Spring 2003

This information effective for Spring 2003. Check with instructor the first day of class for any changes.

Art

[ART-140]

140. Metal Sculpture

Note: This syllabus from winter 2003

T Th S 2:00 p.m.–4:45 p.m.
Baskin Sculpture P101
Instructor: Jennifer Parker
E-mail: jp@twinengine.net

“Sculpture is just a different way of thinking from painting. In painting you have to make decisions very fast. Sculpture is more additive. You think of structure and how things are made. With sculpture, you think of things with skeletons already in them.” —Deborah Butterfield

Course Content

A series of slide lectures, readings, videos and demonstrations. Listening, seeing, and thinking will expose you to a diverse sampling of historical and contemporary art, materials, and techniques used in 3D Art processes. In an attempt to balance talking with doing, studio shop demos and class dialogues will be a regular part of the overall course content.

Materials

Your mind is a muscle; use it; it needs to be exercised and will be your greatest tool in this class. Due to the nature of the assignments in this class, you may choose to incorporate different materials in conjunction with metal. Some materials that you may want to consider include water, air, light, sound, glue, string, ice, paper, photos, dirt, rocks, plastic, rope, wire, paint, found objects, video—in short, anything you can think of that will be appropriate to completing your ideas.

Ideas

In this class the only limits are the limits of your imagination. You should write down at least one thought (whether it be in words or pictures) a day about some ideas. What is an idea? An idea is having an opinion about something; physical structure, form, texture, light, sound, space all exist already. The ideas are there; look, make mistakes, and try stuff—even if you don't know what is. Forget about the product, and concentrate on what you are saying. The product should come only to the extent that it serves the idea. Push ideas around first; then choose the appropriate material to complete it. Remember, big ideas that seem deep and important and sound smart don't always make the best and most interesting art. It is more important that it means something to you, no matter the size.

Class Notebook

Get a notebook that you are comfortable with, big enough to fit all you ideas, thoughts, sketches, and doodles—yet small enough to be easily carried around. Your notebook is your private place to record every single thing that you think is important. Be honest. Begin your notebook by first forgetting all your ideas about art. Make a shopping list of everything you like and hate about what you do in this class. Write down all the details of your ideas before and after you make them. Include qualities that you've seen in the world, in your life, and in art.

Requirements

1. Commitment, motivation, and hard work
   
2. Full participation in class discussion
   
3. Completion of all class assignments on the scheduled due date
   
4. Articles will be handed out on a regular basis; read them and be prepared to talk about them.
   
5. Regular and on-time attendance is required!!
   
6. Expect to spend a minimum of 8 hours out of class per week on projects.

Evaluation

Studio assignments will be evaluated using the following criteria: level of understanding of formal and materials concerns; the ability to use this information, to which extent personal ideas are extended into work; the amount of personal growth you've experienced in this class; and the time spent on projects. Of course, the completion of all assignments is required. Class discussion, attitude, and participation during critiques will also form an important part of your determining evaluation.

Calendar