art 381 intermediate sculpture and multi · 2014-08-25 ·...

ART 381: Intermediate Sculpture and Multimedia, Fall 2014 of 18

Art 381 Intermediate Sculpture and Multimedia Tuesdays/Thursdays 9:00 am – 11:50 am

Art Practices Fall 2014 “Much attention has been focused on the analysis of the content of art making-‐its end images-‐but there has been little attention focused on the significance of the means… I believe there are ‘forms’ to be found within the activity of making as much as within the end products. These are forms of behavior aimed at testing the limits and possibilities involved in that particular interaction between one’s action and the materials of the environment. This amounts to the submerged side of the art iceberg.”

Robert Morris “ Some Notes on the Phenomenology of Making” 1970 Art Practices There is an ever-‐widening scope of what we can call art and art practice. Teaching art and visual culture is no longer grounded in traditional aesthetics but centered on significant ideas, topics, and themes – ranging from the everyday to the uncanny. This advanced studio art and seminar course will cover readings on the history of craft and alternative art practices and alternative spaces that began in the 1970 and are a strong part of contemporary art practice today. We will look closely at material culture and craft, as well as dialogue that the artists have with the social, political, and ecological. Studio work will begin with intensive craft-‐based workshops in areas that the students are unfamiliar with and wish to develop hands-‐on skills in. (sewing, casting, working with wood, welding, electronic, and/or sounds wiring.) There will be two projects. The first is a set of experiments based on the concept of translations (one medium to another, form to sound, image to space, etc.) and the second is a contextual work that responds to or gives back to a particular environment, and/or population. Assignments: Lessons in Craft – Choose a craft to develop and design an object made from and in response to the principles of this material. Due September 25 Translations – Works made through translation from one language to another or one medium to another. What is lost and what is gained in the process of interpretation and translation? Due October 16 A Contextual Work – Works made for a particular event, group of people, and/or architectural space. Models November13. Final December 16


Readings: Project 1 Lesson in Craft Thinking Through Craft, Supplemental, Material, Adamson From the Margins to the Center, Environments, Situations, Riese Net Works, Edited by Lars Bang Larson

The Medium is the Message, Marshal McLuhan The Best way to Make Art, Baldessari

Minimalism and the Rhetoric of Power, Anna C Chave Cruel Optimism, Cruel Optimism Lauren Burlant (Lecture September11) Marx’s Coat, Stallybrass References: Death of the Author, Roland Barths The Creative Act, Duchamp Work Ethic,Helen Molesworth Project 2 Translations Illuminations, Task of the Translator Walter Benjamin Empire of Signs, The Unknown Language, Roland Barth The West and the Rest, Where and what is ‘the West” Stewart Hall Interview: https://www.youtube.com/watch?v=fBfPtRaGZPM The Subversive Stich, The Creation of Feminity, Feminity as a Feeling Objects of Labor, Edited by Joan Livingstone, Labor, History, and Sweatshops in the new Global Economy, Howard Net Works, Edited by Lars Bang Larson The Encloypedia as a Labyrinth Eco Geobodies: Feminist Activist Crossing Borders Allara References: Objects of Labor, Edited by Joan Livingstone Ida Lovelace and the loom of Life, Plant, Sub Rosa The Sculpture of Ruth Asawa Contours in the Air, Inside and outside at the same time, Higa Eugenic Nation, Introduction Alexander Stern Lecture October 15 Project 3 A Contextual Work Psycho Building, Rugoff The Phenomenology of Perception, The Phenomenal Field, Ponty Net Works, Edited by Lars Bang Larson The Unimaginable Globality of Net Works Joseph Beuys Honey Pump, Trisdall Ocean Earth, Fend Sensorium, The Mediated Sensorium, Jones Participation, Edited by Clair Bishop The Poetics of an Open Work, Umberto Eco Problems and Transformations in Critical Art, Ranciere Negation of the Autonomy of Art by the Avant-‐Garde, Burger References: Anne Wilson Wind/Rewind/Weave, Story of the Tennessee Weaver, Alvic The Subversive Stich A Naturally Revolutionary Art, Rosika Parker


Visiting Artist: Laura Heit Opening September9 Class Visit/Lecture September18 Laura Heit is an artist who works in animated art and performance. She employs stop-‐motion, live-‐action puppetry, hand drawing, and computer animation in her short films. Her work has screened extensively at museums and film festivals around the world including; Walker Arts center, Moma, Guggenheim, Anthology Film Archives, Millennium Film Workshop, Annecy, Rotterdam, Taiwan, Ann Arbor, and London International Film Festivals, Black Maria, PBS, and others. She also works in puppetry, experimental theater, and live performance. Her acclaimed puppet-‐show-‐in miniature, The Matchbox Shows, in which Heit plays ringmaster to a tiny cabaret, has been touring for over ten years, including Dordrecht, Netherlands summer 2010, REDCAT and Walt Disney Concert Hall Spring 2008. She has been the recipient of awards and grants from; Mac Dowell Colony (2007, and 2009), Channel Four Television London, British Film Council, Durfee Foundation, ARC grant, Jim Henson Foundation, Thames and Hudson, Puppeteers of America, and MTV. She has a BFA in Film from The School of the Art Institute of Chicago, and an MFA from Royal College of Art, London. Laura was co-‐director of the Experimental Animation Program at Cal Arts in Valencia California from 2007-‐2011. She currently lives and works in Portland, Oregon..

REVIEW: TWO WAYS DOWN 05.02.14-‐06.14.14 Adams and Ollman

Portland-‐based animator and performer Laura Heit’s solo debut is a deceptively charming and cinematic menagerie in which drawn and shadow-‐formed images of catastrophe, death, and rebirth are cast adrift throughout a darkened space. The unpretentious mechanism at the heart of this specter is a group of revolving platforms that support paper dioramas depicting natural disasters as well as a projector that throws animated drawings amid the shadows. The animation refracts through a grove of freestanding clear-‐glass shapes.

Starkly lit by little spotlights, the natural disasters depicted in each model drift and intermingle around the room: Floods, blizzards, and mudslides tangle in a whimsical dream made all the more ominous by their varying scale and focal depth. Their transformation from object to image speaks to platonic illusionism and puppetry, and evokes the experimental nostalgia of early film technologies. The overlaid animation runs in a five-‐minute cycle, beginning with a conflagration, out of which skulls and floating heads emerge that transform into body parts and strange hybrid creatures, reminiscent of Hieronymus Bosch’s anatomical abominations in The Garden of Earthly Delights. The animation ends where it began—in flames. Heit has studied Dante’s cartography of the underworld and medieval maps of hell, and has crafted her own eerily playful vision of calamity and renewal. One can image Heit’s


floating world on a far larger scale, as the stage set for an opera or a dance performance—but her masterful drawings seem most significant as the alacrity of Heit’s line softens the chaos and unpredictability that she depicts. Cooley Gallery Stacy Wynne Greenwood Opening September 12 Class Visit September 11. 10 am SEPTEMBER 2 – OCTOBER 19, 2014 RECEPTION: September 12, 4–8 p.m. Cooley Gallery, free and open to the public The Cooley Gallery is proud to present Stacy, a commissioned project by visionary queer feminist performance artist Wynne Greenwood. Stacy is part of the Portland Institute for Contemporary Art's 2014 Time-‐Based Art Festival. CULTURE-‐HEALING. Wynne Greenwood transforms the Cooley Gallery into a studio and performance space in order to re-‐engage her groundbreaking art band Tracy + the Plastics in relationship to her most recent experimental video, installation, and object-‐based work. Over the past year Greenwood has re-‐created each of Tracy’s performances—completing this archival rebirth while in residence at the Cooley. Stacy nurtures Tracy + the Plastics into contact and conversation with its own future, creating a queering space of intimacy, humor, and hope. Tracy + the Plastics presents an expansive vision of public and private identity in which Greenwood performs live, as Tracy, with her two projected collaborators: Nikki (on keyboards) and Cola (on drums). The three women sing, banter, and chat—unfolding their relationship across seductively electric gaps of meaning through music and conversation, and gesture and inaction. In Greenwood’s words: “When an individual in a marginalized group talks to a recorded image of themselves it empowers the individual to open the door to the understanding and celebration that she/he/they can be deliberate.” Similarly, Greenwood’s most recent installations incorporate video and object-‐based works to create spaces of symbolic encounter. Stacy’s world is one of seductively open and tangled inclusiveness, echoing the words of queer theorist Lauren Berlant: “If we understand that everything we do is going to be flawed and awkward and slapstick, we have a better chance at surviving our disappointments on behalf of a political goal. I think it's the job of writers and critics and artists and everyone to create better objects for better fantasies—which is to say, objects that offer the possibility of less cruel-‐optimistic relations." Stacy seeks to dwell beyond the survival of disappointment, even, embracing awkwardness and failure as strategies for imagining, forming, and reaching toward collective personal and political goals. Wynne Greenwood is a queer feminist artist who incorporates video, performance, music, and object-‐making to practice, in the artist’s words “culture-‐healing.” Greenwood’s performances, installations, and object-‐based works have been included in exhibitions at independent and institutional spaces across the globe including: the Tate Modern, London; the 2004 Whitney Biennial, NYC; The Kitchen, NYC; the Frye Art Museum, Seattle; Susanne Vielmetter, Los Angeles; Soloway, Brooklyn; Henry Art Gallery, Seattle; and Lawrimore Project, Seattle. From 1999–2006, Greenwood performed the celebrated multimedia art band Tracy + the Plastics. Since 2006, Greenwood has shifted her focus to installation and object-‐based work. Recently, Greenwood participated in Anti-‐Establishment, a group


exhibition at Bard College's Center for Curatorial Studies, and released the full-‐length music album A Fire To Keep You Warm. Greenwood teaches performance and video at Seattle University. Stacy is curated by Stephanie Snyder, John and Anne Hauberg Curator and Director, Douglas F. Cooley Memorial Art Gallery, and Wynne Greenwood. A full-‐color book, published at the close of the exhibition, will document Stacy and the wider context of Greenwood's work, with texts by Snyder, Greenwood, and invited authors, and designed by Heather Watkins, Portland, Oregon. The publication is made possible through the generous support of The New Foundation, Seattle. Loans to the exhibition are made possible through the generosity of the Bonnie Bronson Fund, Portland, Oregon. TBA http://pica.org/programs/tba-‐festival/

JENNIFER WEST FLASHLIGHT FILMSTRIP PROJECTIONS EXHIBITION OPEN: SEPT. 11-‐30, DAILY FROM 12:00 TO 6:00 A sensuous filmmaker and a maverick in her use and interpretation of materials. — Charlotte Bonham-‐Carter, Art… THE WORKS at Fashion Tech Lectures: Dr. Lauren Berlant: September11 6:30 Vollum Dr. Lauren Berlant, the George M. Pullman Distinguished Service Professor in the Department of English Language and Literature at the University of Chicago (https://english.uchicago.edu/faculty/berlDant). Berlant's influence on the fields of gender and sexuality studies – not to mention critical race theory and political economy – is hard to overstate. In addition, her cross-‐disciplinary appeal, ranging across the sciences, economics, anthropology, sociology, and political science as well as literature, art and cultural studies, makes her an ideal speaker for an event that aims to address issues concerning all of us on campus. Berlant's public talk, “Structures of Unfeeling: Mysterious Skin,” will take place at 6:30 pm in Vollum Lecture Hall on Thursday, September 11, 2014. The student/faculty symposium will take place the next day, on Friday, September 12, from noon to 2 pm.


Lessons in Craft Due September25

Thinking Through Craft Skilled On Bernard Leach, Adamson The separation of Art and Craft is not new, but with the rise of DIY we again see an interest in Skilling and Deskilling. We have made room for the makers. This moment of reengagement is coupled with new alternative artist run spaces and looks and feels so much like the 70 when the Craft Centers such as Ander Ranch Arts Center in Colorado and the installation space PS I22 opened for artist residencies. The line between art and craft is not new; the boundaries between craft and art have long been contested. But with the explosion of interest in craft, from the Make Do and Mend craze, the new cool of the Women’s Institute and graffiti knitting to artists’ (such as Ai Weiwei) connection with traditional skills and Richard Sennet’s collection of essays The Craftsman gaining interest and coverage, it seems to be the time to talk about it. Assignment: 1. Ask the Question, what you can say with one craft and not another? This assignment is designed for you to learn a craft. Research what each materials and process can do, what the materials tell you, what skills are needed and how this can help your working method. Look at the traditional and contemporary work done with this material. 2. You must chose a primary craft to work on throughout the semester, for this project, you will try out a few, and focus on making a work with a craft that exemplifies the material properties of that material and craft.


For example, clay transforms from fluid to solid, it is earth, it responds to gravity and can not be made into any thing very big very easily, it has very often been used to make hand held vessels and objects as big as a head. Wood is from a tree and each type has different properties, it can be carved, joined, nailed glued, it has great strength and has been used to build houses. Steel is a composite material manufactured to have great strength. A piece of 1/2'”steel tubing can hold as much as a 2 x 4 in wood. One can create a delicate structure that is very strong from steel. 3. To begin, first start collecting images, ideas about the properties of materials of your chosen craft in your sketch book/thumb drive or the actual material sample. On paper and in the materials begin to play, use the workshop and class time to learn and experiment. 4. Attend class workshops in the material of interest as well as those you do not know. (List Below) Spend at least 6 hours a week building skills in the material. Crafts/Skills/Materials Welding Sewing Woodworking Casting Glass/Ceramics Hand building/Throwing Readings: Project 1 Lesson in Craft Thinking Through Craft, Supplemental, Material, Adamson From the Margins to the Center, Environments, Situations, Riese Net Works, Edited by Lars Bang Larson

The Medium is the Message, Marshal McLuhan The Best way to Make Art, Baldessari

Minimalism and the Rhetoric of Power, Anna C Chave Cruel Optimism, Cruel Optimism Lauren Burlant (Lecture September11) Marx’s Coat, Stallybrass References: Death of the Author, Roland Barths The Creative Act, Duchamp Work Ethic, Helen Molesworth


Translations Translation is a Mode. To comprehend it as mode one must go back to the original, for that contains the law of governing the translation: its translatability. The Task of the Translator, Walter Benjamin Due October 16 Because Globalization forms above and below, both cooperate and vernacular, we are caught in a constant translation of culture, language. What sense do you make of your life as you easily travel to many different “Other Places” And purchase goods that were made far from your home? As you no doubt have experienced through your entire lives, The West has both misinterpreted and used the rest for great profit. As Stuart Hall put it in The West and the Rest; “For what lay beyond, Europe relied on other sources of knowledge -‐classical, biblical, legendary, and mythological. Asia remained largely a world of elephants and other wonders almost as remote as sl).b-‐Saharan Africa. There were four continents -‐ Europe, Africa, Asia, and "Terra Australis Incognita" ("The Unknown Southern Land") -‐ the way to the latter being judged impassable. On medieval maps, the land mass crowded out the oceans: there was no Pacific and the Atlantic was a narrow, and extremely dangerous, waterway. The world was often represented as a wheel. superimposed on the body of Christ, with Jerusalem at its hub. This conception of the world did not encourage free and wide-‐ranging travel. “ Assignment: Your task is simple: take one material form and translate it to another. A clay cup made of ice. But conceptually, this may be far more complex. Perhaps even impossible. The objective is to translate one language to another or one medium to another to make a work that expresses what is lost and what is gained in the process of interpretation and translation. Readings: Translations Project 2 Translations Illuminations, Task of the Translator Walter Benjamin Empire of Signs, The Unknown Language, Roland Barth The West and the Rest, Where and what is ‘the West” Stewart Hall Interview: https://www.youtube.com/watch?v=fBfPtRaGZPM The Subversive Stich, The Creation of Feminity, Feminity as a Feeling Objects of Labor, Edited by Joan Livingstone, Labor, History, and Sweatshops in the new Global Economy, Howard Net Works, Edited by Lars Bang Larson The Encloypedia as a Labyrinth Eco Geobodies: Feminist Activist Crossing Borders Allara References: Objects of Labor, Edited by Joan Livingstone Ida Lovelace and the loom of Life, Plant, Sub Rosa The Sculpture of Ruth Asawa Contours in the Air, Inside and outside at the same time, Higa Eugenic Nation, Introduction Alexander Stern Lecture October 15


A Contextual Work

Psycho Building, Rugoff Assignment Models and Plans Presentation November13. Final December16. Given your new skills in a craft or crafts, create a work that is designed for a specific group of people, event, outdoor space, or architecture. This is a collaboration between you, the materials, the craft, the people, the place, and the things being made. The course readings and the artist work will give you numerous examples.


Questions: Choose which aspect of the Contextual will work with and which question to ask your self.

1. Collaboration with space/architecture. How do you design a work for a space so that the space is received and used in a way it has never has been before? So that space is completely new? For example, what if you place mirrors on the floor of a space or on all surfaces? How does the space read or feel?

2. Collaboration with the medium.

Given your chosen material/craft consider what communal aspects it has? For example quilts were made by groups of women, embroidery patters were handed down for generations. Cloth is woven in the same pattern for 100’s of blankets. Potters make dished for the meal, the wedding, daily use. How can you take on this conceptual aspect of vernacular economy and convivial relationships to make a work of art?

3. Collaboration with the public or other art makers.

If we question authorship and hope to allow others to engage in the creative act, do you ask each person to contribute to a larger communal structure?

Project 3 A Contextual Work Psycho Building, Rugoff The Phenomenology of Perception, The Phenomenal Field, Ponty Net Works, Edited by Lars Bang Larson The Unimaginable Globality of Net Works Joseph Beuys Honey Pump, Trisdall Ocean Earth, Fend Sensorium, The Mediated Sensorium, Jones Participation, Edited by Clair Bishop The Poetics of an Open Work, Umberto Eco Problems and Transformations in Critical Art,Ranciere Negation of the Autonomy of Art by the Avant-‐Garde, Burger References: Anne Wilson Wind/Rewind/Weave, Story of the Tennessee Weaver, Alvic The Subversive Stich A Naturally Revolutionary Art, Rosika Parker


Calendar 2014 September Week 1 2. Intro and survey crafts work shops. In Class Workshop: Welding /Sewing Reading: Thinking Through Craft, Supplemental, Material, and Adamson 4. Discussion: Material Semiotics In Class Workshop: Welding /Sewing Reading: From the Margins to the Center, Situations, Environments, Riese Assignment: Practice craft, makes sketches. Thursday 1-‐5 Workshop: Welding /Sewing Week 2 9. Discussion: Alternative Space and Alternative Materials In Class Workshop: Welding /Sewing Opening: 5-‐7pm Opening and Artist Talk :”Two Ways Down” An Installation by Film Maker and Artist, Laura Heit. Feldenhiemer Gallery, Studio Art Building Reading: Cruel Optimism, Cruel Optimism, Lauren Burlant (Lecture, September11) 11. Visit Cooley Gallery-‐ Stacy-‐Winnie Greenwood In Class Workshop: Wood Reading: The Creative Act, Duchamp Death of the Author, Roland Barth Work Ethic, Helen Molesworth Assignment: Practice craft, makes sketches Thursday 1-‐5 Workshop: Wood/Casting Week 3 16. Discussion: Labor and Authorship In Class Workshop: Wood/Casting 18. In Class Workshop: Wood/Casting Artist Talk :”Two Ways Down” An Installation by Film Maker and Artist, Laura Heit. Feldenhiemer Gallery, Studio Art Building Reading: Minimalism and the Rhetoric of Power, Anna C Chave Assignment: Practice craft, design project Thursday 1-‐5 Workshop: Clay and Glass casting, Work on project Week 4 23. Works on Project 25. Lessons in Craft Due Introduce: Translations Reading: Illuminations, Task of the Translator, Walter Benjamin Empire of Signs, The Unknown Language, Roland Barth The West and the Rest, Where and what is ‘the West’, Stewart Hall Interview: https://www.youtube.com/watch?v=fBfPtRaGZPM Assignment: Notes on Reading


Week 5 30. Discussion: Translation and the Global Economy Chose Craft focus/ Design and Meeting with Gerri October 2. Designs and Meeting with Gerri Reading: Objects of Labor, Edited by Joan Livingstone, Labor, History, and Sweatshops in the new Global Economy, Howard Sub Rosa The Subversive Stich, The Creation of Feminity, Feminity as a Feeling Assignment: Work in studio 3-‐6 hours Thursday 1-‐5 Workshop: Clay and Glass casting Week 6 7. Discussion: Labor, History, Crafts and Others. Work time 9. Work time Reading: Net Works, Edited by Lars Bang Larson The Encyclopedia as a Labyrinth Eco, Geobodies: Feminist Activist Crossing Borders Allara Eugenic Nation, Introduction Alexander Stern (Lecture October 15) Assignment: Work in studio 3-‐6 hours Thursday 1-‐5 Workshop: Clay and Glass casting Week 7 14. Discussion: GeoBodies 15. Pysc 105 Eugenic Nation-‐ Introduction Alexander Stern 16. Translations Due Reading: The Phenomenology of Perception ,,The Phenomenal Field, Ponty Psycho Building, ,Rugoff Week 8 Break Week 9 28. Discussion: Perception and the Contextual 30. Design, Meeting with Gerri Reading: Net Works-‐ Edited by Lars Bang Larson The Unimaginable Globality of Net Works Joseph Beuys Honey Pump, Trisdall Ocean Earth, Fend Assignment: Design, Meeting with Gerri Thursday 1-‐5 Workshop: Building Models Week 10 November 4. Design, Meeting with Gerri 6. Work time Reading: Participation ,Edited by Clair Bishop


The Poetics of an Open Work, Umberto Eco Problems and Transformations in Critical Art,Ranciere Assignment: Thursday 1-‐5 Workshop: Individual meeting Week 11 11. Discussion: Participations Origins Work on Model/Plans 13. A Contextual Work Models Due Reading: Participation, Edited by Clair Bishop Negation of the Autonomy of Art by the Avant-‐Garde-‐Burger Chaosmosis-‐Felix Guattari Assignment: Notes on Reading + begin final Thursday 1-‐5 Workshop: Individual meeting Week 12 18. Discussion: Participation and the Future. Work on project 20. Work on project Reading: Sensorium,The Mediated Sensorium, Jones Assignment: Building project Thursday 1-‐5 Workshop: Individual meeting Week 13 25. Discussion: Sensorium, the inclusion of audio, video and light Work on project Thanksgiving Reading: Sensorium,The Mediated Sensorium, Part II Jones Week 14 December 2. Discussion: Sensorium, Screening Kierkegaard +others Work on project 4. Work on project Week 15 9. Last day of class 16. Final Crit A Contextual Work


Evaluation: All students are required to follow the following guidelines for full course credit: * Attend all scheduled class meetings. * Work efficiently and attentively in class. * Contribute to critiques and discussions. * Do the readings, review the artists, and take notes. * Make models and drawings for each project. * Complete all assignments. * Follow safety regulations and clean up work area before leaving. I keep a record of each student’s work, his or her progress, strengths and weaknesses. I will dialogue with each of you in class daily while working. We will have individual meetings/conferences to plan each project. This occurs 4 times during the semester by appointment. We will have group critiques after each project is complete. I will make a point of giving you feedback on the final work during the group crit. I keep a record of critiques for each assignment and I photograph the finished work for my records. Please note that, my response to your work will mainly come in verbal form. I will respond in written form to the peer-‐review and your self-‐evaluation forms after each assignment. If at any time while making the project or when the project is complete you want an individual conference, I am available outside of class, Monday from 9-‐12, Tuesday/Thursday 1-‐4. I use the following criteria in evaluating student work: Attendance-‐ 50% The strength of a group studio art course comes from the interaction of ideas and observation of others. In missing the class, a student undermines the effectiveness of the course and the educational experience of all. Each student must arrive prepared to work with appropriate materials for the assignment, project, exercise, critique, discussion, or demonstration for that particular class day. Unprepared students may receive an absence for the day. Attendance and active participation in critiques is critical to learning in the studio classroom. All students are expected to contribute verbally by commenting or questioning aspects of the work being critiqued. Attendance at critiques is mandatory. Any student who knows they will be absent from a critique must contact the instructor prior to the critique. A verbal self-‐critique and or a peer review will be done for each project. This includes information on the technical skills you learned, the conceptual idea you worked with, and the artists and readings we covered. You will be asked to take notes in your sketchbook and on a classmate's work. 1. You must be in the studio by 1:15 p.m. We will begin the class with a discussion and or presentation. It is vital that you are here for the beginning of the class. If you are more than 30 min. late for a class without a reasonable excuse, you will be marked absent. 2. Participation in the classes includes contributing to dialogue, taking notes on technical skills or artist presented. 3. Come prepared to work on projects in class. Assignments 40% Students should expect to spend 6 hours per week in class and approximately 4 hours outside of class working on assignments. The studio classroom is open for student use Tuesday, Thursday, and Friday afternoons. All assignments will have a short reading and a list of artists to be read/reviewed prior to the introductory lecture. The readings will guide the conceptual framework and content of your work. For each assignment the class will go over a series of technical skills. We will have individual conferences discussing preliminary sketches and models for the assigned projects. 1. Turn in projects on time. Your grade will be lowered 10% for each week the project is late. 2. Generation of basic ideas and exploration of solutions. This includes drawings, models, and exploration of materials. 3. Visual organization of your forms. Your ability to follow a system of design.


4. Conceptual thought process put into visual forms. Your ability to convey the ideas covered in the assignment, the readings and artist referenced. Safety and Etiquette 10% Your safety is of primary importance to us. We will train you to use all equipment and the shop properly. You must attend safety training for all hand tools, electric tools, and the shop equipment at the beginning of the semester. If you do not attend the training session, you will not be allowed to use the tools. Laura will check and evaluate your ability to use tools properly. This is a communal studio. You many not leave any materials out on tables or on the floor after classes. If you are working on a large-‐scale project, make sure Laura and I are notified and we will help you to find the proper placement and storage of the work. Chronic failure to clean up your work area and properly store materials will result in a 10% drop in your grade. Failure to follow our safety regulations will result in a 10% drop in your grade and/or dismissal. Unsafe practices with equipment, removal of equipment from the studio, allowing others not in the course to use the equipment, or using the equipment under the influence of alcohol or drugs will result in your dismissal from the course.

1. Keep the studio and shop clean and clear of obstruction. 2. Sweep up and throw away excess materials from your area when finished working. 3. Put away tools. 4. Store your work properly. 5. Do not dispose of flammables, wax, paint or plaster in the sink!

SHOP AND STUDIO USE Choose an area of the studio and a table space to use on a regular basis. Put your name on a shelf and use it for small storage. Put your name on a locker and use it for large storage (both may be shared). You are responsible for all tools and materials you get out so put them away when you are finished. Laura and I will keep note of bad studio practices. Use the electrical plug closest to your table; do not have extension cords running on the floor. Use loud and messy tools such as sanders & girders outside. WOOD SHOP You may only use the wood shop when wood shop tech Laura Dalton is present. Laura’s hours are 9-‐5 weekdays. You may only use the shop after you have been trained. Training will take place on Fridays beginning in September. STUDIO ACCESS You may have card access to the art building and use the studio when you wish. The tool cabinet in the corner of the studio has tools for your use. Make sure you lock up the cabinet after getting tools.

art 381 intermediate sculpture and multi · 2014-08-25 ·...

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