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Wearable Sculpture: Create a Sculpture That Is Worn on the Body

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Wearable Sculpture: Create a Sculpture That Is Worn on the Body Introduction to Sculpture - ARTS 1802, Regis Center for Art Andréa Stanislav, Associate Professor T: 612.625.3217 (office) [email protected] office hour: Mondays 12:15 - 1:15 PM E265 Art Department office T: 612.625.8096 Course Description and Objective: This course is an introduction to sculptural concepts, practices, and materials. Creative sculptural development and language will be explored by utilizing assigned class projects, class presentations, participation in class critiques, field trips, assigned readings, and sketchbooks. You will be expected to thoroughly investigate your creative ideas while challenging and questioning the roles sculpture plays in contemporary society. You will be responsible for three projects, written and oral critiques, and a visual research presentation. Projects and assignments: • intro assignment: five sculptures: make sketches of, and build five sculptures from cardboard. • wearable sculpture: Create a sculpture that is worn on the body. This project may be influenced by the idea of a garment, a prosthesis, architecture etc. Your sculpture should be wearable by you or another person(s). Think about aesthetics in regards to conceptual function -- but the sculpture does not have to be functional when finished -- the concept is also important. You are encouraged to incorporate whatever materials you wish. Use materials that will help to communicate your ideas. The sculpture must be worn by you or by whoever it is designed for during the project critique. Think about a performative element before or during the critique. Present documentation of the piece being worn [photographic or video] at critique. • multiple parts = a whole: This project will explore the transformation of multiple found objects to create a larger form, made from of multiple parts. Collect found objects or materials with an overall scale and form in mind -- as your materials will repeatedly be used. Transform the object or material by cutting, gluing, ripping, and placement, etc. Using the multiple parts, construct a sculpture. Consider how the sculpture's appearance: scale, surface, form, texture and color, might be altered through assemblage or grouping. Think about the object vs. a site-specific installation. • entropy through material, form, and movement: using various materials, methods and techniques, create a sculpture or installation which explores concepts of entropy. Consider: displacement, cancelations, movement, structural methods, and systems. In the words of Robert Smithson, “it's a condition that's irreversible, it's condition that's moving towards a gradual equilibrium and it's suggested in many ways.” • extra credit project: Further develop your ideas and personal vision in a self-defined project. You can incorporate sculptural concepts and elements that intrigue you from previous projects. Use materials and methods of your choosing. Critiques will occur during the final week of class and if needed during finals week. Artist Research Presentation: You are required to give a 20-minute presentation on the significance of an artist and their sculpture practice. Consider historical vs. contemporary contexts. Reference important cultural, socioeconomic states, scientific, architectural, fashion, and design associations in your research. Include visual aids in your presentation: Powerpoint, slides, audio, print-outs, photos, drawings, videos and dvds. If possible -- go beyond the library for research and conduct field research with live or recorded interviews with living artists. You will be responsible for bringing and setting up any tech equipment. You will choose your research subject from a list of artists provided, or get permission from the instructor on the research topic of your choice. Presentations will take place during the second half of the semester. Sketchbook: You are required to keep a sketchbook for this class. A hardcover, plain white paper 8"x10" journal is recommended -- but choose a size that is most comfortable for you to carry with you. If you have a laptop and keep notes on it, that is acceptable in addition to a visual sketchbook. You can find plain paper sketchbooks in the University bookstore. Your sketchbook is a tool and point of reference in which you can record written and visual thoughts, draw and paste images and take notes from this class and perhaps ideas from other classes that apply to your creative process. You will be expected to present and refer to your sketchbook throughout the semester -- in class. Critiques: Class critiques are oral exams and the oral defense of your finished work (unfinished work will not be critiqued). Your work is critically analyzed and interpreted through the critique discussion. Participating in all scheduled critiques in mandatory. You will present and talk about your work and critique the work of your fellow students. Critiques should be honest, constructive, and challenging -- everyone in the class learns from critiques. Topics covered may include: why and how the work was made, methodologies and materials, critical informants, social relevance, artistic and art historical influences. Field trips and guest artist talks: There will be periodic field trips to local art museums, galleries, and artistsʼ lectures -- students are expected to pay admissions and arrange their own transportation. Grade Policy: Your grades will depend on the timely completion of all projects, presentations, homework assignments and readings. Class participation, research and clean up are also considered, and affect one's final grade. If you have an emergency or difficulty in completing a project, contact the TA as early as possible. Sculpture projects will be graded on the following criteria: • success in executing individual vision and ideas in assigned themes and materials • effort and visible commitment to projects -- time spent working in class -- as well as out of class • the quality of work -- graded both on the level of content/concept and execution of craftsmanship • positive and productive attitude, respect for fellow students, and safety practices • use of the ideas and vocabulary from the required text -- Shaping Space, both in critiques and as reflected in the work % of Projects: project #1.......20% project #2.......20% project #3.......20% presentation...10% papers and assignments...10% participation....20% extra credit project 20% (with Professor's permission) 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 S achievement that is satisfactory, which is equivalent to a C - or better F (or N) represents failure (or no credit) and signifies that the work was either (1) completed but at a level of 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 I. 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. For additional information, please refer to: http://policy.umn.edu/education/gradingtranscripts. 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, wood shop demo, metal shop demo, and plaster demo is required. You are expected to be on time and 3 tardies will equal 1 absence. Call the art office or email TA before class begins if you will be absent or late. Shop Safety: You are required to practice safety rules in the shops. There will be safety demos given in the shops - take notes. You must attend these demos to work in the shops. If you are unsure of anything in the shops: don’t hesitate for one second to ask the instructor, TA or shop technicians for help. Shop technicians are available for questions when you are working in the shop outside of class time. Never be afraid to ask how to use any tool or procedure, because eyes and fingers are great assets to have. It is critical to wear proper clothing and safety equipment when working in the wood shop and metal shop. Safety glasses and gloves are provided for you, to keep with you and wear whenever you work in these areas. No open- toed shoes, shorts or synthetic clothing (like nylon or polyester - check your clothes labels...even if it is 1% polyester, do not wear it). Only cloths made from organic fibers can be worn in the metal shop -- 100% wool, cotton, bamboo or hemp clothing. Lockers: The sculpture area recommends renting a sculpture area locker. You can do this from the shop tool check out room attendant for a fee. Your locker comes with a lock which must be returned at the end of the course to receive your grade. Lab Fee: Your lab fee pays for an allotted amount of materials: clay, plaster, metal, gas, and wood. If you exceed your allotment, it will be necessary for you to pay additional materials fees. I want you to to fully explore your ideas - be aware of your allotment, but if you know your project needs extra materials to match your vision, it could be worth the extra $$. Recycling of usable materials is always recommended and encouraged. Studio Etiquette: Studio work time will end about ten minutes before the end of class to clean up the studio.
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