FA2019.SA132.StructuringHumanSpace.CAZ

Contemporary Sculptors List Here are Artsy's ten most popular living sculptors. How are they selected? By Artsy followers.  Become an Artsy follower! Including  found object magician  to the ever-mindbending Anish Kapoor Mathew Barney Lynda Benglis Tara Donovan Jimmie Durham Antony Gormley Rachel Harrison Eva Hesse Eva Hild Damien Hirst Nancy Holt Yayoi Kusama Sara Lucas Tony Martinelli Damián Ortega Mimmo Paladino Marc Quinn Richard Serra Kiki Smith Tony Smith Robert Smithson Frank Stella Sarah Sze Rachel Whiteread Ai WeiWei Erwin Wurm Others: Pablo Picasso, Isamu Noguchi, Max Bill, Naum Gabo, Antoine Pevsner, Ellsworth Kelly, Jackie Bennett , William King, Jonathan Borofsky, Eero Saarinen, Larry Bell, Douglas Steakley, Magdalena Abakanowicz, Balinese folded palm fronds, Japanese origami. Here are other lists you should check out! An ENORMOUS list of sculptors! Widewalls Contemporary Sculptors list 20 Inf

Bas-R elief sculpture Additive + Subtractive Casting + Carving                                                                                                     MATERIALS Found hard materials with tactile variety, clay, plaster             IDEA GENERATION  In your sketch books, find 6 bas-relief works, minimum. Glue into sketch book, noting source materials, artist, size, etc. The tactile designs may be the source of inspiration for this assignment. Understand the variety of objects you have at your finger tips and what kind of "mark" they may make into soft clay.  Experiment with a variety of thicknesses and depths being pressed into the wet clay.   Learning Objectives Understanding how formal elements build visual language Become familiar with the sum of the parts to the whole Investigate thoroughly tactile variety, pattern while refining personal involvement with the formal principles and elements of design Idea generation from found forms:

CLAY : Armor / Breast Plate / Protective Body Prosthetic  MATERIALS Clay and found materials                                                           IDEA GENERATION In your sketch books, create minimum 8 designs inspired by your research finds that may be the surface of your body shield or plate.  Allow each to evolve into an understood translation in three dimensions via clay.  Designs may either be symmetrical or  asymmetrical.  Place all found images with details in your sketchbooks with information of each object (+ bibliographic source)       Learning Objectives Idea generation from found forms: natural / human made Designing symmetrical/asymmetrical hand formed ceramic forms Greenware vs. Bisque ware and firing Surface patterning and texture Pinch, slab and coil construction  Additive and subtractive relief Addition of found objects Changing the appearance of a soft volumetric form Inspiration 1.    Rolly Polly Beetle > Arma

The Sketchbook is the documentation of your Creative Processes & on-going research.    Think of it as a place to store all class and critique notes, assignment ideas, concept drawings, notes from lectures and/or videos, on-going research, bibliographic sources, etcetera. Why? a. Research is an expectation of all students.   b. All sketchbooks are evidence of an investment in exploration and continued learning.  c. Sketchbooks are a key tool in idea generation.   d. They are a way to think in two dimensions and store ideas for future use as well as a way to work through ideas before investing large amounts of time in a finished work.  e. Sketchbooks, in their various forms; book form, electronic files, BLOG, etc., are mandatory for all studio art courses. Sketch books will illustrate the following: The fundamental principles and elements of design Research of historical precedent and contemporary approaches concerning visual representation Class, lectur

Supplies Needed: 8" x 10" or larger Sketch book (hard or soft) Box to keep all your stuff in Matte knife with extra blades #11 X-acto knife with extra blades  Arlene’s Tackable white glue Epoxy 6000 Ruler 18” and metal tape measure Assorted pencils and pens Assorted acrylics paints, brushes (as needed for specific projects) Eye protective safety glasses Dust/particle mask Glue Gun (optional, but very handy!) Hot melt glue sticks —hot melt glue sticks 1” masking tape #2 Phillips type screw driver (+) Start collecting small interesting found objects now. They may be organic in nature or in-organic. A great deal of the materials used in this class will be covered by your student materials fee, such as: clay, glazes, wood, corrugated cardboard, malleable metals, and other consumable items. There is no text required for this course. Various essays will be posted on the course blog for your reading and thoughtfulness. 

Verb List Compilation:  Actions to Relate to Oneself    by Richard Serra 1967-68 Here's a list of verbs titled " Verb List Compilation: Actions to Relate to Oneself ".  I t was written around  1967-68  by an American conceptual artist  Richard Serra.   It is an instruction manual disguised as an art piece.  T he list is comprised of verbs in infinitive form.  It is a neat compilation of various verbs you can apply to yourself or anything else and turn it into empiric performance piece.  Despite its ambiguousness - all verbs more or less relate to the actions generally applied during an artistic process - such as cutting, mixing, stretching, arranging, covering, expanding, continuing, etcetera.  Here, they are taken out of the context and gathered together seemingly at random.  All the verbs in the list describe the processes of giving or changing a form of something.  The list mainly deals with such questions as "What are you doin

Art21: Artist List Videos Project #1 Liz Magor 14:32 Art21: Brian Jungen  4:49 Art Matters: Brian Jungen  essay Art21: Do Huh Smh > Sculpture you'll never make 13:03 Art21: Tim Hawkinson: Family Resemblance 5:38 Art21: Katharina Grosse Fiction > Sculpture you'll Never Make 19:06 Art21: Free Ai Wei Wei 17:41 Art21: Ann Hamilton: The Event of Thread 4:57 Art21: Janine Antoni: Milagros 5:18 Richard Serra Verb List 1967-68

Good Discussion Q’s Good discussion questions are not answered by “yes” or “no.” Instead they lead to higher order thinking in analysis, synthesis, comparison, evaluation about the work and the issues it raises. Good discussion questions call for more than simply recalling facts or guessing what the instructor already wants to know, but rather are open-ended, leading to a variety of responses and possible outcomes. Good questions recognize that readers will have different perspectives and interpretations and such questions attempt to engage readers in dialogue with each other. Good discussion questions depend on a careful reading and observations of the text. Here a text may be textual or completely visual. The questions often cite particular scenes or passages and ask people to look at them closely and draw connections between these passages and the rest of the work. Good discussion questions are simply and clearly stated. They do not need to be repeated or reworded to be unde

Distribution of Grades: Project Development I.  Ongoing participation in class and with studio projects = 60% of final grade The overall quality of student work is directly reflective on one’s involvement with the class and outside studio practice.  Strong participation will naturally impact student development and therefore, grade positively.    These are both the minor projects that emphasize development of fundamental design principles, methods explorations and media advancement, and the final major project at the semester’s conclusion.  Reworking of a project after the initial critique will be allowed at the discretion of the instructor.   Student work is graded on imagination, originality, concept, process, understanding and implementation of design principles, craftsmanship and a successful solution to the problem given.   The safe way is not the best way in visual production, taking risks and experimentation are vital to keeping one’s work fresh and e