This seminar addresses contemporary issues in the expanded field of sculpture. Through readings, lectures, and class discussions, we will examine discursive approaches to making, writing and thinking about sculptural practice, specifically attending to its historic, aesthetic, ethical, and curatorial contexts. Student generated research drawn from studio practice will also inform the dialogue.
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Major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

We will explore metal by cutting, machining, bending, warping, welding, stitching, binding, and altering the materials to push and expand students skills and understanding of metal as material for sculpture. We will discuss, experiment and challenge the notion of metal as traditional industrial workhorse, or as coveted art object and embrace or reject these ideas as we create with this medium. Students will be encouraged to pursue other nontraditional uses of metal, through scavenging, collecting, transforming metal from various states into new surfaces and forms. With safety and ingenuity we will put into practice work of the hand and machine, use computer driven techniques in tandem with the deliberate and accidental to experiment with pattern, surface, line, form and color.
This class is for sculpture students who have had the intro to metals course and have basic experience with the medium. The course will begin with a re-introduction to the equipment and safety of the metal shop environment and quickly move into discussions of process, design, engineering, fabrication and finishing of projects.
Elective, Sculpture majors must choose this class or SCULP 4692 during junior year.
Registration by Sculpture department, course not available via web registration

A posed model serves as the visual base from which students attempt to realize integrity of form in clay. Class projects include a portrait, one-third life-sized seated figure, and one-half life-sized standing figure. Outside assignments include skull study begun in class and a hand study. Strong emphasis is given both to whole sight and to abstraction of essentials - proportion, spatial relationship, and axial orientation.
Elective; SCULP majors only

Students pursue individual work under advisement of resident faculty, visiting artists and critics during the semester. Individual objectives are clarified and professional practices are discussed. Group interaction and discussions are expected.
Graduate major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

Students pursue individual work under advisement of resident faculty, visiting artists and critics during the semester. Individual objectives are clarified and professional practices are discussed. Group interaction and discussions are expected.
Graduate major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

This course helps students develop a clear direction for their sculpture. Readings, discussions and slide presentations on contemporary art and culture supplement the studio work and critiques. Students are expected to research and present a talk on a subject of their choice.
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration

In this interdisciplinary course, we will examine the issue of climate change's ongoing effects on marine life. We will work toward viable solutions to creating shellfish habitat in Rhode Island waters through creative approaches to forms and systems that positively impact marine life, and generate community understanding and engagement. Teams will work with institutional partners to research and develop functioning sculptural objects and landscapes that contribute to an aesthetic of sustainability in the underwater world and are sympathetic to the needs of healthy ecosystems.
This course has the objective of creating collaborative environments, making science visible, and communicating the importance of creative solutions to the effect of climate change on marine biology. URI Professor and RISD Scientist-in-Residence, Marta Gomez-Chiarri, has generously agreed to be our outside consultant, and our Cross-Institutional relationships include the Nature Conservancy and Roger Williams University. These relationships will allow our students to learn the history of local aquaculture and its negative pressures, essential technical information, and have hands-on experience. They will visit some of the sites of research and successful development programs, and be able to engage in dialogues with experts in the field as solutions are developed.
Elective, sophomore and above
Undergraduates take this class for 3 credits, meeting one day per week and graduate level students take the class for 6 credits, meeting 2 days per week
Also offered as LDAR-22ST-02

This studio builds upon the work accomplished in the Junior studio. Students are expected to clarify their objectives, fine tune their technical abilities and develop a strong working attitude. Starting with some assigned projects and working toward independence and individual problem-seeking and solving. A high level of dialog and work is expected at this juncture. Throughout the fall, students will practice engaging their source research into their studio practice. Presentation of work in group and individual critiques will continue as an integral part of the curriculum, with an emphasis on contemporary art and criticism.
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration.

The concepts and materials of sculpture are inextricably bound together. This course is a rigorous introduction to the major issues and techniques of sculpture.
Fees: Students are required to purchase a substantial selection of tools.
Major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

A frame will make anything look important, galleries are stripped stores, and a museum is a walk-through treasure chest. Confronting what happens to an object after it is created can provide inspiration and direction for making better artwork. This class reverses some typical creative procedures and searches for a next place to be noticed or successful. Assignments focus on investigating exhibits, new environments and different contexts for creating artwork. Students for this course should be articulate about what they make and confident enough to explore other venues for expression or sculpture.
Estimated Cost of Materials: $150.00

Students learn the basics of electricity and electronics while focusing on how to use microcontrollers (one chip computers) in conjunction with sensors, lights, motors, switchers, audio signals, and basic mechanics in works of art. Projects include timekeepers, simple robots, and interactive environments. Readings and slide/video lectures encompass artist-built machines and sculpture from 1900 to the present. Students can expect to spend time outside of class reading and programming, as well as designing and constructing. No previouis experience with electronics is required. Students should have taken a basic computer art course and, ideally, a sculpture course. Computer programming and machine shop skills are definitely a plus.
Major elective

The purpose of this course is to provide new Sculpture students with safety orientation for their future use of the wood and metal facilities in the Sculpture department. The shop technician instructs students in the safe operation of the stationary machines in the Wood Studio, including the band saw, table saw, sanders, planer, and jointer. In the Metal Studio, the welding equipment, stationary tools, and processes covered include: gas welding; electric welding processes, such as TIG, MIG, and electrode; plasma cutting; grinding tools; horizontal and vertical band saws; benders; and rollers. This course is required for all entering undergraduate Sculpture students - and highly recommended for entering graduate students. Passing this course is required in order to qualify for Shop Monitor Work Study jobs.
Major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

This is a writing-intensive seminar for seniors. Beginning with the premise that writing is a way to think creatively and critically about our work and studio process, we will experiment with multiple strategies to open up new ways of communicating about our work and to situate it in relation to other artwork and critical debates. Structured as a series of workshops, the class will include individual and collaborative writing exercises and critiques, readings and discussions of artists' writings and theoretical texts. Engaging both imaginative and technical approaches to finding our own writing voice.
Course Level: Senior

I'VE GOT 99 POPLARS BUT A BIRCH AIN'T 1
Wood is a versatile transformative material capable of many basic functions in sculpture. In this course, we will expand students' understanding of sculpture through the practice and exploration of woodworking techniques. Students will learn standard methods such as cutting, ripping, joining, planing, attaching, sanding, and finishing in addition to non-traditional uses of wood, exploring and transcend its function and materiality. We will challenge the notion of wood as a material of construction, carpentry, or craft through conceptually driven assignments with an emphasis on the creative adaptation of these skills. Through lecture, demonstration, and class assignments we will study, experiment, and practice basic fabrication methods while gaining proficiency in a variety of techniques used to create sculpture.Wood is a versatile transformative material capable of many basic functions in sculpture. In this course, we will expand students' understanding of sculpture through the practice and exploration of woodworking techniques. Students will learn standard methods such as cutting, ripping, joining, planing, attaching, sanding, and finishing in addition to non-traditional uses of wood, exploring and transcend its function and materiality. We will challenge the notion of wood as a material of construction, carpentry, or craft through conceptually driven assignments with an emphasis on the creative adaptation of these skills. Through lecture, demonstration, and class assignments we will study, experiment, and practice basic fabrication methods while gaining proficiency in a variety of techniques used to create sculpture.
Estimated Cost of Materials: $60.00

Artists have been using casting methods for thousands of years to reproduce sculptural objects in multiples, as well as to translate artworks from one medium to another in both ephemeral and durable materials. Cast objects surround us, from ancient bronze sculptures in museums to the plastic casing of a laptop. This class is an introduction to a wide range of mold-making techniques, including plaster molds, vacuum forming, body casting, modeling in wax, clay, and plasticine and rubber molds. Students will create objects with these molds by pouring in plaster, liquid plastic, and non-traditional materials such as sugar glass. The course will conclude with a focus on finding ways to integrate these tools into every student's studio practice.

This class is taught in partnership with the MIT Museum. Using the extensive collection of the museum which includes robotics, holography, the photography of Berenice Abbott and "Doc" Edgerton, and much more, we will consider the idea of human perception and its impact on contemporary society, science, and art. During the 6-week course we will research the museum collection, and execute artwork which deepens our understanding of this innovative history of investigation. We will work collectively and independently, and create new partnerships with MIT students to distill our own thinking into works of sculpture.

Work with molten metal to build sculptures! This course will introduce students to the foundational tools and skills of the metal shop, from cutting and drilling to two types of welding. We will work with basic techniques such as jig building to create strong and consistent structures. After covering armatures and hardware, we will then delve into creative problem-solving to push the properties of the material in unexpected ways. Students will work on three exercises to hone their technical skills, which will culminate in a final creative challenge.
Estimated Cost of Materials: $100

The Advanced Casting course is designed to build upon the fundamental principles of mold making and casting, and to explore more complex concepts, materials, and techniques. The transformative process of casting can embody the signs of growth or decay, of evolution and metamorphosis. It can engage our memory, and create new meaning from the commonplace. From objects with a cellular multiplicity, to the monolithic monument, casting enables the artist to reinvent a viewer's impressions and understanding of sculpture. Through demonstration and hands-on exploration, students will pursue individual projects that reflect upon themes in sculpture that utilize casting for its unique versatility. Students will have extensive exposure to a variety of traditional and nontraditional materials. Processes will include multi part shell molds, gypsum and composite materials for shell construction, urethane and silicone rubber, castable plastics, cold cast metals, and material specific release agents. We will review the possible health hazards associated with casting, and learn safe working methods, as well as have in-class discussions about concept and craft, various fabrication and finishing methods, and uses for molds in the making sculpture.
Elective, Sculpture majors must choose this class or SCULP 4692 during junior year.
Registration by Sculpture department, course not available via web registration

This seminar introduces a discursive theoretical framework for thinking and writing about contemporary sculptural practice. Working from a specific theme, we will develop a conceptual grammar to extend to our studio practice that is both critical and material. Trespassing across sculpture, performance, cinema, fiction, critical theory and back again, we will address writings by Giorgio Agamben, Walter Benjamin, Judith Butler, Gilles Deleuze, Michel Foucault, Lauren Berlant (as examples) in conversation with contemporary artists writings and projects. Approaching issues in contemporary sculpture from these discursive perspectives opens up a series of generative strategies for thinking about sculptural, critical, and writing practices.
Major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

This seminar introduces a discursive theoretical framework for thinking and writing about contemporary sculptural practice. Working from a specific theme, we will develop a conceptual grammar to extend to our studio practice that is both critical and material. Trespassing across sculpture, performance, cinema, fiction, critical theory and back again, we will address writings by Giorgio Agamben, Walter Benjamin, Judith Butler, Gilles Deleuze, Michel Foucault, Lauren Berlant (as examples) in conversation with contemporary artists writings and projects. Approaching issues in contemporary sculpture from these discursive perspectives opens up a series of generative strategies for thinking about sculptural, critical, and writing practices.
This seminar is reserved for second year MFA SCULP students and is taught in conjunction with SCULP 451G.
Graduate major elective; Sculpture majors only

Students present a body of work supported by a written thesis to a thesis committee for evaluation.
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration

Students pursue individual work under advisement of resident faculty, visiting artists and critics during the semester. Individual objectives are clarified and professional practices are discussed. Group interaction and discussions expected.
Graduate major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

The junior seminar is an extension of the sophomore survey of 20th century sculpture. The seminar focuses on mining the core issues of contemporary art. The class makes several trips to New York and Boston to view exhibitions in tandem with conversations with curators, gallerists, and artists. Assigned readings and writing exercises help students to develop their ideas about contemporary trends, and to apply insight to their own studio practice.
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration

This course concentrates on the development of the student's individual sensibilities without the structure of specific assignments. The focus is on helping students develop a sustainable studio practice and locate their voice within it. Emphasis is placed on independent investigations and creative problem solving. Readings, discussions and slide presentations on contemporary art and culture or other relevant topics supplement the studio work and critiques.
Major requirement, Sculpture majors only
Registration by Sculpture department, course not available via web registration

This is a hands-on introduction to robotics for artists class. Topics covered include: machine shop practices, electronic construction and theory, and computer programming. Students will build robots and utilize robotic technology. Students are free to choose their own microcontroller platforms. Peripheral technology will employ servomotors and sensors. Readings will explore the interface between art and technology. Restricted to Senior, Fifth-year, Graduate as Elective Also offered as D+M 7013.Register into the course for which credit is desired.

This course examines the way conceptions of race in the U.S. were shaped, and in turn helped shape, relationships to space -- from the perception of "manifest destiny's" expansionism as a civilizing mission against Native American savagery, to fears of racial contamination inciting white flight from urban centers. The course combines key readings in literature and cultural history with an exploration of historical American visual iconographies. These explorations will result in a collaborative temporary monument drawing on various media from steel to video to be sited at the Roger Williams Memorial.
Beginning with a consideration of Roger Williams's A Key into the Language of America (1643), we will investigate the racial histories embedded in Rhode Island's landscapes, and gradually move to considerations of the way these discourses of race and space continue to shape the understanding of U.S. identity and nationalism today. Concepts to be examined include: public space and inclusion/exclusion dynamics; issues of ownership, displacement, and exploitation; the invisibility or unreadability of the mixed race individual; frontier violence and the relationship between race and commercial space in America.
The course includes field-trips throughout Rhode Island.

Students are expected to continue the independent work developed in the fall senior studio. Over the course of the degree project semester students will present their work in the context of Duet shows". These "Duets" will be accompanied by a short video-taped interview between the partners based upon vetted questions germane to each others work. Seniors are expected to produce a significant group of work commensurate with the departments senior degree level criteria.
Prerequisite: Senior Sculpture major in Good Academic Standing
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration

This course builds on the skills and concepts of the Fall Sophomore Sculpture Studio while encouraging a stronger conceptual base.
Major requirement; Sculpture majors only
Registration by Sculpture department, course not available via web registration

This course surveys the major movements in sculpture of the 20th century.
Major requirement; Sculpture majors only
Also offered for nonmajors as LAEL LE83 for Liberal Arts elective credit .

This course surveys the major movements in sculpture of the 20th century.
Liberal Arts elective credit; Sculpture majors only
Also offered as SCULP 4716. Register in the course for which credit is desired.

Most people accept and believe in many things that exhibit this phenomena because, there are many daily experiences we have with our lives that does not include our physical presence. We often respond and remember these uninhabitable experiences as though we had physically been there. Some existing formats include television programs, theater performances, movies, the internet, historic recreations, store windows, miniaturization, dioramas, postcards, fantasy, cartoons etc.
Artists and designers have benefitted from actively participating and manipulating where to locate the viewer as a part of the work they are making, keeping them at bay...from architects to cake bakers. (and it works) What happens when you address these issues directly and create works that are based on our acceptance of a physically limited engagement as being reality? Class participants will be encouraged to exploit this phenomena through class assignments, and their own interests and visual pursuits.
Elective

There are hearts bigger than planets: black hearts that absorb light, hope, and dust particles, that eat comets and space probes. Motionless, sullen dirigibles, they hang in the empty space between galaxies. We can't see them, but we know they're there, fattening. -Shelley Jackson, The Anatomy of Melancholy
Violets or Violence and Dreams is an experimental performance and writing workshop. Imagined as a space to create performance and writing projects, collaboratively and individually, we trespass across gesture and language, fiction and insomnia, dancing and darkness, punk rock and theory, dreams and flowers, accident and tragedy. What do these states or modes offer as so much material for making performance? How might these more affective encounters open up generative ways to counter the logics of representation and limitations of language? And importantly, how in this particular cultural moment of multiple occupations, resistances, and evasive political speech might our work speak alongside these cultural events? How might we incorporate the violent seizures and ruptures of history in the present?
Each workshop will open with a short performance by everyone in the seminar and then move into other performance, theater, and writing techniques. Our discursive research will culminate in a final series of performances.
Some of the artists, writers, theorists (not that these are ever exclusive terms) we will consider include: Lauren Berlant, Miguel Gutierrez, Aitana Cordero, Alain Badiou, Ron Athey, Ernesto Pujol, Ralph Lemon, Judith Butler, Hannah Arendt, Kaja Silverman, Jeremy Wade, Jacques Derrida, Micki Watanabe, Ann Hamilton, Merten Spengberg, Shelley Jackson, Marguerite Duras, Paul Virilio, Fiona Banner, Avital Ronnel, Nao Bustamente.
Elective, Junior and Above

This is a continuation of Wood and Metal Shop Practice distinct from SCULP-4706, which covered welding, metal fabrication and woodworking techniques. The second semester will emphasize lost wax casting, including wax fabrication, two-piece plaster molds, alginate moldmaking, gating and spruing, investing, ceramic shell building, chasing tool making, melting and pouring metals (aluminum and bronze), divesting metal finishing, tig welding, and patina. Casting techniques also covered: concrete casting and moldmaking using plywood forms.
Major Elective, Sculpture majors only