Thursday, August 19, 2010
older posts
New posts will stack on top of older ones. This means that there will be several pages of blog entries. To access older entries you must scroll to the bottom and click OLDER POSTS. See the screenshot that I made.
Louise Borgeois II
Louise B. was born in Paris in 1911, but moved to the U.S. in 1938. She started as an engraver and painter, but turned to sculpture in the 1940s (ironically, she started sculpting with wood). She is considered a 20th-Century leader in the field of sculpting.
In the 1960s she began to create larger works of art and moved to the use of rubber, bronze, and stone. Her dominant theme was her childhood. The articles (.pbs & wikipedia) saidshe used the relationship with her parents and the role of sexuality in her early life as her subjects, which were deeply symbolic. She explores the interplay between sexuality and innocence; she also delves into the themes of betrayal, anxiety, and loneliness.
She famously said, "My childhood has never lost its magic, it has never lost its mystery, it has never lost its drama." She lived in New York and died in May of 2010. Her works can be found in most major museums around the world.
Finally, she carried the nickname of the "spiderwoman" for her sculptures of spiders. She's acknowledged as the founder of "confessional art."
I'll bring a few samples to class (since I don't know how to insert them into this blog).
Steve Phillips
In the 1960s she began to create larger works of art and moved to the use of rubber, bronze, and stone. Her dominant theme was her childhood. The articles (.pbs & wikipedia) saidshe used the relationship with her parents and the role of sexuality in her early life as her subjects, which were deeply symbolic. She explores the interplay between sexuality and innocence; she also delves into the themes of betrayal, anxiety, and loneliness.
She famously said, "My childhood has never lost its magic, it has never lost its mystery, it has never lost its drama." She lived in New York and died in May of 2010. Her works can be found in most major museums around the world.
Finally, she carried the nickname of the "spiderwoman" for her sculptures of spiders. She's acknowledged as the founder of "confessional art."
I'll bring a few samples to class (since I don't know how to insert them into this blog).
Steve Phillips
Wednesday, August 18, 2010
Friends; Here's some information on Ms. Louise Bourgeouis, who apparently just died this past year.
(Sorry, I was trying to cut and paste an entry from Wikipedia about Ms. Bourgeouis as well as some YouTube segments. I suppose someone is going to have to show me how to do this. However, if you simply "Google" her name you can find all kinds of information.)
Steve Phillips
(Sorry, I was trying to cut and paste an entry from Wikipedia about Ms. Bourgeouis as well as some YouTube segments. I suppose someone is going to have to show me how to do this. However, if you simply "Google" her name you can find all kinds of information.)
Steve Phillips
Tuesday, August 17, 2010
Momentum is fast approaching!!!!
Momentum: Art Doesn’t Stand Still
Momentum: Art Doesn’t Stand Still is an annual exhibition that features Oklahoma artists 30 years and younger, working in all media including 2-D and 3-D art, film, installations, performance and more. Held each year in Oklahoma City in March and Tulsa in October, the exhibition has continually presented a diversified look at emerging artistic talent in Oklahoma.
MOMENTUM TULSA 2010 CALL FOR ARTISTS
Oklahoma Visual Arts Coalition is looking for Oklahoma artists age 30 and younger to exhibit their work in a fun and exciting atmosphere featuring interactive art and live bands. The seventh annual Momentum Tulsa will be Saturday, October 9 at Living Arts, 307 E. Brady, Tulsa. Performance artists, filmmakers, 2D and 3D artists are encouraged to submit up to three entries. Submissions must have been created in the last two years and can not have been included in previous Momentum’s. More information at 405-879-2400. All submissions should be made through the online entry form. Deadline for entry is September 13, 2010 at 5:00 pm.
Click for online entry form.
CURATORS
Shannon Fitzgerald is an independent curator. She was Chief Curator at the Contemporary Art Museum St. Louis from 2000-2007, and curated the thematic group exhibitions Staging: Janieta Eyre, Julie Moos, Zwelethu Mthethwa (2002) and co-curated with Tumelo Mosaka the Contemporary's inaugural and traveling exhibition A Fiction of Authenticity: Contemporary Africa Abroad (2003). She has curated solo exhibitions of new work by international artists: Larry Krone, Michael Paul Britto, Ruby Osorio, Dzine, Keith Piper, Yun-Fei Ji, Polly Apfelbaum, William Pope.L, and Michael Lin, among others.
She received a BFA from Massachusetts College of Art in Boston and a MA in Art History and Museum Studies from the University of Wisconsin - Milwaukee. Prior to moving to St. Louis, Fitzgerald worked at the Institute of Visual Arts (inova), University of Wisconsin - Milwaukee. Fitzgerald recently relocated to Oklahoma City.
Sarah Jesse (Tulsa, OK) is a writer and educator working as the Bernson Director of Education and Public Programs at the Philbrook Museum of Art in Tulsa. Jesse was selected as the Momentum Tulsa Emerging Curator.
PRIZES
Over $1,000 in cash prizes! Categories include Curator’s Choice, Pushing the Boundaries, and a Viewer’s Choice, voted on during the event, in both Visual Art and Performance Categories.
MOMENTUM MARKET
Momentum Tulsa will include an area called “Momentum Market” for additional original works that are priced $30 and under. All media are accepted. Artists accepted into Momentum Tulsa should bring items for the Market when delivering accepted works, along with any special display materials, if needed. Space is limited so not all work will be displayed at once.
QUESTIONS/MORE INFO
Contact Sarah McElroy at 405-879-2400.
Momentum: Art Doesn’t Stand Still is an annual exhibition that features Oklahoma artists 30 years and younger, working in all media including 2-D and 3-D art, film, installations, performance and more. Held each year in Oklahoma City in March and Tulsa in October, the exhibition has continually presented a diversified look at emerging artistic talent in Oklahoma.
MOMENTUM TULSA 2010 CALL FOR ARTISTS
Oklahoma Visual Arts Coalition is looking for Oklahoma artists age 30 and younger to exhibit their work in a fun and exciting atmosphere featuring interactive art and live bands. The seventh annual Momentum Tulsa will be Saturday, October 9 at Living Arts, 307 E. Brady, Tulsa. Performance artists, filmmakers, 2D and 3D artists are encouraged to submit up to three entries. Submissions must have been created in the last two years and can not have been included in previous Momentum’s. More information at 405-879-2400. All submissions should be made through the online entry form. Deadline for entry is September 13, 2010 at 5:00 pm.
Click for online entry form.
CURATORS
Shannon Fitzgerald is an independent curator. She was Chief Curator at the Contemporary Art Museum St. Louis from 2000-2007, and curated the thematic group exhibitions Staging: Janieta Eyre, Julie Moos, Zwelethu Mthethwa (2002) and co-curated with Tumelo Mosaka the Contemporary's inaugural and traveling exhibition A Fiction of Authenticity: Contemporary Africa Abroad (2003). She has curated solo exhibitions of new work by international artists: Larry Krone, Michael Paul Britto, Ruby Osorio, Dzine, Keith Piper, Yun-Fei Ji, Polly Apfelbaum, William Pope.L, and Michael Lin, among others.
She received a BFA from Massachusetts College of Art in Boston and a MA in Art History and Museum Studies from the University of Wisconsin - Milwaukee. Prior to moving to St. Louis, Fitzgerald worked at the Institute of Visual Arts (inova), University of Wisconsin - Milwaukee. Fitzgerald recently relocated to Oklahoma City.
Sarah Jesse (Tulsa, OK) is a writer and educator working as the Bernson Director of Education and Public Programs at the Philbrook Museum of Art in Tulsa. Jesse was selected as the Momentum Tulsa Emerging Curator.
PRIZES
Over $1,000 in cash prizes! Categories include Curator’s Choice, Pushing the Boundaries, and a Viewer’s Choice, voted on during the event, in both Visual Art and Performance Categories.
MOMENTUM MARKET
Momentum Tulsa will include an area called “Momentum Market” for additional original works that are priced $30 and under. All media are accepted. Artists accepted into Momentum Tulsa should bring items for the Market when delivering accepted works, along with any special display materials, if needed. Space is limited so not all work will be displayed at once.
QUESTIONS/MORE INFO
Contact Sarah McElroy at 405-879-2400.
Sunday, August 15, 2010
Motorcycle trophy info
RALLY ON THE ALLEY
Motorcycle Art Exhibit
9 a.m. - 5 p.m.
BUN BURNER
Independent Film by Will Boggs
Continuous run 9 a.m. - 5 p.m.
THE MOTORCYCLE CANNONBALL PITSTOP
Sept. 19 from 11 a.m. - 3 p.m.
80+ bikes (All over 95 years old riding from coast to coast)
PLUS ... BIKE & TATTOO CONTESTS - Sept. 19 @ 3 p.m.
Trophies are one-of-a-kind art made by ECU art students out of motorcycle parts. Trophies will be given for first and runner-up in all categories.
BIKE CONTEST
The classes are as follows:
with vintage classes being over 30 years old
AMERICAN STOCK
AMERICAN PRO-STOCK
AMERICAN BAGGER
AMERICAN CUSTOM
AMERICAN SCOOTER
AMERICAN VINTAGE
ASIAN CRUISER
ASIAN SPORT BIKE
ASIAN ENDURO
ASIAN SCOOTER
ASIAN VINTAGE
EUROPEAN VINTAGE
EUROPEAN SCOOTER
EUROPEAN SPORT BIKE
RAT BIKE
MORE THAN 2 WHEELS
has to be based originally on a motorcycle
TATTOO CONTEST
The classes are as follows:
BEST BLACK WORK
BEST GRAY SHADE WORK
BEST COLOR WORK
BEST OF SHOW TROPHIES FOR BOTH CONTESTS
***************************
Event TOO big for one day!
By my calculations that's 38 small trophies with 2 larger Best of Show trophies.
Sculpture II - trophy project
On September 18th and 19th there will be a series of motorcycle / scooter related activities on campus. One of the events is a classic Harley Davidson show and contest on the plaza. We (sculpture II) have been asked to design and create several trophies out of old motorcycle parts. Roughly 40 trophies will be created. So everyone is responsible for designing and making around 5 trophies apiece. This is a REALLY good way to start off the semester! It should be fun, low pressure, and a way to give back to the community.
There is a pile of motorcycle parts in room 100 of the old place right now. To begin, you all should try to break or cut the parts into smaller pieces if possible. Then lay them all out and try to get an idea for about how many parts you have in relation to the total number of trophies and divide the parts accordingly. You are free to design them however you see fit as long as we are able to make the required number of trophies.
A lot of the pieces are cast iron. Cast metals do not weld very easily so you might consider drilling holes and bolting the parts together instead. You can move the MIG welder down the hill and the stick welder is already down there. The stick welder will probably work the best since it gets a lot hotter than the MIG welder. Welding helmets and welding gloves are in room 161 of the new place. They can also be moved down the hill. Or if you prefer, you can bring all the parts up here and work outside. Sculpture I is over capacity so there won't be any indoor space to work on these in the new building.
If you have any or know of any motorcycle parts please bring them. I think any mechanical parts would help too.
The trophies should be completed by Thursday September 16th if not sooner.
There is a pile of motorcycle parts in room 100 of the old place right now. To begin, you all should try to break or cut the parts into smaller pieces if possible. Then lay them all out and try to get an idea for about how many parts you have in relation to the total number of trophies and divide the parts accordingly. You are free to design them however you see fit as long as we are able to make the required number of trophies.
A lot of the pieces are cast iron. Cast metals do not weld very easily so you might consider drilling holes and bolting the parts together instead. You can move the MIG welder down the hill and the stick welder is already down there. The stick welder will probably work the best since it gets a lot hotter than the MIG welder. Welding helmets and welding gloves are in room 161 of the new place. They can also be moved down the hill. Or if you prefer, you can bring all the parts up here and work outside. Sculpture I is over capacity so there won't be any indoor space to work on these in the new building.
If you have any or know of any motorcycle parts please bring them. I think any mechanical parts would help too.
The trophies should be completed by Thursday September 16th if not sooner.
Saturday, August 14, 2010
Relief Sculpture
A "relief" is a flat sculpture created by adding or, more commonly, removing material from a flat surface such as stone or wood.
Some reliefs are cast out of concrete, bronze, resin, or gold.
Regardless of material or process there is one defining characteristic. Unlike other forms of sculpture that can be described as "in the round," a relief is one sided and meant to be viewed from straight in front. This means that a relief is the type of sculpture most closely related to 2-D forms of art like painting and drawing. Paintings are also meant to be viewed from straight in front.
Reliefs can be described as being either high relief (alto relievo) or low relief (bas relief). In high relief, material is removed in large quantities creating substantial depth between the surface and interior contours. Low relief has less depth. A coin is a good example of low relief.
Below is an example of high relief.
Assignment: Sculpture I only
Create a low relief and a high relief sculpture out of wood. The surface of each piece should be at least 144 square inches. The low relief can be thickness of a 1" by. The high relief should be the thickness of two 1" bys. I would suggest using pine boards. At home depot you can get "pine" and "select pine." Pine has knots and is usually warped or bowed somewhat. Select pine is free of knots and is much denser and straighter making it more suitable for carving. It is more expensive though. For the high relief, you will have to laminate two pieces together to achieve proper thickness.
The subject matter is up to you. It could be representation, abstract, or non-representational. I only ask that the relief be ambitious.
Both reliefs will be due at the beginning of class on September 2nd.
Please remember to post pictures of your pieces on this blog on a regular basis.
Lastly, there are some carving tools that you can use, but you should try to get your own ASAP. There isn't enough time to wait around for someone to finish using a particular gouge. For this scale, you do not need gouges that require mallets. You may not use a Dremel tool for these two projects.
Woodcraft (OKC and Tulsa)
Rockler Tools (online)
Grizzly Tools (online)
Harbor Freight (OKC and Tulsa and online)
Red Earth Art Supply here in Ada
campus book store
eBay (I have have purchased new and used tools for a lot cheaper than stores on eBay. The problem is that I takes extra time to receive them and you have limited time. If you are going to use eBay, I would suggest buying sooner than later).
Home Depot
Brands - Flexcut, Pfeil, Robert Larson, Buck Bros.
Carving tools made in the USA, Germany, Switzerland, and Japan will be superior to anything made in China; better steel and better design.
Some reliefs are cast out of concrete, bronze, resin, or gold.
Regardless of material or process there is one defining characteristic. Unlike other forms of sculpture that can be described as "in the round," a relief is one sided and meant to be viewed from straight in front. This means that a relief is the type of sculpture most closely related to 2-D forms of art like painting and drawing. Paintings are also meant to be viewed from straight in front.
Reliefs can be described as being either high relief (alto relievo) or low relief (bas relief). In high relief, material is removed in large quantities creating substantial depth between the surface and interior contours. Low relief has less depth. A coin is a good example of low relief.
Below is an example of high relief.
Assignment: Sculpture I only
Create a low relief and a high relief sculpture out of wood. The surface of each piece should be at least 144 square inches. The low relief can be thickness of a 1" by. The high relief should be the thickness of two 1" bys. I would suggest using pine boards. At home depot you can get "pine" and "select pine." Pine has knots and is usually warped or bowed somewhat. Select pine is free of knots and is much denser and straighter making it more suitable for carving. It is more expensive though. For the high relief, you will have to laminate two pieces together to achieve proper thickness.
The subject matter is up to you. It could be representation, abstract, or non-representational. I only ask that the relief be ambitious.
Both reliefs will be due at the beginning of class on September 2nd.
Please remember to post pictures of your pieces on this blog on a regular basis.
Lastly, there are some carving tools that you can use, but you should try to get your own ASAP. There isn't enough time to wait around for someone to finish using a particular gouge. For this scale, you do not need gouges that require mallets. You may not use a Dremel tool for these two projects.
Woodcraft (OKC and Tulsa)
Rockler Tools (online)
Grizzly Tools (online)
Harbor Freight (OKC and Tulsa and online)
Red Earth Art Supply here in Ada
campus book store
eBay (I have have purchased new and used tools for a lot cheaper than stores on eBay. The problem is that I takes extra time to receive them and you have limited time. If you are going to use eBay, I would suggest buying sooner than later).
Home Depot
Brands - Flexcut, Pfeil, Robert Larson, Buck Bros.
Carving tools made in the USA, Germany, Switzerland, and Japan will be superior to anything made in China; better steel and better design.
Thursday, August 5, 2010
Sculpture I syllabus
Art 3513 Sculpture I
Fall 2010, Room: HBFFAC # 161 TTR 1:00- 3:50pm
Instructor: Aaron Hauck, Office - HBFFAC 176, 580-559-5355, ahauck@ecok.edu
OFFICE HOURS: M 1:00 – 2:00, T 11:00 – 12:00, W 1:00 – 2:00, R 11:00 – 12:00 or by appointment
Course Objectives
This is an introduction to the characteristics of a variety of basic materials and processes in sculpture. The emphasis will be on the analysis of sculptural form, manipulation of material, personal expression and critical judgment. The class will explore both traditional and contemporary approaches to the discipline. Slide presentations and your own research will introduce you to historical and contemporary sculptors and methods.
Upon the successful completion of this course you should be able to:
Define common sculpture terms and use them as part of a working vocabulary
Manipulate and organize visual characteristics in space and recognize their relevance to content
Develop an understanding and critical thinking about sculpture within a historical context.
Use sculptural processes as a means of self-expression.
Blackboard
This course will utilize Blackboard. Course materials such as the syllabus and the grade book will be available there.
Class Blog (www.ecusculpture.blogspot.com)
You are required to contribute and interact with the ECU sculpture blog. You must first get a free gmail account and email me your address. At that point you will become a co-author of this blog. You will be able to add content at any time such as images of your work in this class, comments on your peers' work, and anything else that is sculpture related. It is expected that you take digital photos of your work in progress and post these images on a regular basis. In order to receive a grade for each assignment you must also post a photo(s) of the completed piece. You will also be required to make 4 thoughtful and ambitious entries that cover a significant sculptor or sculpture topic of your choice. The very first blog entry is a model (Tim Hawkinson).
Evaluation and Grading
60% based on finished projects produced in this class, which includes: on-time fulfillment of assignments, craftsmanship and ambition, and relevance to content.
30% based on overall attendance and work ethic, which includes safe work habits, clean-up, and participation in class and on the sculpture blog.
10% based on final exam (slide recognition; see list of artists below)
Critiques
Every project will be followed by a formal, group critique. During these critiques all students are expected to present their work to the group and discuss process, materials, and the work’s content and form. Students are expected to take part in a critical discussion of the work present. Critiques are mandatory. Being aware of when the critiques are and being present for them is essential! Critique dates will be announced in class and on the sculpture blog.
Attention: Attendance is required. More than 4 absences will result in the lowering of your final grade by one letter. Please be on time to class.
Studio Policy
Everyone is required to follow specific studio rules and safety regulations. Safety will be of the greatest importance when using hand or power tools. Each student should be able to identify safety procedures. Safety glasses are a requirement and should be at your reach at all times. Please locate the fire extinguisher, emergency eye wash, and the telephone. Do not wear flip-flops or loose fitting clothes. Each student will be responsible for clean-up after each class session and any other time work times. Clean-up includes returning tools and materials to their proper place, cleaning your work area, cleaning all tools including power tools. Each student will be responsible for the timely removal of their projects after each critique in order to receive a grade. We have a limited budget and limited space, therefore, this studio is not a place for home improvement projects. Failing to comply with safety and clean-up procedures will result in a serious reduction of your grade. I reserve the rights to prohibit the use of room 161 if these policies are neglected by the class at large.
Material and Supply List
Required: safety glasses, dust mask, a small sketchbook, your own pencil(s), wood glue, sand paper, work gloves, materials for all projects (wood, steel, found objects, etc.)
Optional: wood carving tools, sanding discs, clear polyurethane, wooden dowels, hot glue gun, X-acto knife, specialty hardware, wood stain, paint, paintbrushes, etc.
You are also encouraged to bring any tools that you have at home to use while in class. We have only a limited number of tools here in the studio. If you choose to bring tools, you will need to find a locker and secure the tools there after use or take them home with you. ECU is not responsible for theft. Write your name on each tool with a Sharpie.
Final Exam
It is impossible to make art while in a creative vacuum. Being aware of past and present sculptors is essential to your art production and personal expression. Please be aware of the following sculptors and be ready to identify their work on the final exam. I will show a slide of a piece that typifies each artist's style. You will be responsible for identifying who the artist is.
Constantine Brancusi
Henry Moore
Sol Lewitt
Isama Naguchi
Barbara Hepworth
Joel Shapiro
Mark de Suvero
Nancy Rubins
Maya Lin
Wim Delvoye
Tom Friedman
Marcel Duchamp
Claes Oldenburg
Christo
Richard Serra
Louise Nevelson
Sara Sze
Liza Lou
John Chamberlain
Deborah Butterfield
Martin Puryear
Auguste Rodin
Antony Gormly
Tony Cragg
Damien Hirst
Andy Goldsworthy
Tim Hawkinson
Ron Mueck
ADA Statement: East Central University is committed to providing equal access to University programs and services to all students. Under University policy, Federal, and State laws, students with documented disabilities are entitled to reasonable accommodations to ensure they are presented with an equal opportunity to perform in class. If anyone in this class has such a disability and needs special academic accommodations, please report to Student Support Services, Room 115, Administration Building as soon as possible. Reasonable accommodations may be arranged after Student Services has reviewed and verified your needs. Please do not hesitate to contact the instructor if you need any assistance in this process.
WAC Statement: In accordance with the university’s emphasis on writing proficiency, oral communication, and critical thinking all student produced writing and oral presentations will be expected to reflect clear content, coherent and organized structure, and adherence to the stylistic and mechanical standards articulated by the instructor.
OPTE/OSAT competencies met (either completely or in part) by this course: II. OSAT competencies: 003,005,007,008,009,010,011,012,013,016,017,018,019 and 020.
Fall 2010, Room: HBFFAC # 161 TTR 1:00- 3:50pm
Instructor: Aaron Hauck, Office - HBFFAC 176, 580-559-5355, ahauck@ecok.edu
OFFICE HOURS: M 1:00 – 2:00, T 11:00 – 12:00, W 1:00 – 2:00, R 11:00 – 12:00 or by appointment
Course Objectives
This is an introduction to the characteristics of a variety of basic materials and processes in sculpture. The emphasis will be on the analysis of sculptural form, manipulation of material, personal expression and critical judgment. The class will explore both traditional and contemporary approaches to the discipline. Slide presentations and your own research will introduce you to historical and contemporary sculptors and methods.
Upon the successful completion of this course you should be able to:
Define common sculpture terms and use them as part of a working vocabulary
Manipulate and organize visual characteristics in space and recognize their relevance to content
Develop an understanding and critical thinking about sculpture within a historical context.
Use sculptural processes as a means of self-expression.
Blackboard
This course will utilize Blackboard. Course materials such as the syllabus and the grade book will be available there.
Class Blog (www.ecusculpture.blogspot.com)
You are required to contribute and interact with the ECU sculpture blog. You must first get a free gmail account and email me your address. At that point you will become a co-author of this blog. You will be able to add content at any time such as images of your work in this class, comments on your peers' work, and anything else that is sculpture related. It is expected that you take digital photos of your work in progress and post these images on a regular basis. In order to receive a grade for each assignment you must also post a photo(s) of the completed piece. You will also be required to make 4 thoughtful and ambitious entries that cover a significant sculptor or sculpture topic of your choice. The very first blog entry is a model (Tim Hawkinson).
Evaluation and Grading
60% based on finished projects produced in this class, which includes: on-time fulfillment of assignments, craftsmanship and ambition, and relevance to content.
30% based on overall attendance and work ethic, which includes safe work habits, clean-up, and participation in class and on the sculpture blog.
10% based on final exam (slide recognition; see list of artists below)
Critiques
Every project will be followed by a formal, group critique. During these critiques all students are expected to present their work to the group and discuss process, materials, and the work’s content and form. Students are expected to take part in a critical discussion of the work present. Critiques are mandatory. Being aware of when the critiques are and being present for them is essential! Critique dates will be announced in class and on the sculpture blog.
Attention: Attendance is required. More than 4 absences will result in the lowering of your final grade by one letter. Please be on time to class.
Studio Policy
Everyone is required to follow specific studio rules and safety regulations. Safety will be of the greatest importance when using hand or power tools. Each student should be able to identify safety procedures. Safety glasses are a requirement and should be at your reach at all times. Please locate the fire extinguisher, emergency eye wash, and the telephone. Do not wear flip-flops or loose fitting clothes. Each student will be responsible for clean-up after each class session and any other time work times. Clean-up includes returning tools and materials to their proper place, cleaning your work area, cleaning all tools including power tools. Each student will be responsible for the timely removal of their projects after each critique in order to receive a grade. We have a limited budget and limited space, therefore, this studio is not a place for home improvement projects. Failing to comply with safety and clean-up procedures will result in a serious reduction of your grade. I reserve the rights to prohibit the use of room 161 if these policies are neglected by the class at large.
Material and Supply List
Required: safety glasses, dust mask, a small sketchbook, your own pencil(s), wood glue, sand paper, work gloves, materials for all projects (wood, steel, found objects, etc.)
Optional: wood carving tools, sanding discs, clear polyurethane, wooden dowels, hot glue gun, X-acto knife, specialty hardware, wood stain, paint, paintbrushes, etc.
You are also encouraged to bring any tools that you have at home to use while in class. We have only a limited number of tools here in the studio. If you choose to bring tools, you will need to find a locker and secure the tools there after use or take them home with you. ECU is not responsible for theft. Write your name on each tool with a Sharpie.
Final Exam
It is impossible to make art while in a creative vacuum. Being aware of past and present sculptors is essential to your art production and personal expression. Please be aware of the following sculptors and be ready to identify their work on the final exam. I will show a slide of a piece that typifies each artist's style. You will be responsible for identifying who the artist is.
Constantine Brancusi
Henry Moore
Sol Lewitt
Isama Naguchi
Barbara Hepworth
Joel Shapiro
Mark de Suvero
Nancy Rubins
Maya Lin
Wim Delvoye
Tom Friedman
Marcel Duchamp
Claes Oldenburg
Christo
Richard Serra
Louise Nevelson
Sara Sze
Liza Lou
John Chamberlain
Deborah Butterfield
Martin Puryear
Auguste Rodin
Antony Gormly
Tony Cragg
Damien Hirst
Andy Goldsworthy
Tim Hawkinson
Ron Mueck
ADA Statement: East Central University is committed to providing equal access to University programs and services to all students. Under University policy, Federal, and State laws, students with documented disabilities are entitled to reasonable accommodations to ensure they are presented with an equal opportunity to perform in class. If anyone in this class has such a disability and needs special academic accommodations, please report to Student Support Services, Room 115, Administration Building as soon as possible. Reasonable accommodations may be arranged after Student Services has reviewed and verified your needs. Please do not hesitate to contact the instructor if you need any assistance in this process.
WAC Statement: In accordance with the university’s emphasis on writing proficiency, oral communication, and critical thinking all student produced writing and oral presentations will be expected to reflect clear content, coherent and organized structure, and adherence to the stylistic and mechanical standards articulated by the instructor.
OPTE/OSAT competencies met (either completely or in part) by this course: II. OSAT competencies: 003,005,007,008,009,010,011,012,013,016,017,018,019 and 020.
Sculpture II syllabus
Art 3613 Sculpture II
Fall 2010, Room: HBFFAC # 161 (EDUC 100) TTR 1:00- 3:50pm
Instructor: Aaron Hauck, Office - HBFFAC 176, 580-559-5355, ahauck@ecok.edu
OFFICE HOURS: M 1:00 – 2:00, T 11:00 – 12:00, W 1:00 – 2:00, R 11:00 – 12:00 or by appointment
Course Objectives
This is an intermediate approach to the characteristics of a variety of basic materials and processes in sculpture. The emphasis will be on the analysis of sculptural form, manipulation of material, personal expression and critical judgment. The class will explore both traditional and contemporary approaches to the discipline. Slide presentations and your own research will introduce you to historical and contemporary sculptors and methods.
Upon the successful completion of this course you should be able to:
Define common sculpture terms and use them as part of a working vocabulary
Manipulate and organize visual characteristics in space and recognize their relevance to content
Develop an understanding and critical thinking about sculpture within a historical context.
Use sculptural processes as a means of self-expression.
Assignments
By the third class period you should provide me with a written proposal of what you plan to work on during the first half of this semester. I am treating this class more like a graduate level sculpture course. You will be given freedom to work on what you want as long as you remain active and provide evidence of your progress on the sculpture blog by posting images and written explanations of what you are doing on a regular basis. If it appears that you are not working I will start making assignments with due dates. Between the two sculpture classes there are too many students to work in the same space. Therefore, I am encouraging you to work in room 100 of the Education building. That room is actually the old sculpture studio. I will spend the majority of the time with the sculpture I students, but I will make frequent trips to the old studio to take role, provide feedback, etc.
In addition to the above you will have two community involvement projects that will begin in August and should be finished by the end of September. Both of these are for a grade.
1. Wintersmith Park carousel renovation
2. Motorcycle festival trophies
Class Blog (www.ecusculpture.blogspot.com)
You are required to contribute and interact with the ECU sculpture blog. You must first get a free gmail account and email me your address. At that point you will become a co-author of this blog. You will be able to add content at any time such as images of your work in this class, comments on your peers' work, and anything else that is sculpture related. It is expected that you take digital photos of your work in progress and post these images on a regular basis. In order to receive a grade for each assignment you must also post a photo(s) of the completed piece. You will also be required to make 4 thoughtful and ambitious entries that cover a significant sculptor or sculpture topic of your choice. The very first blog entry is a model (Tim Hawkinson). As an advanced sculpture student, I expect for you to take a VERY active role on this blog providing critical incite to the sculpture I students.
Blackboard
This course will utilize Blackboard. Course materials such as the syllabus and the grade book will be available there.
Evaluation and Grading
60% based on finished projects produced in this class, which includes: on-time fulfillment of proposed bodies of work, craftsmanship and ambition, and relevance to content.
30% based on overall attendance and work ethic, which includes safe work habits, clean-up, and participation in class and on the sculpture blog.
10% based on final exam (slide recognition; see list of artists below)
Critiques
The majority of critical discussion this semester will take place on the sculpture blog. We will have a midterm critique in person and a final critique in person (probably the week before the actual final exam)
Studio Policy
Everyone is required to follow specific lab rules and safety regulations. Safety will be of the greatest importance when using hand or power tools. Each student should be able to identify safety procedures. Safety glasses are a requirement and should be at your reach at all times. Please locate the fire extinguisher and the telephone. Do not wear flip-flops or loose fitting clothes. Each student will be responsible for clean-up after each class session and any other time work times. Clean-up includes returning tools and materials to their proper place, cleaning your work area, cleaning all tools including power tools. Each student will be responsible for the timely removal of their projects after they have been graded. We have a limited budget and limited space, therefore, this studio is not a place for home improvement projects. Failing to comply with safety and clean-up procedures will result in a serious reduction of your grade. I reserve the rights to prohibit the use of room 161 FFAC and 100 EDUC if these policies are neglected by the entire class.
Material and Supply List
Required: safety glasses, dust mask, wood glue, sand paper, sanding discs, clear polyurethane, materials for all projects (steel, wood, found objects, etc.)
Optional: wooden dowels, hot glue gun, X-acto knife, specialty hardware, wood stain, paint, paintbrushes, etc.
You are also encouraged to bring any tools that you have at home to use while in class. We have only a limited number of tools here in the studio. If you choose to bring tools, you will need to find a locker and secure the tools there after use or take them with you. Write your name on each tool with a Sharpie.
Final Exam
It is impossible to make art while in a creative vacuum. Being aware of past and present sculptors is essential to your art production and personal expression. Please be aware of the following sculptors and be ready to identify their work on the final exam. I will show a slide of a piece that typifies each artist's style. You will be responsible for identifying who the artist is.
Constantine Brancusi
Henry Moore
Sol Lewitt
Isama Naguchi
Barbara Hepworth
Joel Shapiro
Mark de Suvero
Nancy Rubins
Maya Lin
Wim Delvoye
Tom Friedman
Marcel Duchamp
Claes Oldenburg
Christo
Richard Serra
Louise Nevelson
Sara Sze
Liza Lou
John Chamberlain
Deborah Butterfield
Martin Puryear
Auguste Rodin
Antony Gormly
Tony Cragg
Damien Hirst
Andy Goldsworthy
Tim Hawkinson
Ron Mueck
ADA Statement: East Central University is committed to providing equal access to University programs and services to all students. Under University policy, Federal, and State laws, students with documented disabilities are entitled to reasonable accommodations to ensure they are presented with an equal opportunity to perform in class. If anyone in this class has such a disability and needs special academic accommodations, please report to Student Support Services, Room 115, Administration Building as soon as possible. Reasonable accommodations may be arranged after Student Services has reviewed and verified your needs. Please do not hesitate to contact the instructor if you need any assistance in this process.
WAC Statement: In accordance with the university’s emphasis on writing proficiency, oral communication, and critical thinking all student produced writing and oral presentations will be expected to reflect clear content, coherent and organized structure, and adherence to the stylistic and mechanical standards articulated by the instructor.
OPTE/OSAT competencies met (either completely or in part) by this course: II. OSAT competencies: 003,005,007,008,009,010,011,012,013,016,017,018,019 and 020.
Fall 2010, Room: HBFFAC # 161 (EDUC 100) TTR 1:00- 3:50pm
Instructor: Aaron Hauck, Office - HBFFAC 176, 580-559-5355, ahauck@ecok.edu
OFFICE HOURS: M 1:00 – 2:00, T 11:00 – 12:00, W 1:00 – 2:00, R 11:00 – 12:00 or by appointment
Course Objectives
This is an intermediate approach to the characteristics of a variety of basic materials and processes in sculpture. The emphasis will be on the analysis of sculptural form, manipulation of material, personal expression and critical judgment. The class will explore both traditional and contemporary approaches to the discipline. Slide presentations and your own research will introduce you to historical and contemporary sculptors and methods.
Upon the successful completion of this course you should be able to:
Define common sculpture terms and use them as part of a working vocabulary
Manipulate and organize visual characteristics in space and recognize their relevance to content
Develop an understanding and critical thinking about sculpture within a historical context.
Use sculptural processes as a means of self-expression.
Assignments
By the third class period you should provide me with a written proposal of what you plan to work on during the first half of this semester. I am treating this class more like a graduate level sculpture course. You will be given freedom to work on what you want as long as you remain active and provide evidence of your progress on the sculpture blog by posting images and written explanations of what you are doing on a regular basis. If it appears that you are not working I will start making assignments with due dates. Between the two sculpture classes there are too many students to work in the same space. Therefore, I am encouraging you to work in room 100 of the Education building. That room is actually the old sculpture studio. I will spend the majority of the time with the sculpture I students, but I will make frequent trips to the old studio to take role, provide feedback, etc.
In addition to the above you will have two community involvement projects that will begin in August and should be finished by the end of September. Both of these are for a grade.
1. Wintersmith Park carousel renovation
2. Motorcycle festival trophies
Class Blog (www.ecusculpture.blogspot.com)
You are required to contribute and interact with the ECU sculpture blog. You must first get a free gmail account and email me your address. At that point you will become a co-author of this blog. You will be able to add content at any time such as images of your work in this class, comments on your peers' work, and anything else that is sculpture related. It is expected that you take digital photos of your work in progress and post these images on a regular basis. In order to receive a grade for each assignment you must also post a photo(s) of the completed piece. You will also be required to make 4 thoughtful and ambitious entries that cover a significant sculptor or sculpture topic of your choice. The very first blog entry is a model (Tim Hawkinson). As an advanced sculpture student, I expect for you to take a VERY active role on this blog providing critical incite to the sculpture I students.
Blackboard
This course will utilize Blackboard. Course materials such as the syllabus and the grade book will be available there.
Evaluation and Grading
60% based on finished projects produced in this class, which includes: on-time fulfillment of proposed bodies of work, craftsmanship and ambition, and relevance to content.
30% based on overall attendance and work ethic, which includes safe work habits, clean-up, and participation in class and on the sculpture blog.
10% based on final exam (slide recognition; see list of artists below)
Critiques
The majority of critical discussion this semester will take place on the sculpture blog. We will have a midterm critique in person and a final critique in person (probably the week before the actual final exam)
Studio Policy
Everyone is required to follow specific lab rules and safety regulations. Safety will be of the greatest importance when using hand or power tools. Each student should be able to identify safety procedures. Safety glasses are a requirement and should be at your reach at all times. Please locate the fire extinguisher and the telephone. Do not wear flip-flops or loose fitting clothes. Each student will be responsible for clean-up after each class session and any other time work times. Clean-up includes returning tools and materials to their proper place, cleaning your work area, cleaning all tools including power tools. Each student will be responsible for the timely removal of their projects after they have been graded. We have a limited budget and limited space, therefore, this studio is not a place for home improvement projects. Failing to comply with safety and clean-up procedures will result in a serious reduction of your grade. I reserve the rights to prohibit the use of room 161 FFAC and 100 EDUC if these policies are neglected by the entire class.
Material and Supply List
Required: safety glasses, dust mask, wood glue, sand paper, sanding discs, clear polyurethane, materials for all projects (steel, wood, found objects, etc.)
Optional: wooden dowels, hot glue gun, X-acto knife, specialty hardware, wood stain, paint, paintbrushes, etc.
You are also encouraged to bring any tools that you have at home to use while in class. We have only a limited number of tools here in the studio. If you choose to bring tools, you will need to find a locker and secure the tools there after use or take them with you. Write your name on each tool with a Sharpie.
Final Exam
It is impossible to make art while in a creative vacuum. Being aware of past and present sculptors is essential to your art production and personal expression. Please be aware of the following sculptors and be ready to identify their work on the final exam. I will show a slide of a piece that typifies each artist's style. You will be responsible for identifying who the artist is.
Constantine Brancusi
Henry Moore
Sol Lewitt
Isama Naguchi
Barbara Hepworth
Joel Shapiro
Mark de Suvero
Nancy Rubins
Maya Lin
Wim Delvoye
Tom Friedman
Marcel Duchamp
Claes Oldenburg
Christo
Richard Serra
Louise Nevelson
Sara Sze
Liza Lou
John Chamberlain
Deborah Butterfield
Martin Puryear
Auguste Rodin
Antony Gormly
Tony Cragg
Damien Hirst
Andy Goldsworthy
Tim Hawkinson
Ron Mueck
ADA Statement: East Central University is committed to providing equal access to University programs and services to all students. Under University policy, Federal, and State laws, students with documented disabilities are entitled to reasonable accommodations to ensure they are presented with an equal opportunity to perform in class. If anyone in this class has such a disability and needs special academic accommodations, please report to Student Support Services, Room 115, Administration Building as soon as possible. Reasonable accommodations may be arranged after Student Services has reviewed and verified your needs. Please do not hesitate to contact the instructor if you need any assistance in this process.
WAC Statement: In accordance with the university’s emphasis on writing proficiency, oral communication, and critical thinking all student produced writing and oral presentations will be expected to reflect clear content, coherent and organized structure, and adherence to the stylistic and mechanical standards articulated by the instructor.
OPTE/OSAT competencies met (either completely or in part) by this course: II. OSAT competencies: 003,005,007,008,009,010,011,012,013,016,017,018,019 and 020.
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