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. Everyone participates in cleaning up the studio. No food or drinks in studios -- the staff will order you to dispose of drinks and food. During studio work time in class, soft music is allowed if everyone agrees with the music selections. No headphones in wood or metal shops. Please respect other student's work stored in studio space - the studio is shared with other classes.

Clean up/removal of completed work from studio: After your projects have been critiqued, you have up to one week to remove your project from classroom/studio storage. If you do not remove your work -- staff will remove and dispose of your projects.

Office hours: Schedule with faculty ahead via email. Walk-ins are welcome, but schedule appointments receive priority. Suggested text: Shaping Space, 2nd edition, Zelanski and Fisher, Harcourt Brace; H. Smith. For sale at the University Bookstore -- on reserve at the Wilson library.

Suggested Readings: • Adorno, Theodor, The Culture Industry. Routledge, London and New York, 1991 • Bennett, Jane, Vibrant Matter: a political ecology of things. Duke University Press, Durham and London 2010 • Crowe, Norman and Laseau, Paul, Visual Notes for Architects and Designers. Van Norstrand Reinhold Company, 1984 • Eno, Brian, A Year with Swollen Appendices. London: Opal Press,1996 • Flam, Jack, Editor, Robert Smithson: The Collected Writings. Berkley and Los Angeles: University of California Press, 1996 • Hickey, Dave, Air Guitar - Essays on Art & Democracy. Los Angeles: Art Issues Press, 1997. • Krauss, Rosalind E., Passages in Modern Sculpture. MIT Press 1981 • Schelling, F.W.J.The Philosophy of Art. University of Minnesota Press 1989 • Weintraub, Linda, In the Making. d.a.p. 2003

Selected Magazines & journals: Art Forum, Sculpture, Art in America, Art Journal, Art Papers, New York Times Arts Section, Cabinet, New York Arts, Flash Art, Leonardo, Frieze, Forecast Public Art, Parkett Journal

Suggested Websites: http://hyperallergic.com/about/, artnet.com, walkerart.org, whitney.org/index.php, socratessculpturepark.org, sculpturespace.org, eyebeam.org, sculpture-center.org, soapfactory.org, mnartists.org, midwaycontemporaryart.org, http://www.franconia.org, newmuseum.org, http:// www.publicartfund.org, ps1.org/cut/main.html

Materials and supplies needed for class • sketchbook • work clothes and shoes, gloves • carving knives (optional) • found objects and other various materials • to work in plaster: set of clay tools -- wooden knives, spatulas, sponges (set can be purchased at UMN bookstore, Art Materials, Dick Blick) • plastic mixing buckets -- at least 2 gallons • spray bottle • plastic garbage bags

Research presentation suggested topics: Choose an artist or subject for your presentation from the list below. If an artist is not on the list below that you would like to research, check with faculty and TA for sign off. Your paper is due the day of your presentation. Presentation dates will be scheduled at the beginning of the semester, on a class calendar, and will take place after spring break. sculpting the biomorphic: Constantine Brancusi, Lee Bontecou, Louise Bourgeois, Eva Hesse, Henry Moore, Martin Puryear, John Isherwood, , Ernesto Neto, Jean Arp, Isamu Naguchi construction and deconstruction: Freeman & Lowe, Alicia Kwede, Survival Research Lab/ Mark Pauline, Louise Nevelson, Gordon Matta - Clark, Marcel Duchamp, David Smith, Urs Fischer, Robert Morris cultural constructions of the past, present and future: Sam Durant, Josephine Meckseper, Nari Ward, Rosemarie Trockel, Andrea Zittel, Edward Kienholz, Christian Maclay, Simprach, Jason Rhodes, J. Morgan Puett, Thomas Hirshhorn, CLUI, , Takashi Murakami, Paolo Solari, The Rural Studio, Buck Minister Fuller, Banks Violet, Won Ju Lim defining structure, surface, place and space: Katarina Grosse, Santiago Calatrava, Alexander Calder, Rem Koolhaas, John Chamberlain, Christo, Dan Graham, Micheal Heizer, Kenneth Snelson, Robert Irwin, Donald Judd, Anish Kapoor, Walter De Maria, Ursula Von Ridingsvard, Richard Serra, Maya Lin, Chakaia Booker, Rachel Whiteread, Mark di Suvero, Eero Saarinen, Liam Gilick, LeMonte Young material as an obsessive practice: Tara Donavon, Ann Hamilton, Donald Lipski, Liza Lou, Tom Friedman, Guerra De La Paz, Orly Genger, Leonardo Drew, Sarah Sze figurative and narrative: David Altmejd, Doug Aitken, Gluklya, Block Heads Group, Dread Scott, Mark Manders, Dario Robleto, Pierre Huyghe, Natalie Djurberg, Juan Munoz, Paul McCarthy, Magdalena Abakanowicz, Janin Antoni, Ana Mendietta, , Felix Gonzales Torres, Jorge Pardo, , , Maurizio Cattelan, Damien Hurst, Katharina Fritsch, Tony Oursler, Claes Oldenburg, Charles Ray, Alberto Giacometti, Robert Gober, Auguste Rodin, , Mike Kelly, Jeff Koons, Kiki Smith, reconstructing and repositioning nature: Ugo Rondinone, Olafur Eliasson, Richard Long, James Turell, Mark Dion, Roxy Paine, Cai Guo-Qiang, Andy Goldsworthy, Iñigo Manglano-Ovalle, Annette Messager, Robert Smithson

Tentative Schedule (subject to change on a weekly basis) Wk 1 • course & studio intro • artist list hand out - begin artist research for presentation topic (due week 4) • intro project part I (due week 3) Wk 2 (Professor Stanislav out on research events) • basic wood shop demo (OSHA certified tool crib staff) • basic meal shop demo • Sub Professor Ringler artist talk and Foundry tour Wk 3 • Project I slide presentation • review intro assignment • crit room use and etiquette intro Wk 4 • select artist for research presentation/paper (TA schedules presentations) • intro to XYZ lab • field trip Walker Sculpture Park (Wednesday - weather permitting MIA if rain) — drawing assignment Wk 5 • video presentation Wk 6 • guest artist talk (TBA) Wk 7 • critique project I • Project II -- slide presentation • plaster mold demo Wk 8 • video presentation • artist research presentations Wk 9 • artist research presentations • field trip to MIA or Walker Art Center (TBA) Wk 10 •artist research presentations Wk 11 • artist research presentations Wk 12 • critique project II (Monday) • Project III -- slide presentation (Wednesday) • artist research presentations (Thanksgiving) Wk 13 • artist research presentations • TA presentation of work Wk 14 • Professor presentation of work • artist research presentations Wk 15 • critique project III • make up/extra credit critiques Finals week Finals meeting time + studio clean up (attendance mandatory)

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