjamin’s Essay Reconsidered. Artists work presentation on affectation: Bas Jan Ader, Carolee Schneemann, Shana Moulton, Mike Kelly, David Wojnarowicz, Paul Pfeiffer, and Cai Guo-Qiang. 

CLASS 3: real & representation

Readings due for class discussion on Guy Debord’s Separation Perfected. Artists work presentation on ideology critique: Antonio Muntadas, Andrea Fraser, Group Material, Suzanne Lacy, Alfredo Jaar, and Hans Haacke.


CLASS 4: discourse & others

Readings due for class discussion on Craig Owens’ essay, The Discourse of Others. Artists work presentation on diversionary tactics: Oyvind Fahlstrom, Adrian Piper, Andrea Bowers, Paul Chan, Do Huh Soh, and Tania Bruguera.

CLASS 5: site of becoming human

Readings due for discussion on Boris Groys’ Europe and Its Others. Artists work presentation on art as human: Tino Sehgal, Allora & Calzadilla, Lee Lozano, LA Raeven, Nayland Blake. Class discussion on Becoming Human assignment with a screening of Jorgen Leth’s film, The Perfect Human.

CLASS 6: becoming human assignment presentation

Reading due for class discussion on Piero Manzoni’s 1957 artist statement For the Discovery of a Zone of Images & Claes Oldenburg’s statement I am for an Art.


CLASS 7: studio work day


CLASS 8: becoming human assignment presentation

Reading due for class discussion on Oyvind Fahlstrom’s artist statement, Take care of the World.

CLASS 9: profane Objects

Reading and class discussion on Boris Groys’ Aesthetic Equal Rights.

Artists work presentation: Taryn Simon, Elise Margoles, Jeremy Deller, Santiago Sierra, Francis Alys, Dahn Vo, Simon Starling, Marcel Broodthaers, Carol Bove, Song Dong, Andreas Gursky, and Huang Qinjun.

CLASS 10: art & design

Reading and class discussion on Adolf Loos’ Design is Crime. Artists

work presentation on commodity sculpture: Haim Steinbach, Jeff Koons, Christopher Chiappa, Anne de Vries, Yngve Holen, Helen Marten, Josephine Meckseper, and DIS Magazine.


CLASS 11: professing art

Screening and class discussion on Julia Bryan Wilson’s lecture on How should artists profess?


CLASS 12: production of space part 1

Reading due for class discussion on Henri Lefebvre, Introduction to Production of Space, I-X. Artists work presentation on fantasy space: Ryan Trecartin, Pilvi Takala, Klara Liden, Jacolby Satterwhite, Clifford Owens, and Pedro Reyes.

CLASS 13: production of space part 2

Reading due for class discussion on on Henri Lefebvre, Introduction to Production of Space, XI-XXI. Lecture presentation on intervention tactics: Drop City, Cyprien Gaillard, Andrea Zittel, The Propeller Group, Ai WeiWei, and Tania Bruguera.


Artist Statement writing workshop.

CLASS 15: final

© 2017 LAN TUAZON.