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Sculpture and Installation Public Sculpture and Installaion .Pages ARTS - 3860 Section 001 Sculpture and Installation # 67191 Public Sculpture and Installation: Methods and Practice 1:25 PM - 4:25 PM, M/W Regis Center for Art E117 Andréa Stanislav, Associate Professor [email protected] Instructor’s office hour: Mondays 12:15 PM - 1:15 PM, Room #E265 Class will meet during regularly scheduled hours in the classroom. The class will also meet outside the classroom during the scheduled class time. The class may also meet other days of the week for outside events, field trips, and guest artist and curator speakers -- these events may be scheduled on a weekly basis -- and are subject to change. There will also be a public art field trip to Chicago scheduled in April. Suggested texts: • Jane Bennet, Vibrant Matter: a political ecology of things. Duke University Press, Durham and London 2010 • Brunno Latour and Peter Weibel Making Things Public -- Atmospheres of Democracy, MIT Press, 2005 • Guy Debord, La Société du Spectacle (Society of the Spectacle),1967, Rebel Press 2004 Course Description and Objective: This course is an intermediate/advanced exploration of contemporary approaches, concepts, and practices of installation art and public art. What was, is, and will be installation art and public art? What purpose do these art practices serve? Who is the public? What effect and real changes (if any) do these practices have in the public realm and the fine art academy/ world? How are public art monuments that commemorates, honors, reminds, catalogues regarded, critiqued and transformed in the present? This project-based interdisciplinary course will focus on the development of skill sets in making, designing, critical thinking and realization of: a public artwork proposal, a public art intervention project, and an installation project. Students will examine the purposes and effects of installation art and public art. Historical and contemporary practices, concepts and issues of public art, guerrilla actions, and interventions will be examined. Also, the different contexts in which public art/interventions take place: commissions, long-term engagement, and advertisement space among many. Creative development and the evolution of one’s personal visual language will be explored through assigned class projects, class presentations, participation in class critiques, field trips, assigned readings, and sketchbook/journal review. You will be responsible for completing three-course projects and a research-based class presentation. There will be guest speakers in class. The class will also attend outside lectures during the semester. Student’s work will be critiqued by their classmates, myself and guest visitors to class (TBA). You will be also graded on all your participation during the semester. *Advanced level students can choose to produce advanced projects either from the syllabus, or can develop self-directed projects -- with the consent of instructor. Students are expected to articulate ideas through class dialogue, writing, studio production, and take part in all class critiques. Project I - public intervention - as a group or individual. Plan, create and realize an interventionist project. Pick a location(s) and/or resource(s) -- it could be local and/or global. Present in class a written description/proposal, drawing and model (if applicable), and documentation and/or live performance of the intervention. Project II - public art proposal in practice - realize a public art proposal consisting of written description/proposal, budget, drawing(s) and a model. You will present both a spoken and visual proposal to the class. Consider creating a proposal from a professional call. Project III -- installation/interaction/site - installation/interaction/site - realize an installation project, think about site-specific context, the transformation of space and materials, relationships to surrounding architecture, interactively, immersive environments, sustainable practices, and new media applications. Research Presentation - You are required to give a 30 minute research presentation on a significant installation or public art project, artist, architect, designer, performer or group that changed and challenged the general conception of installation and/or public art. Consider their methods of working and thinking -- and their work relating to larger existing creative practices. Consider historical vs. contemporary contexts. Reference relevant cultural, socioeconomic states and scientific associations in your research. Include visual aids in your presentation: PowerPoint, audio, print-outs, photos, drawings, videos and/or DVD's, and seminar guests. If possible, go beyond the the library for research and into the field, live or recorded interviews can be helpful, too. Try interviewing living artists if you can. You will be responsible for bringing in and setting up any tech equipment. Research presentations will be given throughout the second half of the semester. Grade Policy: Your grades will depend on the timely completion of all projects, presentations, homework assignments and readings. Class attendance, participation, research, and responsible studio usage, including clean up, will also considered. If you have an emergency or difficulty in completing a project, contact me as early as possible. Also, there will be extra credit opportunities given throughout the semester if needed. % of Grades: presentation - 20% project I - 20% project II - 20% project III - 20% participation and attendance - 20% University of Minnesota Uniform Grading Policy: A achievement that is outstanding to the level necessary to meet course requirements B achievement that is significantly above the level necessary to meet course requirements C achievement that meets the course requirements in every respect D achievement that is worthy of credit even though it fails to to fully meet the course requirements F achievement that is not worthy of credit or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an Incomplete (I). S achievement that is satisfactory, which is equivalent to a C - of better N represents failure (or no credit) and signifies that the work was either (1) completed but at a level I (Incomplete) Assigned at the discretion of the instructor when, due to extraordinary circumstances, e.g., hospitalization, a student is prevented from completing the work of the course on time. Requires a written agreement between the instructor and student. Academic dishonesty in any portion of the academic-work for a course shall be grounds for awarding a grade of F for the entire course. One conventional credit is hereby defined as equivalent to three hours of learning effort per week, averaged over an appropriate time interval necessary for an average student taking that course to achieve an average grade in that course. Attendance: Your final grade will be dropped one full letter upon your 3rd unexcused absence, and another full letter with each subsequent absence. Attendance at all 3 critiques and the wood shop demo is required. You are expected to be on time and 3 tardies will equal 1 absence. Email the class TA before class begins if you will be absent or late. achievement that is worthy of credit even though it fails to to fully meet the course requirements Additional Recommended Readings: • Adorno, Theodor, The Culture Industry. Routledge, London and New York, 1991 • Boyte, Harry C. and Evans, Sara M, Free Spaces - The Sources of Democratic Change in America.University of Chicago Press, Chicago & London, 1986 • Crowe, Norman and Laseau, Paul, Visual Notes for Architects and Designers. Van Norstrand Reinhold Company, 1984 • Boutoux, Thomas, Editor Hans Ulrich - Interviews Volume I. Edited, Milan: Charta, 2003 • Danto, Arthur C., The Madonna of the Pluralistic Art World. New York: Farrar, Straus, and Giroux • Eno, Brian, A Year with Swollen Appendices. London: Opal Press, 1996 • Ellin, Nan, Editor, Architecture of Fear. New York: Princeton Architectural Press, 1997 •Finkelpearl, Tom, Dialogues in Public Art. MIT Press, 2001 • Flam, Jack, Editor, Robert Smithson: The Collected Writings. Berkley and Los Angeles: University of CaliforniaPress,1996 • Grosenick,Uta & Riemschneider, Burkhard, Art Now - 137 Artists at the Rise of the New Millennium. Taschen,2002. • Hickey,Dave, Air Guitar - Essays on Art & Democracy. Los Angeles: Art issues Press, 1997. • Kelley, Mike, with Welchman, John C., Editor, Foul Perfection, Essays and Criticism. Cabridge MA: MIT Press, 2003 • Kester, Grant H. Conversation Pieces Community and Communication in Modern Art. Los Angeles: University of California Press, 2004 • Koolhaas,Rem, Delirious New York: A Retroactive Manifesto for Manhattan • Koolhaas,Rem and Mau, Bruce. Small, medium, large, extra-large, Monacelli Press, 1998 Krause • Knight, Cher, Public Art: Theory, Practice and Populism.Wiley-Blackwell, 2008 • Kwon, Miwon. Sitings of Public Art: Integration Versus Intervention, in One Place After Another: Site-Specific Art and Locational Identity, MIT Press, Cambridge, MA, 2002 • Latour, Brunno and Weibel, Peter, Making Things Public -- Atmospheres of Democracy, MIT Press, 2005 • Macdonald, Marie - Paule, Rockspaces. Toronto: Art Metropole, 2000 • Schelling, F.W.J.The Philosophy of Art. University of Minnesota Press 1989 • Morley, Simon, Writing on the Wall - Word and Image in Modern Art. Los Angeles: University of California Press, 2003 • Stilles, Kristine and Selz, Peter, Theories and Documents of Contemporary Art, A Sourcebook of Artist's Writings.
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