DOCSLIB.ORG

Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061 New Course OR Existing Course Instructor(s)/Author(s): Lucy Snow Subject Area/Course No.: ART-061 Units: 3 Course Name/Title: Intermediate Concepts of Sculpture Discipline(s): Art Pre-Requisite(s): None Co-Requisite(s): None Advisories: Eligibility for ENGL-095, completion of ART-011 and Art 60 Catalog Description: This intermediate course explores the concepts of sculpture through the use of plaster, metal, wood, and mixed media as expressive mediums. This course will emphasize self expression and development of personal imagery as well as technical aspects of working with these materials. Demonstrations and lab assignments focus on modeling, casting, carving and assembling techniques. Lectures will highlight the use of these versatile media from contemporary, cultural and historical perspectives. Students will learn and practice using sculpture terminology, as well as the vocabulary of design elements and principles. Schedule Description: Do you enjoy the challenge of designing and working in three dimensions? Would you like to improve your welding or wood carving skills? This class will provide you with intermediate-level techniques to make projects from plaster, wood, metal and mixed media. You will research and connect to contemporary and historical sculpture and processes, and use this information to explore your own creative journey in greater depth. Hrs/Mode of Instruction: Lecture: 36__ Scheduled Lab: _72_ HBA Lab: ____ Composition: ____ Activity: ____ Total Hours 108 (Total for course) Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 (If Non-Credit desired, contact Dean.) Student Choice (SC) 2 3 Last date of Assessment: NA Cohort #: _1____ Please apply for: LMC General Education Requirement(s):none (Please list the proposed area(s) this course meets, or indicate “none”) Transfer to: CSU UC IGETC Area ____ CSU GE Area____ C-ID Number __240____ Course is Baccalaureate Level: Yes No Form Revised 082013 Page 1 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061 Signatures: Department Chair Date Librarian Date Dean Date Curriculum Committee Chair Date President/Designee Date CCCCD Approval Date (Board or Chancellor's Office) Date For Curriculum Committee Use only: STAND ALONE COURSE: YES NO FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______________ Catalog year 20____/20_____ Class Max: ________________ Dept. Code/Name:_______________ T.O.P.s Code: _____________ Crossover course 1/ 2: _____________ ESL Class: ____Yes / No___________ DSPS Class: ____Yes / No_____ Coop Work Exp: ___Yes / No_____ Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support F Transfer, Non-Occupational G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Course approved by Curriculum Committee as Baccalaureate Level: _Yes / No_ LMC GE or Competency Requirement Approved by the Curriculum Committee: _________________ Distribution: Original: Office of Instruction Copies: Admissions Office, Department Chairperson Form Revised 082013 Page 2 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061 Institutional Student Learning Outcomes Check the institutional student learning outcomes (or category of outcomes) below that are reflected in your course: General Education SLOs (Recommended by GE Committee) At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives. (Each of the above student learning outcomes for the general education program has a written explanation with illustrations and examples of its application within courses, as well as specific assessment criteria. Consult the GE program information pages.) Program-Level Student Learning Outcomes (PSLOs): Students who have completed the Studio Arts program will be able to: 1. Demonstrate appropriate and safe practices in various two-dimensional media, three-dimensional media, and computer-based studio environments. 2. Present, explain and justify their conceptual design solutions using the vocabulary of design elements and principles, and critique the solutions of others in a thoughtful, constructive manner. 3. Research and synthesize examples of historical and cultural products with their own ideas in order to improve their creative and conceptualization processes. Course-Level Student Learning Outcomes (CSLOs): Students who have completed this course will be able to: 1. Demonstrate appropriate and safe practices in the processes of intermediate level sculpture such as adding wet plaster to an armature, oxyacetylene tack welding, and in-the-round wood carving. 2. Present, explain and justify their strategies for solving intermediate level sculpture design problems in plaster, metal, wood, and mixed media, and constructively critique the solutions of their classmates, using design and intermediate level sculpture vocabulary such as: emphasis with subordination, implied mass, working with undercuts in molding processes. 3. Research and synthesize examples of historical and cultural products with their own ideas in order to inform their intermediate level sculpture projects with student-selected and individualized resources Assessments: Projects Journals Presentation/Paper Critiques and Final Project CSLO 1 X CSLO 2 X X CSLO 3 X X CSLO 1: Projects: Students will complete multiple intermediate level sculpture projects using various appropriate and safe techniques (CSLO 1) for forming and finishing plaster, metal, wood, and mixed media sculpture. Projects will be evaluated by their demonstration of completeness, inclusion and exploration of the intermediate level sculpture concepts/vocabulary/techniques that are part of the project assignment, and craftsmanship. Example presentation/paper/project: Research an assigned artist or culture and find examples and describe what caught your eye using the elements and principles of design, and using intermediate level sculpture vocabulary describe how the examples were produced. Sketch/describe a project concept that includes some aspect of the example’s design or sculptural technique. Produce this project by using intermediate sculpture techniques such as Form Revised 082013 Page 3 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Intermediate Concepts of Sculpture Subject Area/Course Number: ART- 061 adding wet plaster to an armature, oxyacetylene tack welding, or in-the-round wood carving. How/what is this project expressing via your creative synthesis? CSLO 2: Journals: In the journal students will record their construction plans, concept sketches, sources for visual references, finishing plans, reflections on which concepts and techniques worked and didn’t work, and use design and intermediate level sculpture vocabulary such as: emphasis with subordination, implied mass, working with undercuts in molding processes as assigned for each project. Critiques and Final Project: Students will present, explain and justify their conceptual strategies for solving sculpture design problems using the vocabulary of design and intermediate level sculpture vocabulary such as: emphasis with subordination, implied mass, working with undercuts in molding processes. CSLO 3: Journals: In the journal students will record their construction plans, concept sketches, sources for visual references, finishing plans, reflections on which concepts and techniques worked and didn’t work, and use design and intermediate level sculpture vocabulary as assigned for each project. Presentation/Paper: Students will present orally or in writing examples of historical and cultural products, including student-selected and individualized resources, and explain how they were formed and finished using design and intermediate level sculpture vocabulary Method of Evaluation/Grading: “A” level student work is characterized by consistent participation and sculpting conscientiously every class session. Student work demonstrates improvement in technical and aesthetic abilities over the course of the semester. Student work demonstrates a high level of technical proficiency – creating texture, mass, volume – using all the materials presented over the
Load more

Recommended publications
  • RELIEF PRINTING 101 Maury 2017
    RELIEF PRINTING 101 Maury 2017 Relief printing is one of the oldest (500 BC) and most direct of all the printmaking methods. Images can be simplistic and graphic, or intricate and detailed. It’s a subtractive process, meaning you cut away, or subtract, the areas you do not want to print. USING WOOD VS. LINEOLEUM? Wood and linoleum are the most common relief printing substrates. Other materials such as MDF, foam, cintra, and even dense cardboard have been used. Your choice of material will heavily dictate the kinds of marks and level of detail you are able to achieve. Wood Linoleum Grain of wood will print No grain, smooth surface Wood is denser, takes more effort to cut, Softer for cutting and easier for making curved offers a more angular mark. lines. More readily available and often cheaper Special order if no art store available, pricier Comes in very large sizes Many sizes available, including rolls PREPARING THE BLOCK LINOLEUM: No preparation of the surface of the block is required. But if you are printing multiple colors with accurate registration, it is a good idea to make sure your linoleum block is square on one corner for registration during printing. WOOD: For easier carving, use Shina plywood, which is a softer plywood and allows for easy cutting across the grain. A dense, tight-grained wood such as cherry, maple or birch also works but requires more effort to carve (especially across the grain). It can be solid wood or plywood as long as it’s flat and even. The benefit to a harder wood is that it will withstand more printing with a press and will retain very fine detail better.
    [Show full text]
  • We Are Oberlin
    OBERLIN COMMUNITY MURAL PROJECT We Are Oberlin - 2021 PHASE 1 SPONSORED BY A generous grant from the Oberlin Schools Endowment Fund Materials provided by a Lakeland Community mini grant through The Community Foundation of Lorain County PHASE 2 SPONSORED BY Oberlin Schools Endowment Fund Lakeland Community Grant 2020/2021 - Community Foundation of Lorain County Bill Long Foundation Grant 2020 and 2021 The Giving Women of Oberlin 2020 Grant The Nord Family Foundation The Stocker Foundation The Nordson Foundation The Green EDGE Fund HAVE YOU EVER NOTICED THIS MURAL? DID YOU WONDER WHERE IT CAME FROM? SOME HISTORY REV. BRENDA GRIER- MILLER Founder - Summer in the City and OHS parent SUMMER IN THE CITY ➤ Founded by Brenda Grier-Miller in 1994 and operated through the Oberlin Recreation Department, Summer in the City ran for 5 years, bringing local artists to work with middle school students for a July camp. It started out as just a one-week program and grew over the years to a full month of programing. ➤ Students got hands-on training in quilting, cartooning, mural painting, wood carving, photography, pottery, video production, weaving, sign language, African dance and many other fields of artistic expression and community service. This mural was painted in the Summer of 1996 by the Mural Painting Class of Summer in the City. The design was a collective effort and the mural was supported by The Co-op Bookstore’s commitment toward cultural activism. Nanette Yannuzzi Macias, Oberlin College Art professor directed the mural class. Imani Miller, OHS class of 1998 was her assistant. The design centered on harmony, unity, happiness, peace and love.
    [Show full text]
  • Rescuing Dudley Carter's Goddess of the Forest
    Roger Baird Figure 1. Dudley Carter performing art-in-action at his 100th birthday party. 1996 WAG Postprints—Norfolk, Virginia Rescuing Dudley Carter’s Goddess of the Forest Arno P. Schniewind, Roger Baird, and Dale P. Kronkright ABSTRACT: The Goddess of the Forest, a massive sculpture created by Dudley Carter from a large redwood log as part of the “Art in Action” program during the World’s Fair held in San Francisco 1939/40, was later placed into the city’s Golden Gate Park where it remained until 1986. By then the Goddess, which stood 26 feet tall and had a girth at the base of 21 feet, showed serious signs of distress in the form of extensive decay and stood with the aid of props. It was decided to take the Goddess down and move it to San Francisco City College which already had another Carter sculpture, the Ram. City College also owns a major mural by Diego Rivera, created at the same time as the Goddess, which shows Carter in the process of creating the Ram with his double-bitted axe. Dudley Carter, who was 95 in 1986, was called to City College to devise a plan for rescuing what could be rescued, and subsequent work was carried out according to his instructions. It involved cutting about 10 feet off the bottom, and retaining only a “half shell” of the upper part, since extensive interior decay had left only an outer shell of sound wood 1 to 4 inches in thickness. An armature was constructed to support this shell.
    [Show full text]
  • THE RELIEF PROBLEM Some Notes from an Art Historian
    YUDONG WANG THE RELIEF PROBLEM Some Notes from an Art Historian Abstract This essay examines the factural and phenomenological aspects of some relief works of the remote and recent past, ranging from Buddhist sculptural and pictorial reliefs made in China, Central Asia, and India to relief works by Donatello (ca. 1386–1466) and the American sculptor Natalie Charkow Hollander (b. 1933). While some of the works under discussion are historically connected to one another, most are not. By zooming in on relief works and the verbal descriptions about them, the essay reveals the signification that relief, as a liminal art medium between painting and sculpture in the round, enforces on its maker and viewer across cultures and throughout history, due to the visual and tactile ambiguity that it effects between concealment and disclosure. Three Experiments with Relief in Early Medieval China The introduction of Indic art practices and theories, which traveled along with Buddhism, intensified art production in early medieval China. The three artistic experiments discussed in the first half of this essay took place during this age of artistic intensification, the fifth and sixth centuries CE. They demonstrate the different ways in which artists in China, in the grip of things Indic, reflected upon and grappled with the nature and characteristics of both painting and sculpture. In different ways, these experiments were the result of new understandings about the potential of the wall surface as an artistic support, with “wall” used in its broadest sense. Such attempts were trials with modes of wall reliefs and wall paintings. The first experiment pertains to stone carving.
    [Show full text]
  • The Carving Craftsmanship' S Process Principle and Measures of The
    Proceedings of the 55th International Convention of Society of Wood Science and Technology August 27-31, 2012 - Beijing, CHINA The Carving Craftsmanship’ s Process Principle And Measures Of The Ming And Qing Furniture Artisan Xiaoting Niu, Doctor Graduate Student Fenghu Wang, Professor Materials Science and Engineering College Northeast Forestry University No. 26, He Xing Road Xiang Fang District Harbin 150040 P.R. CHINA E-mail: [email protected] E-mail: [email protected] Abstract: The wood-carving is a Chinese traditional decorative art, which is to carve the three-dimensional configuration designed by artisan on the furniture components. For thousand years, the traditional skill has been inheriting with the way of teacher and pupil generation, and formed a set of systematic operational approach. This paper , based on sorting of the carving technique’ s process principle and measures of traditional artisan, would divide carving handcraft into four processes of shencai huagao, yiwen tayang, cupi zaozhi and chanxue suxing. And combined the specific cases, discussed the operative skills of every process , analysed the internal rationality and scientific of process principle and measures of traditional artisan. It will plays a significant role in inheriting the national intangible cultural heritage of Ming style furniture production techniques and Jingzuo style furniture manufacturing technology, and producing the Ming and qing hardwood furniture. Key words: Ming and qing furniture; Artisan; Carving craftsmanship; Process principle； Procedure measure WAFC-3 1 of 11 Proceedings of the 55th International Convention of Society of Wood Science and Technology August 27-31, 2012 - Beijing, CHINA INTRODUCTION Woodcarving is a kind of Chinese characteristics adornment art.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Painted Wood: History and Conservation
    PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period.
    [Show full text]
  • Culture Through Sculpture: Carving New Understandings and Uses of Campus Sculptures Salomón Antonio Rodezno
    The Vermont Connection Volume 32 Critical Truths, Empowered Voices, Article 10 Changing the Landscape of Higher Education January 2011 Culture Through Sculpture: Carving New Understandings and Uses of Campus Sculptures Salomón Antonio Rodezno Follow this and additional works at: https://scholarworks.uvm.edu/tvc Part of the Higher Education Administration Commons Recommended Citation Rodezno, Salomón Antonio (2011) "Culture Through Sculpture: Carving New Understandings and Uses of Campus Sculptures," The Vermont Connection: Vol. 32 , Article 10. Available at: https://scholarworks.uvm.edu/tvc/vol32/iss1/10 This Article is brought to you for free and open access by the College of Education and Social Services at ScholarWorks @ UVM. It has been accepted for inclusion in The eV rmont Connection by an authorized editor of ScholarWorks @ UVM. For more information, please contact [email protected]. Rodezno • 89 Culture Through Sculpture: Carving New Understandings and Uses of Campus Sculptures Salomón (Salo) Antonio Rodezno This article explores a common artifact of history on museum floors and college campuses: sculptures. It looks at: how sculptures contrib- ute to campus culture; reclaiming history through new campus sculp- tures; using sculptures as a teaching object (object-based pedagogy) in and outside the classroom. The author explores the link museums and college campuses share in their promotion to understand cultural legacies through the acquisition, preservation, exhibition, and inter- pretation of material culture. The author’s visual and performing arts background will interlace his personal and professional narratives providing readers a context complementing this piece. Even before attending my first lecture in my Master of Education graduate pro- gram, my history lesson began as I walked down the main campus of the University of Vermont (UVM).
    [Show full text]
  • Public Art Catalog
    Discover Art in Friday Harbor A catalog of public art presented by the Friday Harbor Arts Commission and the Town of Friday Harbor July 2019 Contents Introduction ……………………………………………………………………….. 1 Friday Harbor Arts Commission ..………………………………………… 1 Friday Harbor’s Public Art ………………..…………………………………. 2 Map ……………………………………………………………………………………. 16 ©2019 Town of Friday Harbor 60 Second Street/P.O. Box 219, Friday Harbor, WA 98250 (360) 378-2810 www.fridayharbor.org Discover Art in Friday Harbor The Town of Friday Harbor embraces art in all forms—visual, literary, and performing. We are proud to provide opportunities for island residents and visitors to enjoy the arts as well as participate in them. Visual artwork is on display at the San Juan Islands Museum of Art (SJIMA) and at the many galleries throughout town. In addition, the Town of Friday Harbor and community offer free access to over twenty pieces of public art. To assist with the public’s enjoyment of this art, the Friday Harbor Arts Commission has published a brochure with walking map to guide you to each of these pieces. The brochure is available at Town Hall and the Chamber of Commerce, and may be downloaded from the Town website. This catalog has been created to provide additional details on each of the works. Literary works are celebrated through writing groups, book clubs, and author events hosted by the library and local bookstore. San Juan Island Library sponsors a monthly Open Mic for writers, a Literary Salon book club, and writing workshops as well as reading clubs for children and teens. Performing arts experiences are provided year round at the San Juan Community Theatre and include plays, musicals, dance performances, chamber and choral music, school musical productions, and touring artists.
    [Show full text]
  • Radial Designs
    SUNSET REFLECTIONS Printmaking Lesson Printmaking: An art form consisting of the reproduction of images •Wood Cut • Lithography •Linocut • Screen Print •Etching • Digital Print •Engraving • Transfer •Monotype • The oldest printmaking technique, woodcut involves carving an image into a wooden surface, which is then inked and printed— leaving the carved-out image in negative, as well as occasional traces of the wood’s grain. • A more modern analog to woodcut, linocuts are made using linoleum; the softness of the material allows for cleaner, freer, and more fluid lines. LINOCUT ETCHING • To create an etching, artists incise (“draw”) a composition onto a leaves the wax intact, so that when the plate is in wax-coated metal plate, then soak the entire plate in acid. The acid corrodes the exposed lines and ked and pressed, the paper absorbs the image in reverse. MONOTYPE • Unlike most other printmaking techniques, this process produces unique editions. Artists draw, paint, or otherwise manipulate ink or paint to create a composition on a smooth surface, which is then produced in reverse when applied to a ground support. ENGRAVING • A less forgiving version of etching (mastered by Dürer), in this process artists incise their image directly onto a metal plate, which is then inked and printed. LITHOGRAPHY • Generally seen as the most difficult printmaking method, lithography involves drawing directly on flat surface (usually stone) with an oil-based implement, then coating it with a water-based liquid. When oil-based ink is applied it’s repelled by the water, inking in just the image and allowing it to be transferred onto a paper ground.
    [Show full text]
  • Of Public Art in Richland?
    2020 Richland, WA Public Art Survey SurveyMonkey Q1 What are your favorite example(s) of public Art in Richland? Answered: 427 Skipped: 7 Murals/sculptur es on the si... Artistic design... Sculptures placed in... Performance Art/Special... Art placed in roundabouts Vinyl Art Wraps on... Other (please specify) 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% ANSWER CHOICES RESPONSES Murals/sculptures on the side of buildings 64.64% 276 Artistic design incorporated into infrastructure (ex: benches, bridges, fences, etc) 58.55% 250 Sculptures placed in parks, along trails or at City facilities 56.67% 242 Performance Art/Special Events supporting Art 46.84% 200 Art placed in roundabouts 34.43% 147 Vinyl Art Wraps on Traffic Utility Cabinets 29.27% 125 Other (please specify) 5.15% 22 Total Respondents: 427 1 / 69 2020 Richland, WA Public Art Survey SurveyMonkey # OTHER (PLEASE SPECIFY) DATE 1 public glassblowing 1/15/2021 12:52 PM 2 Ye Merry Greenwood Faire 1/13/2021 12:18 PM 3 Spaces for litterateur and dialogue 1/12/2021 2:36 PM 4 Privately funded art 1/12/2021 2:05 PM 5 Skateparks 1/11/2021 9:01 PM 6 Folk art by residents in yards etc 1/11/2021 8:30 PM 7 Any examples of public art only adds to the enhancement of our community and moves us into 1/11/2021 3:52 PM the realm of cultural awareness and appreciation. It shows a level of sophistication and thinking and awareness of a larger picture than merely that of our own lives and self-centered thinking.
    [Show full text]
  • 29 Everett Street
    Public Art Policy PURPOSE OF THE POLICY The purpose of this policy is to establish a process for the selection, purchase, commission, placement, and maintenance of works of art via the expenditure of the monies generated through the Public Art fund established in the Park City Municipal budget for FY 2003-04 and FY 2004-05 and subsequent funding mechanisms. INTENT OF THE POLICY It is the stated intent of the Public Art Policy to direct the inclusion of public art in order to expand Park City citizens' experience with works of art and enable them to better understand their communities and their individual lives. By encouraging artists capable of creating works of art in public places, the Public Art Policy shall strive to stimulate the vitality and economy of the City and enhance Park City’s standing as a leading cultural destination. Thus, it is the goal of the Public Art Policy to expend the funds on and facilitate works of art and art projects of redeeming quality, which advance public understanding of visual art and enhance the aesthetic quality of daily life and provide a sense of place. GENERAL TERMS “Public Art” means any visual work of art displayed for two weeks or more in an open city-owned area, on the exterior of any city-owned facility, inside any city-owned facility in areas designated as public areas, or on non-city property if the work of art is installed or financed, either wholly or in part, with city funds or grants procured by the city. “Work of art” includes, but is not limited to the art forms of; sculpture, monument, mural, fresco, relief, fountain, banner, benches, architectural furniture, and performance art facilities.
    [Show full text]