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Whats in the Cabinet of Curiosities

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Whats in the Cabinet of Curiosities BEGINNING SCULPTURE - SPRING 2013 ART 313K 20760 Professor: Prof. MARGO SAWYER. [email protected] 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
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