PROJECT 1
The Curved Plane and Curved Spaces
PART 1: Construction Due date: 4/18 Exercise (5) Paper tube play + thumbnail sketches This piece will study the way in which curved planes shape space. Using a variety of cardboard tubes, build a form that is not a house, not a room, not REALLY architecture yet uses curved planes (hollows, angles, chambers, openings, darkness, lightness) to “pull” us around and through the spaces of the construction. While using your intuition, showcase your understanding of the basic elements and principles of design. Don’t worry about developing any sort of narrative or concept, but do pay attention to light and shadow. _________ > Considerations:
- some must be joined with others in some way - all paint must be approved by Emily > Materials: - cardboard tubes, connecting ‘hardware’ can be traditional, wooden dowels, etc. - surface coatings: wax, tool dip, flocking, house paint, plaster. *Document many steps in your process for your analysis. |
2D>3D Zoom-in/Scale
PART 1: Construction Due date: 4/18 Exercise (5) Newspaper Study + thumbnail sketches Construct a sculpture from the piles of cardboard that we’ve collected/ordered using your Positive/Negative Study sculptures as your starting point. Especially focus on the thumbnail sketches that you’ve completed to guide you. Use any amount that you would like, as long as it’s larger than your wingspan in all directions. Your sculpture can be in multiple parts or exist as one. It should be non-representational, and be well crafted. Your piece should demonstrate your newly developed abilities with the tools shown. While using your intuition, showcase your understanding of the basic elements and principles of design. Don’t worry about developing any sort of narrative or concept, but do pay attention to the zoom-in and/or change of scale. This is a requirement. Using a variety of cardboard, build a form that uses planes, curved and flat (hollows, angles, chambers, openings, darkness, lightness) to “pull” us around and through the spaces of the construction. Presentation is still part of the content of this project, but please play at first. You don’t need to make a model or a direct replica of what you envisioned in your head before you have experimented with the machinery and techniques. Please present your “failed pieces” as well. > Must have: - some must be joined with others in some way - all paint must be approved by Emily > Materials: - cardboard, connecting ‘hardware’ can be traditional, wooden dowels, etc. - surface coatings: wax, tool dip, flocking, house paint, plaster. *All additional materials besides cardboard must be approved by Emily. |
Upon completing the studies, begin your piece. It should create a space that treats the following elements on both sides of the plane with equal concern:
> Must show use of the following tools/processes:
- lamination (if using cardboard)
- clean joinery
- use of bandsaw/scroll saw
(If you don’t use all of these in your final piece, please at least show in your tests)
> Optional additions include:
- hardware
- no-glue joints
- color* vs. neutral
- texture play (corrugation, line work + corrugation)
- does the content of the cardboard matter? Where it came from, what it says, the product it carries?
__________________________________
PART 2: Finishing
Due date: 4/18
You’re not done yet! You must put a texture and/or a finish on your piece. This kind of finishing will really allow you to fine tune the piece and jazz it up a bit. After the finishing demo on Monday the 16th, decide on how you plan to finish your piece. Practice a few finishes on a test piece first to make sure you can create your desired effect.
_________
> Texture/Surface/Coating:
- tool dip
- texture spray (ceiling/speckle spray)
- plaster
- clearcoat
- concrete
- oil/wax
- torn/sanded
- Dremel work
*Document many steps in your process for your analysis.
- volume of space - bends the space, shapes the space, surrounds, pushes on it, compresses, compression with vent for escape
- positive/negative space and forms created by planes
- mass/lightness - question solidity! Implied and pierced planes
- be conscious of the ways in which edges, boundaries, endings of planes meet the beginning of space and how their encounter pushes against one another
> Must show use of the following tools/processes:
- lamination (if using cardboard)
- clean joinery
- use of bandsaw/scroll saw
(If you don’t use all of these in your final piece, please at least show in your tests)
> Optional additions include:
- hardware
- no-glue joints
- color* vs. neutral
- texture play (corrugation, line work + corrugation)
- does the content of the cardboard matter? Where it came from, what it says, the product it carries?
__________________________________
PART 2: Finishing
Due date: 4/18
You’re not done yet! You must put a texture and/or a finish on your piece. This kind of finishing will really allow you to fine tune the piece and jazz it up a bit. After the finishing demo on Monday the 16th, decide on how you plan to finish your piece. Practice a few finishes on a test piece first to make sure you can create your desired effect.
_________
> Texture/Surface/Coating:
- tool dip
- texture spray (ceiling/speckle spray)
- plaster
- clearcoat
- concrete
- oil/wax
- torn/sanded
- Dremel work
*Document many steps in your process for your analysis.
Artists in Lecture/Notes:
Curved Plane : Wucius Wong / Sergio Camargo / Alexander Liberman / Tanija & Graham Carr / Katja Seiner / Nancy Holt Vladmir Tatlin / Vivian Beer / Anish Kapoor / Maya Lin / Eero Saarinen / Santiago Caltrava / Frank Gehry / Richard Serra
Hiroshi Sugimoto /James Turrell
2D>3D: Pablo Picasso / Robert Rauschenberg / Wucius Wong / Chris Gilmour / Monomi Ohno / Frank Gehry / Shigeru Ban / Tracy Luff / Florian Baudrexel / Kento Saisho / Pierre Riba / Francisco Salazar / Zimoun / Alex Uribe / Tobias Putrid / Mark Langan / Miika Nyyssönen / Ball-Nogues Studio / Martti Kalliala & Esa Ruskeepää / Joe Manus / Ann Webber /
Curved Plane : Wucius Wong / Sergio Camargo / Alexander Liberman / Tanija & Graham Carr / Katja Seiner / Nancy Holt Vladmir Tatlin / Vivian Beer / Anish Kapoor / Maya Lin / Eero Saarinen / Santiago Caltrava / Frank Gehry / Richard Serra
Hiroshi Sugimoto /James Turrell
2D>3D: Pablo Picasso / Robert Rauschenberg / Wucius Wong / Chris Gilmour / Monomi Ohno / Frank Gehry / Shigeru Ban / Tracy Luff / Florian Baudrexel / Kento Saisho / Pierre Riba / Francisco Salazar / Zimoun / Alex Uribe / Tobias Putrid / Mark Langan / Miika Nyyssönen / Ball-Nogues Studio / Martti Kalliala & Esa Ruskeepää / Joe Manus / Ann Webber /
PROJECT 2
Material Translation + Gravity
An interpretation of curved plane/cardboard OR positive-negative studies in metal.
Due date: 5/2
Exercises:
(8) Thumbnail sketches
(9) Gravity walk and gather
(10) Peer Analysis (due 5/2 - midnight)
Material Translation
This piece will be a translation of either your cardboard or your pos/neg sculpture. Choose one and be ready to take some artistic liberties. Still consider curved planes, hollows, angles, chambers, openings, darkness, lightness and travel through the spaces of the construction.
> Material: 18 or 20 gauge sheet metal. Any other metal must be approved
+ Gravity
A host of new issues arise such as structure, strength, weight, balance, and the uber-force that includes all of these: gravity. Your previous notions on this will be challenged in this new media. The sculptor is in constant conversation with this maddening foe and ally. Not only do we build with obedience to this force, we live by it as well. Our bodies negotiate the ups and downs (ugh. sorry about that!) of gravity through balance and many learned physical moves. We're going to look this inescapable challenge straight in the eye and wrestle with it. We will use the force of gravity as if it were a material that enables your sculpture to do what it wants more than anything else: fall to the earth.
_________
> Surfacing:
- a finish - either patina, shellac, oil, or wax
> Must show use of the following tools/processes:
- MIG welding
- (the piece doesn't have to have this process, but you must learn it)
- folding or rolling
- the Beverly shear and/or stomp shear
> Optional additions include:
- the punch
- the spot welder
- angle grinder/sanders
- plasma cutter
- rivets
- cold forming (hammer/anvil)
> Surface/Coating:
- heat patina
- chemical patina (hot or cold)
- vinegar
- salt water
- uric acid
- clearcoat
- oil/wax
*Document many steps in your process for your analysis.
Artists in Lecture/Notes:
Alexander Calder / Isamu Noguchi / Elizabeth Brim / Mark diSuvero / Anthony Caro / Kenneth Capps / Seong-Woon Shim / George Rickey / Michael Bishop / Some student examples
An interpretation of curved plane/cardboard OR positive-negative studies in metal.
Due date: 5/2
Exercises:
(8) Thumbnail sketches
(9) Gravity walk and gather
(10) Peer Analysis (due 5/2 - midnight)
Material Translation
This piece will be a translation of either your cardboard or your pos/neg sculpture. Choose one and be ready to take some artistic liberties. Still consider curved planes, hollows, angles, chambers, openings, darkness, lightness and travel through the spaces of the construction.
> Material: 18 or 20 gauge sheet metal. Any other metal must be approved
+ Gravity
A host of new issues arise such as structure, strength, weight, balance, and the uber-force that includes all of these: gravity. Your previous notions on this will be challenged in this new media. The sculptor is in constant conversation with this maddening foe and ally. Not only do we build with obedience to this force, we live by it as well. Our bodies negotiate the ups and downs (ugh. sorry about that!) of gravity through balance and many learned physical moves. We're going to look this inescapable challenge straight in the eye and wrestle with it. We will use the force of gravity as if it were a material that enables your sculpture to do what it wants more than anything else: fall to the earth.
_________
> Surfacing:
- Surface treatments can add variety and unity. They are a way for you to control emphasis areas. Among the possibilities are texture, color, bends, etc.
- Think about the order in which you want to work with surfacing. This means you’ll have to plan ahead: should the texture be put into the individual parts before shaping or welding? Can you do it after? What are the steps?
- If you want to add texture, here are some possibilities:
- hammering (cold or hot)
- sandblasting
- dremel
- angle grinder/sander
- polishing
- scoring
- wire wheel
- a finish - either patina, shellac, oil, or wax
> Must show use of the following tools/processes:
- MIG welding
- (the piece doesn't have to have this process, but you must learn it)
- folding or rolling
- the Beverly shear and/or stomp shear
> Optional additions include:
- the punch
- the spot welder
- angle grinder/sanders
- plasma cutter
- rivets
- cold forming (hammer/anvil)
> Surface/Coating:
- heat patina
- chemical patina (hot or cold)
- vinegar
- salt water
- uric acid
- clearcoat
- oil/wax
*Document many steps in your process for your analysis.
Artists in Lecture/Notes:
Alexander Calder / Isamu Noguchi / Elizabeth Brim / Mark diSuvero / Anthony Caro / Kenneth Capps / Seong-Woon Shim / George Rickey / Michael Bishop / Some student examples
PROJECT 3
Material Intersections
Due date: 5/16 (extra credit)- 5/21
Exercises: (11) Free Write
STEP 1: Find a material (and/or object) to take apart. Turn it inside out, upside down, and disembowel it. What surprises you? What can you extract. How important is it for others to know what it once was? When you translate your parts into another form, what transfer over? Take special note on how one material acquaints with the next. How do your materials interact with each other? Listen to what the forms are telling you to do.
Deconstruct Reconstruct
_________
> Concepts:
Gestalt - Juxtaposition - Material transcendence - In-between: given two objects, build the one in-between - Home Depot aesthetic
>Possible Materials Needed:
tiny screw drivers - desoldering gun - needle nose pliers - containers to store items
_________
Artists in Lecture/Notes:
Louise Nevelson / Jaime Pitarch / Lucas Simões / Joshua Kerley / Matias Faldbakken / Katy Stone / Christine Rebhuhn / Martyna Szczęsna / Norwood Viviano / Ernesto Burgos / Mario Navarro / Arcangelo Sassolino / Dave Hardy / Marie Lund / Tamar Hedges / This Ilk Jewelry / Timur Si-Qin / Michael Nashef / Claire Anderson / Arik Levy / Suki Seokyeong Kang / Jonathan Prince / Daniel Michalik / Scott Slagerman / Emily Brasch / Túlio Pinto / Richard Artschwager / Lasifaasi / Tomás Saraceno / Jason Mehl / Joan Tanner
Due date: 5/16 (extra credit)- 5/21
Exercises: (11) Free Write
STEP 1: Find a material (and/or object) to take apart. Turn it inside out, upside down, and disembowel it. What surprises you? What can you extract. How important is it for others to know what it once was? When you translate your parts into another form, what transfer over? Take special note on how one material acquaints with the next. How do your materials interact with each other? Listen to what the forms are telling you to do.
Deconstruct Reconstruct
- transform - repair
- translate - rehabilitate
- recreate - rearrange
- disembowel - assemble
- extract - unite
- excavate - transfer
- dismantle - organize
- interpret - insert
- unravel - awaken
_________
> Concepts:
Gestalt - Juxtaposition - Material transcendence - In-between: given two objects, build the one in-between - Home Depot aesthetic
>Possible Materials Needed:
tiny screw drivers - desoldering gun - needle nose pliers - containers to store items
_________
Artists in Lecture/Notes:
Louise Nevelson / Jaime Pitarch / Lucas Simões / Joshua Kerley / Matias Faldbakken / Katy Stone / Christine Rebhuhn / Martyna Szczęsna / Norwood Viviano / Ernesto Burgos / Mario Navarro / Arcangelo Sassolino / Dave Hardy / Marie Lund / Tamar Hedges / This Ilk Jewelry / Timur Si-Qin / Michael Nashef / Claire Anderson / Arik Levy / Suki Seokyeong Kang / Jonathan Prince / Daniel Michalik / Scott Slagerman / Emily Brasch / Túlio Pinto / Richard Artschwager / Lasifaasi / Tomás Saraceno / Jason Mehl / Joan Tanner
PROJECT 4
ARCHITECTURAL VISUALIZATION + REALIZATION
This project demands a well-considered, well-crafted, finished artwork that is also a model or visualization for a much larger-scale site-specific artwork. You should think of the final presentation as a highly-valued art object, but also as a 'pitch' to a commissioning organization, funding body, or museum. During conceptualization, don't restrict your ideas at all - not by feasibility, budget, or any other constraints.
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Part 1: Architectural Visualization
In-progress due: 6/4
Due date: 6/6
> Exercises:
(13) Be able to show in a printed draft document the research you've conducted on your site. Include a statement about the work itself.
> Considerations:
Part 2: Realization
Due date: 6/6
Carefully, but aggressively construct a sculpture using Puryear and Weber’s work as your inspiration. Take special note on how Puryear acquaints one material with the next. How do your materials interact with each other? This realization is an approach to working with line and plane, while creating a well-balanced composition. This exploration of “skeleton” (line) and “exoskeleton” (plane) should be guided towards abstraction, focusing on design, form, balance and movement.
Chose materials from the list below to do tests. For your final piece, you are to use no more than 3 materials — connecting hardware should be considered a material if it is exposed.
_________
> Exercises:
(12) Material swatches/tests
Extra credit Exercise: 5 large blind contour line drawings
> Must have:
Artists in Lecture/Notes:
Martin Puryear /Ann Weber / Ruth Asawa / Vivian Beer / Antony Gormley / Fritz Panzer / Cal Lane / Christo & Jeanne Claude / Peter Sowinski
This project demands a well-considered, well-crafted, finished artwork that is also a model or visualization for a much larger-scale site-specific artwork. You should think of the final presentation as a highly-valued art object, but also as a 'pitch' to a commissioning organization, funding body, or museum. During conceptualization, don't restrict your ideas at all - not by feasibility, budget, or any other constraints.
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Part 1: Architectural Visualization
In-progress due: 6/4
Due date: 6/6
> Exercises:
(13) Be able to show in a printed draft document the research you've conducted on your site. Include a statement about the work itself.
> Considerations:
- a monument to something in relation to an interior or exterior site of your choice
- reflect on or utilize features, or incongruities in the existing ‘landscape'
- Project Description & Theme
- Project Budget (extra credit)
- Site Analysis/RFQ (Request for Qualifications)
- location (address)
- vicinity images
- traffic pattern/circulation diagram
- site access
- parking
- neighborhood setting
- sun and wind patterns
- demographic research
- population
- household income
- education
- age groups
- profession and business
- sketches that showcase the work on site (see Christo & Jeanne Claude) or
- computer generated images of the piece in the space
- Google earth/maps
- Sketch-up
- trace paper and colored pencils
- scanner
- b&w & color printer
- booklet/binder
Part 2: Realization
Due date: 6/6
Carefully, but aggressively construct a sculpture using Puryear and Weber’s work as your inspiration. Take special note on how Puryear acquaints one material with the next. How do your materials interact with each other? This realization is an approach to working with line and plane, while creating a well-balanced composition. This exploration of “skeleton” (line) and “exoskeleton” (plane) should be guided towards abstraction, focusing on design, form, balance and movement.
Chose materials from the list below to do tests. For your final piece, you are to use no more than 3 materials — connecting hardware should be considered a material if it is exposed.
_________
> Exercises:
(12) Material swatches/tests
Extra credit Exercise: 5 large blind contour line drawings
> Must have:
- a natural finish - no paint
- be about the size of a chair or larger (1/4 or 1/8 of preferred scale)
- metal
- wire
- cardboard
- wood
- organic materials
- screen/mesh
- concrete
- lattice work?
Artists in Lecture/Notes:
Martin Puryear /Ann Weber / Ruth Asawa / Vivian Beer / Antony Gormley / Fritz Panzer / Cal Lane / Christo & Jeanne Claude / Peter Sowinski