BEGINNING SCULPTURE - SPRING 2013
ART 313K 20760
Professor: Prof. MARGO SAWYER.
TA: Erik Swanson
Location: SCULTURE LAB Hours M/W (8.00 - 12.00) Office 4.410 Hours M/W (1.00 - 2.00) By appointment
COURSE STATEMENT
WHATS IN THE
CABINET OF CURIOSITIES
It is my intent to take you on a journey into this new and unknown world of sculpture. Together we will discover and share some of the spatial forms that have inspired sculptors and architects through the ages. We will be investigating sculpture through the gaze of the history of Wunderkammer. How the psychology of space can be manipulated and altered through shifts of perspectives of how we manipulate materials and spatial configurations. Many of the fundamental questions and processes are parallel to the structures in science, mathematics, geometry, philosophy, psychology and art. Each of you will be given an artist mentor; this artist will be your guardian and guide for the semester. In addition to discussions about the formal artistic and technical content of this class, broad dialogue may occur regarding contemporary art and its social and historic context; and the expression of thoughts, experience, and ideas of contemporary and historic individuals.
WIKIPEDIA SITES THE SUBJECT IN THIS WAY: Cabinets of curiosities (also known as Kunstkammer, Wunderkammer, Cabinets of Wonder, or wonder- rooms) were encyclopedic collections of types of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction."[1] Of Charles I of England's collection, Peter Thomas has succinctly stated, "The Kunstkabinett itself was a form of propaganda"[2] Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe, formed collections that were precursors to museums.
PROJECTS Focus on a minimum of the development and creation of four works as well as formal presentation and discussion of work and related subjects. Students are to create objects, structures, forms and installations. Students can install their work in the classroom as well as other opportunities in the sculpture sheds and on campus, depending on the students desire for specificity of location. Each project will be graded and the projects will become increasingly more complex.
Many of the fundamental questions and processes are parallel to the structures found in science, mathematics, geometry, philosophy, psychology and art. By the end of this course you will have questioned and understand some of the physical, perceptual and intellectual understanding of the multiplicity of installation art, as well as enhance your portfolio and artistic skills. An emphasis is placed on conceptual clarity, innovative visual communication, problem solving, critical thinking both analytically and creatively through concept-based projects based upon the thorough understanding of installation art elements and principles. Upon the completion of the course, students gain the ability to identify, describe, analyze, and evaluate work of classmates, artwork, architecture and contemporary fields.
ASSIGNMENTS
Focus on the development and creation of four works as well as formal slide and discussion of work and related subjects. Each project will be graded and the projects will become increasingly more complex. The sculpture sheds can be checked out and work can be installed on campus, depending on the students desire for specificity of location. There is a process from applying for installing work inside and outside the building that must be followed.
GRADING Each project will be graded cumulatively toward your final grade and will count for 75% of your final grade. Other considerations will effect your grade will be your classroom attitude; contribution to critiques and attendance will count for 25% of your final grade. The criteria for grading will be based on the level and quality of the resolve to a project as well as the individual expression, the effective use of the materials and the inventiveness and commitment to the project. As this is a foundation class, students must attend each class period and be present for presentations, critiques and guest speakers.
A = Outstanding. Demonstrates an exceptional quality of work, a high level of material comprehension, works well with peers and participates insightfully in class discussion. Attends class regularly and has work done on time. Hold high technical, aesthetic, and conceptual standards for work. Goes above and beyond class requirements.
B = Above Average. Very good work and a ready demonstration of course material. Participates in lively discussion and critiques and has a good attendance record. All assignments done on time.
C = Average. Meets all basic requirements for satisfactory work; assignments done on time. Participates in class discussion.
D = Below Average. Work is marginal due to: lateness, poor craft, weak investigation of ideas, and mismanagement of time, minimal critique contribution.
F = Unsatisfactory Work: course failure. Overall performance is severely lacking including: Lack of participation in class, poor craft, incoherent communication of visual ideas, missing assignments, lethargic or troublesome behavior in class.
LATE ASSIGNMENT POLICY: No late work will be accepted. Assignment must be finished and ready to be viewed at the beginning of class on their scheduled due date. All projects must be presented for critiques to receive a grade. (For extreme circumstance, the instructor can make the exception of accepting a late assignment within one week of the due date, and will be graded down one step of the letter grade, [i.e. A becomes B, B becomes C, etc.] No work will be accepted beyond the one-week period.
ATTENDANCE POLICY STUDIO DIVISION CLASS ATTENDANCE POLICY
Class attendance is a requirement and use of the full class period is expected. You will be allowed three sick, personal, physical or mental health days without grading consequences. It is up to your discretion how you use these three days. Being late to class three times or leaving class early three times will count as an absence. 15 minutes late to the start of class will constitute a tardy. Leaving class before being dismissed by your professor will constitute an early departure. A 4th absence will result in the lowering of your final grade by one letter grade. Absences, tardiness and/or early departures beyond this could result in course failure. If a serious medical or personal situation occurs affecting attendance, please discuss it with your professor. Please obtain a letter or doctor’s note if you miss any class period
SUPPLIES AND EQUIPTMENT
• TOOL BOX • HAMMER • CORDLESS DRILL • SCREW DRIVER SET • PROTECTIVE GLOVES – THAT FIT YOU • SCISSORS • LONG NOSE PLIERS • MATT KNIFE AND BOX OF BLADES • PENCILS • TAPE MEASURE
Students must provide their own materials; faculty and staff will assist with information on where to find materials. We have all the above equipment in the sculpture lab.
TEXT BOOKS: These are the two textbooks for this course, though the following books are recommended as resources:
A Sculpture Reader: Contemporary Sculpture Since 1980 Edited by Glenn Harper and Twylene Moyer, from University of Washington Press and ISC Press. Available in June, 2006.
Conversations on Sculpture Edited by Glenn Harper and Twylene Moyer, from University of Washington Press and ISC Press. Available in Fall, 2007.
SCULPTURE & INSTALLATION BOOKS AND ARTIST BOOKS Landscapes for Art: Contemporary Parks Edited by Glenn Harper and Twylene Moyer, from University of Washington Press and ISC Press. Available in August, 2008.
Fine Art Metal Casting: An Illustrated Guide to Mould Making and Lost Wax Processes by Richard Rome and Hamish Young. London: Robert Hale, 2003.
Eva Hesse, edited by Mignon Nixon, essays by Briony Fer, Rosalind Krauss, Mignon Nixon, Anne M. Wagner, Cindy Nemser, Mel Bochner and Joan Simon. Cambridge and London: MIT Press, 2002
The Encyclopedia of Sculpting Techniques: A Comprehensive Visual Guide to Traditional and Contemporary Techniques by John Plowman. New York: Sterling Publishing, 2003. 176 pages, all color illustrated.
Mary Miss, by Mary Miss, essays by Daniel M. Abramson, Eleanor Heartney, Joseph Giovannini, Sandra Marpillero. New York: Princeton Architectural Press, 2004.
A Minimal Future? Art As Object 1958-1968, edited by Ann Goldstein and Lisa Mark. Los Angeles: Museum of Contemporary Art, and Cambridge and London: MIT Press, 2004.
Sculpture Today by Judith Collins
Vitamin 3-D : New Perspectives in Sculpture and Installation by Editors of Phaidon Press
Theories and Documents of Contemporary Art : A Sourcebook of Artists' Writings by Kristine Stiles (Editor) , Peter H. Selz, Peter Selz, Kristine Stiles, Peter Selz (Editor)
The Invisible Dragon : Essays on Beauty, Revised and Expanded by Dave Hickey
Ann Hamilton by Joan Simon (Author)
Olafur Eliasson: Surroundings Surrounded: Essays on Space and Science by Peter Weibel (Editor)
Space, Site, Intervention: Situating Installation Art by Erika Suderburg (Editor), Editor,Erika Suderburg
BLURRING THE BOUNDARIES: INSTALLATION ART 1969-1996 By Hugh Marlais Davies
SITE SPECIFIC ART: PERFORMANCE, PLACE AND DOCUMENTATION By Nick Kaye
Installations, Mattress Factory, 1990-1999 By Michael Olijnyk
Sarah Sze by Amada Cruz
NEW MATERIAL AS NEW MEDIA By Marion Boulton Stroud
ART OF DAVID IRELAND : THE WAY THINGS ARE By Karen Tsujimoto (Author), Jennifer R. Gross (Author)
FRED WILSON: OBJECTS AND INSTALLATIONS, 1979-2000: ISSUES IN CULTURAL THEORY, NO. 4 By Maurice Berger,
THE PICTURE IS STILL By Ann Hamilton,
Robert Gober By Robert Gober,
STUDIO POLICIES • Safety: All students are expected to follow all the safety rules when working in the studio. Students, who do not follow guidelines, may lose their privilege of working in the shop. Students will be informed if they are in danger of this loss of access. All artwork must be removed after the critique, and not block areas of the studio. All students must attend, end of semester clean up, and all work must be removed before, or the work will be destroyed. • Headphones: Discreet use of allowed only during work sessions. • No cellular phone use. Turn your phones off or on silent mode prior to the beginning of class, unless you are investigating materials. • Coming to class without required working materials/ tools for that day will result in a late grade for that class period. If you are late and without your materials, you will receive an absence in the grade book for that day. • Students are expected to abide by the Student Discipline and Conduct rules and assist in creating an environment that is conducive to learning and protects the rights of all members of the University community. Incivility and disruptive behavior will not be tolerated and may result in a request to leave class and referral to the Office of Student Judicial Services (SJS) for discipline.
• Room Use and Locker Storage: Because of lack of space and overflowing enrollments in some classes our storage ability is stressed and thus limited. We will provide you some storage space for your artwork. Do not throw away any projects until your final semester grade has been given. Use your locker to keep all supplies. No flammable material on the shelves.
• Mandatory clean up day is the last day of class. All projects and materials should be removed after the final critique, and your shelf should be clean. Not attending the final clean up or leaving materials/projects behind will lower your final project grade by one letter grade.
• Access: Students enrolled in sculpture classes will have access to the room and equipment whenever there is not another class meeting in the room. Students may check out tools, meet with sculpture technition on the rules and process of tool check out. If a student does not return or damages a tool, a bar will be place on their account. Students must observe all rules of the studio. Doors must be closed and lights off when the last one leaves the room. Materials and artwork in the studio not properly stored, it will be thrown away. Beverages are allowed (lidded containers), except while using power tools. Please be observant and careful of others. If you find equipment that is broken or not working properly please report it to your instructor or TA. In short, please be respectful of the classroom and others. Please leave your desk and the room clean.
• Spray paint/Fixative policy: Art students may spray paint on the 4th floor deck or in a spray booth. Students should suitably protect floors and decks. Nothing is to be sprayed in the stairwells at any time.
UNIVERSITY POLICIES Last day to drop a class without a possible academic penalty: Feb. 16 Last day an undergraduate may, with the dean’s approval, drop a class: Mar. 30
Withdrawal from Class: The administration of this institution has set deadlines for withdrawal of any college-level courses. Please review academic calendar for dates. These dates and times are published in that semester's course catalog, as well. Administration procedures must be followed. It is the student's responsibility to handle withdrawal requirements from any class. In other words, I cannot drop or withdraw any student. You must do the proper paperwork to ensure that you will not receive a final grade of "F" in a course if you choose not to attend the class once you are enrolled. Failure to officially drop or withdraw from this course will result in your receiving a final grade of F. Incompletes: No incompletes will be given for a semester grade. Exceptions to this policy will be granted only if severe physical and or mental/emotional difficulties prevented you from functioning in the university system as a whole. Incompletes will be given by the above terms if a passing grade was expected at the time of the difficulty or interruption and 75% of the course work has already been completed. The basis for removal of an incomplete will be discussed relative to the individuals given situation. If you have a problem please discuss it with me or let me know what is going on at the time if possible and don’t wait until the end of the semester to come up and say you want and incomplete. If the required work to complete the course and to remove the incomplete grade is not submitted by the specified deadline, the incomplete grade is changed automatically to a grade of F.
ACADEMIC INTEGRITY
Scholastic dishonesty will not be tolerated. Policy on Scholastic Dishonesty: Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For future information please visit the Student Judicial Service Web Site: http://deanofstudents.utexas.edu/sjs. The University of Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-6441 TT
Please look at the Department web site for up dates of lectures and the View Point Lecture Series.