SCULPTURE I, Art 2701, Spring 2011 Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters School of the Arts, Visual Art and Art History Department Blane De St. Croix, Associate Professor Class Time: M, and W: 9:00pm -11:50pm Last Day to Drop or Withdraw: See University Catalogue Classes Begin: Monday, August 23 Last Day of Classes: See University Catalogue Reading Day: See University Catalogue Final Exam: See University Catalogue Bldg / Room: Building #53, Room 107 Department Chair Professor Linda Johnston Office Hours Posted on Each Faculty’s Office Door, Meeting may be scheduled before or after class by appointment only. Office Telephone/e-mail: Blane De St. Croix, Office room #107, 561- 297-2288, [email protected]. Be advised, student phone messages will not be returned by phone except in an extreme emergency. Required Text: purchase the first day of class and most are cheaper if purchased used. Sculpture since 1945 (Oxford History of Art) [Paperback] Andrew Causey (Author) $18.45 ($27.95 regular) Course Description: Problems in sculptural form and composition are explored through various materials, techniques and conceptual approaches. Using techniques of assemblage, wood construction and mold making, the individual develops sculptural expressions with attention to visual properties, spatial organization, and qualities of content. Prerequisite: 3-D Design Class: Meets twice a week, one semester, 4 credit NOTE: THIS IS A 4 CREDIT COURSE YOU WILL BE REQUIRED TO SPEND MANY HOURS A WEEK OUTSIDE OF CLASS TIME IN THE STUDIO. Required Text: Sculpture today, Judith Collins, Phaidon Objectives: Provide an understanding of the nature of sculptural forms, the basic processes, and techniques, as well as enhance verbal and written skill in discussing three-dimensional form. A great emphasize will be placed upon the idea and concept. An introduction to the nature of sculptural forms and its potential relationship to other areas of study such as painting and performance will be taught. Students will explore sculptural concepts, often addressing social and cultural issues, and practice in producing work with attention to making an individual statement. An awareness of contemporary art and ideas will be achieved through required readings, slide talks, visiting artists, and field trips. Sculptural approaches to be studied: 1. Additive – modeling 2. Constructive - constructing from parts 3. Abstract – non representational 4. Representational – non abstract 5. Installation – environmental 6. Performance – movement 7. Conceptual Art – idea Note: This is a sculpture course not a furniture design or jewelry course ONLY sculpture will be made.

SCULPTURE I, Art 2702, Professor Blane De St. Croix

GRADING CRITERIA Grading and Testing Procedures: Final grade will be based on the average of all projects grade with the greatest of emphasis on the mid-term review and the final portfolio review. Also taken into consideration will be class interaction and participation, attendance, punctuality, clean up of personal studio area and the care of the equipment. Classwork will be graded according to the same criteria. Late work will be graded one letter down for each class period it is late. Additional assignments may be done in order to raise the grade. The final class work grade will be derived from an average of the following: class work, class participation and the attendance policy. Each student will also be evaluated on participation in critiques, and responsible for clean up of personal work area, as well as the care of the equipment. Project grades will be based on: 1. Clear visual communication on the assigned Sculpture project's concept. The project demonstrates resolution and uniqueness to its concept. 2. Demonstrated skill in handling the tools, materials and a commitment to the craft. The final production of the sculpture project’s presentation for critiques. 3. The project demonstrates a unified composition of concept and craft (techniques). Additional Criteria 4. Participation: active participation in discussions and critiques as well as cooperative and constructive attitude with faculty and other students is expected. Grades will reflect participation. 5. Critiques: review of projects in progress through their development, with a final critique done on a scheduled due dates. 6. Journal: containing sketches, history notes, poems, letters, etc. reflective of the class objectives. Extra Credit Assignments: These assignments must have prior approval of the professor. Attendance Policy: Class attendance is required at every scheduled class to receive information, participate in discussions, and discuss projects in progress with instructors and peers. Each student is allowed three absences. Four absences will result in the course grade being dropped a ½ a letter grade (i.e. a B would drop to a B-). Each additional absence will result in another ½ letter grade reduction (i.e. a B would drop to a C). The student is personally responsible for completing missed assignments. This includes missed classroom information. Late assignments will graded down accordingly. This includes students that miss the first week of class. Late Arrival Policy You are expected to arrive on time to class. The third late arrival to class will be counted as one absence. This means you are not to come into the class late or leave early. This class is designed as an advanced lab. You must be prepared everyday to work in class. All students are personally responsible for seeking the information missed due to tardiness. Academic Honesty Policy: The college imposes specific actions in response to incidents of student dishonesty (cheating, plagiarism, etc.), that may include receiving a failing grade on an examination, failure in the course(s), suspension from the college, or dismissal from the college. The disciplinary procedure is available, Room #100 at the Social Science Building. Grading / Evaluation: You will be evaluated in terms of attendance, daily work habits, participation, technical skill, visual communication, discussions, promptness, effort, presentation, craftsmanship, neatness, composition, application, idea and concept, improvement, quiz’s and exams and the completion of projects, readings, papers and presentations Grade Scale: A = Outstanding with perfect attendance A= Excellent with perfect attendance B+ = Excellent B / B- = Very Good C+ = Good Attendance: REQUIRED and MANDATORY. You will have some time in class time to work on assignments. Take advantage of it! You are expected to be present, prepared and productive the entire class time.

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SCULPTURE I, Art 2702, Professor Blane De St. Croix Course Requirements FIVE projects and the artist presentation, the museum visits, 5 Artists/Arts Professional lectures and readings. PROJECTS: 1. Veneer Sculpture Alter an object or objects with an alternative skin or veneer. 2. Wood Sculpture 48”x48 table, second part deconstruct = non functional Construct a sculpture with from wood. 3. Electrical Project The sculpture must be created using any form of electricity- plug in, battery and solar. Materials may but not limited to audio, video, lighting, motors, etc. 4. Conceptual Box Sculpture The sculpture must fit into a box 12”x12”x18”. It must contain direction for its installation. The sculpture maybe an object, or performance work. You may use any materials including audio or text.

POINTS 15 points 15 points 15 points 15 points

Text Readings: are required. Open class discussion will be held on each reading. 10 points Student must present and discuss notes on what that gained in the readings to incorporate them into their own artistic mythology and how the readings relate to their work or artistic concerns. Four Outside Of Class Art Trips- Each 5 points Museum, Art Center or Alternative Space Visit: A list is provided in the syllabus and reviewed and approved by the Professor. An oral presentation of a work of art at the museum will be required. 5 points .

Artist Presentation: A oral presentation on a living artist with visual support a list of artist will be provided and discussed. The Professor must approve all presented artists.

10 points

Artist’s Lectures: 2 Artists/Arts Professional lectures Minus points Note: (3 points deducted per lecture not attended & extra credits per additional lecture attended) Completion of course projects on due date (scheduled critiques)

Minus points

Class attendance and class participation

Minus points

Journal or Sketch: Students must maintain throughout the semester (It may contain sketches, history notes, poems, letters, etc. reflective of the class objectives).

Minus points

TOTAL 100 Final Portfolio: A presentation of your portfolio at the Term end. All projects must be presented. This is to include all sketches and your journal/sketch book. Failure to present will result in an F Grade. Methods of Instruction: 1. The demonstration of tools and machinery. 5. Participation in class critiques. 2. The discussion of safety issues. 6. Readings, slide talks, visiting artists, and field trips. 3. An introduction to the use of appropriate materials. 7. Possible Workshop and Demo in Foundry Sand Casting 4. Building three-dimensional forms Attitude: A positive attitude is expected and appreciated. Your grades are a reflection of your efforts. Participation: You are expected and encouraged to participate and please respect everyone opinions. Basic Supplies, Tools and Materials: will be discussed and reviewed for each project Safety: Please practice caution when using any materials containing hazardous or toxic substances. You MUST wear appropriate clothing at all times or your studio privileges will be revoked. NO Open Shoes, dangling jewelry, tie up long hair, always wear eye protection. Don’t wear anything you do not want to ruin. The wood and metal shop may only be used ONLY when an approved monitor is present.

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SCULPTURE I, Art 2702, Professor Blane De St. Croix PROJECT: ARTIST PRESENTATION: Choose one of the artists below; we will assign everyone a different artist in class. See artists work in the ART TODAY book, 10-15 minute presentations YOU ARE THE EXPERT ON THIS ARTIST and WE WILL ASK YOU QUESTIONS, BE WELL PREPARED Research at library, bookstore, Internet. Prepare a presentation board with images of the artists work. Give background information on the artist. Note the historical, symbolic, cultural, emotional and psychological significance of the work in terms of form and content. Give explanations on the images you chose in terms of use of form and content. What do you like/dislike and why? Why did the artist choose to do what he or she did in relation to the form, subject, and content??? Include biographical information, the artists own thoughts, technical information, critical reviews and other writers, historians, curators take on the work Information for Artist’s Presentation: It is a good idea to look up several artists before choosing one. This gives you the opportunity to compare and contrast their work and decide who interests you the most. Be sure you are looking up a contemporary artist, one that merits your work for the presentation. Use the list of artists given to you. Once you have chosen an artist, find as many books on her/him as you can. Try and find old and new information, and certainly, color reproductions of his work. Give yourself enough time to look at the books, get to know this person, her/his background, her/his oeuvre, her or his philosophy. Before finding books it is a good idea to go on the Internet and research what they have there. Use search engines such as www.altavista.com, google, mamma, yahoo, dogpile, etc., or use electronic databases that are available through the FAU Library home page (www.fau.edu/library), Eureka, Art Abstracts, Biography Index, Dissertation Abstracts, Lexis-Nexis, Project Muse. Some of these databases have full text articles right online. Library attendants will be glad to instruct you on how to use the computer to get to the sites. BE CAREFUL, the fact that an artist is on the Internet or has a Web page, does not make him automatically a worthy artist for this presentation. So, now you have all this information, you are very familiar with the work, what is next? Start organizing it. Make an outline containing the pertinent information in chronological order, be sure to include not only biographical information and background, but turning points in their career, influences, schools, teachers, exhibitions and that important part that everyone will remember after your presentation…. the very juicy gossip of their personal life. You may choose to use a presentation board as a visual aid, if that is the case, take those beautiful color reproductions to a color copier, or to a place such as Kinkos and make color copies of the work to include in the board that you will use as visual aid for your presentation. Commercial copy places cannot, by copyright law, reproduce for you the color plates; therefore, get familiar with that copier before you start copying so you do not waste your money on crooked or cropped copies. They cost about one dollar each if you do it yourself. Decide what kind of board and color background you would like and goes best with the work to be presented and either make it or buy it. Office Depot sells a variety of presentation boards. If your preference is to use transparencies for an overhead projector, Office Depot charges about seven dollars for 25 black and white transparencies; color transparencies are available at a higher price. There are also in the market do-it-yourself kits. Be creative and informative with you visual aid. You will have a limited amount of presentation time, so please keep this in mind. Practicing with a timer will help you trim any excess information or vice versa. On the presentation day, be on time, know your facts, bring your outline or note cards, speak clearly and don’t forget to ask at the end if there are any questions. You will be asked to tell us why this is a significant artist. REMEMBER: You are the expert on this artist.

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SCULPTURE I, Art 2702, Professor Blane De St. Croix

Museums, Collections & Alternative Spaces: • •

Choose one of these Museums and Collections to visit and to write/present your paper. The institution must be from this list and write about contemporary works and artists only.

YOU MUST CALL AHEAD FOR THE DAYS AND TIMES THEY ARE OPENING & DIRECTIONS Spaces can close at any time, for installation etc. CALL AHEAD and ask !! Institution Name, type, area, phone number , * * denotes OUR favorites to visit 1.

Rubell Art Collection, private, Design District, Miami * *

(305)-573-6090

2.

Marty Z Margulies Collection, private, Design District, Miami * *

(305)-576-1051

3.

Locust Projects, alternative, not for profit, Design District, Miami (305) 576-8570

4.

MOCA, Museum of Contemporary Art, North Miami * *

(305)-893-6211

5.

MAM, Miami Art Museum, Downtown Miami

(305)-375-3000

6.

Bass Museum, Miami Beach

(305) 673-7530

WORK SHEET MUSEUM TRIP___________________________________________ Name of Institution (must be from the approved list) Piece #1 Artist Title Medium Date Size Piece #2 Artist Title Medium Date Size Reference: -Suzanne Hudson and Nancy Noonan-Morrissey, The Art of Writing about Art -Readings, critical thinking and analysis with applied theory -Check spelling/grammar NOTES:

_

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SCULPTURE I, Art 2702, Professor Blane De St. Croix WORK SHEET VISITING SPEAKER ________________________________________ (Name of Individual) Prepare to ask questions. Address your art issues and concerns. Be polite this is your (University’s) guest. Who is this person? What do they do? When did they speak? Where did they speak? What did they talk about? Describe there working process? Describe there philosophy? Did you enjoy this speaker? Why or Why not? Did they speak well both on presentation and content? What new information did you gain? What else did they talk about? Quote something interesting they spoke of? Relate this speaker to yourself and your work? •

Use your art vocabulary

Note: Go on the Internet and research what they have there. Use search engines such as www.altavista.com, google, mamma, yahoo, dogpile, etc., or use electronic databases that are available through the FAU Library home page (www.fau.edu/library), Eureka, Art Abstracts, Biography Index, Dissertation Abstracts, Lexis-Nexis, Project Muse. Some of these databases have full text articles right online. And Library attendants will be glad to instruct you on how to use the computer to get to the sites. REMEMBER: You want to be an expert on these artists.

NOTES:

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SCULPTURE I, Art 2702, Professor Blane De St. Croix 1. VENEERS: Create or build a form that will have a veneer surface. Any material maybe used. Add a veneer to its surface. Veneers maybe combined. Discussion: The limitlessness of veneer materials. Methods of applying a veneer. The relationship of the object to the its skin the veneer and how a veneer alters an object. Objectives: Understanding how surface treatments are important. The limitless selection of surfaces one can use to create or alter an object. Veneer - A veneer is a skin. It is an additional surface that is used to cover a material and/ or form. A veneer can be made of the same substance as the material it is covering or it can be a different material. Paint Varnish Polyurethane Laminate/Formica Tile Brick Stucco Marble Glass Plaster Wood Steel Tin Rubber Dust Leaves Water Bark Fur/skin Hair Oil Scales Spices Dust Artists: Merit Oppenheim, Claes Oldenberg, Native Americans, commercial use of veneers, and objects and other artists will be discussed in class. 5. BODY CAST SCULPTURE: Design a sculpture expressive about an emotion w/ fragments of the body. Draw ten ideas on cast body fragments, Cast body fragments, Assemble the cast body fragments. Methods of constructing and casting in plaster will be demonstrated. Plaster directions will be provided. Objective: Converting from two dimensions (drawing) to three dimensions (sculpture). Understanding the interpretation and expression of the human form. Sculpture as gesture. The planned and random aspects of art making. Developing techniques in the use of plaster, mold making, face cast and carving. Creating figurative art. Understanding the implication of surface treatment and texture. Address gesture through the cast position of the body. Preparations: Prepare a work area with buckets, water and various sizes of cloth with plastic and plaster. Life figure must be positioned in a specific gesture, made comfortable and draped in plastic. Dip the cloth in the wet plaster mix and apply to the subject. Apply one score of cloth over the entire subject. Apply a second score over potential weak areas. Apply the plaster to the head last. Cover all the head hair with plastic. Apply plaster with cloth to head and neck. Remember to leave enough room to remove the subject. You might have to break areas of the plaster mold to remove it from the figure. The plaster castings will need structural reinforcement inside. Plaster and cloth are used to reinforce the casting. In addition, wood braces might have to be installed. REMEMBER IT IS ALWAYS POSSIBLE TO REPAIR THE PLASTER CASTINGS. Please have patience with the process and yourself. After casting your figure. You may use sandpaper, rasps, carving instruments and any other appropriate tools to alter your body castings. You may add any additional clothing to your figure by covering it in plaster and placing on the figure. This can include objects. Examples: hat, scarf, coat, shoe, pencils, books, handbags, etc. Discussion: The advantages and disadvantages of working plaster. Formal elements of sculptural the form, shape, surface and color, ideas and content in art and its usage. The many approached to creating contemporary figurative sculpture. How form, scale and color is used to create sculpture. The visual language of creating in three-dimensions. Autobiography Sculpture is about you. Materials: plastic, plaster, scissors, cutting knife and cloth Tools: carving instruments such as surform, assorted sandpaper, hammer, chisels, etc. Artists: Segal, Judith Shea, Kienholz, Koons, Alison Saar, George Segal, Duane Hanson & Rodin and other artists will be discussed in class.

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SCULPTURE I, Art 2702, Professor Blane De St. Croix SELECTED ORGANIZATIONS: CAA, College Art Association (collegeart.org) AIGA, The Professional Association for Design (aiga.org) NCECA, National Council on Education for the Ceramic Arts (nececa.net) ISC, International Sculpture Center (sculpture.org) The Creative Capital Foundation (creative-capital.org) NYFA, New York Foundation for the Arts (nyfa.org) SELECTED ART RESOURCES & OPPORTUNITIES: www.hallwalls.org/links.php www.collegeart.org/opportunities www.nyfa,org/level2.asp?id=54&fid=1 www.miraslist.blogspot.com www.re-title.typepad.com/opportunities www.artdeadline.com www.callforentry.org/index.php SELECTED SOUTH FLORIDA ARTS SITES: www.florida-arts.org www.miamidadearts.org www.broward.org/arts www.voicesandvenues.com www.miamiartexchange.com www.artcircuits.com www.gallerydiet.com www.wam-magazine.com www.floridastudentfinancialaid.org www.fastweb.com www.absolutearts.com www.artshow.com MISC: Ed Winkleman Interview Magazine Bomb Magazine www.cranbrookart.edu Citylink Magazine/ art section PRINTED MATTER- artist book GOOGLE: Kara Walker Tome Fulbright Award Juxtapoz Art and Culture Center of Hollywood Florida City hall/ for exhibitions Florida State Grants MORE SITES: www.artsitepicture.shutterfly.com www.artcentersf.org www.artisthelpnetwork.com www.gnomonology.com - gnomonworkshop www.iprintfromhome.com www.artheals.org