Sculpture

Courses

  • Fall 2016

    ADVANCED CRITICAL ISSUES

    What is the meaning of the contemporary? Is it a specific temporal constellation, the fall-out from modernism, a condition of the present or rather the artist's role? And if we look into the darkness of the present-what might we see and what stories would we tell? We have entered yet another crisis of representation, one with its own distinct historical stakes. What pressures does this place on us as makers of objects, writing, encounters? How does our work orient itself to these questions? Grad Critical Issues takes up these questions through multiple logics -of the object, of the aesthetic, of the speculative, of the phenomenological, of the psychoanalytic, of the ecological and economic-to consider how trajectories of form and narrative intersect in contemporary 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. Opening with Rosalind Krauss's seminal text "Sculpture in the Expanded Field," we trace the force of her thinking through Walter Benjamin, Marcel Duchamp, Minimalism, Land Art; consider the genealogies of Harold Szeemann's exhibition When Attitudes Become Form in light of Massimiliano Gioni's Unmonumental or Helen Molesworth's Part Objects/Part Sculpture, as examples. Additional readings include: Theodor Adorno, Giorgio Agamben, Sara Ahmed, Hal Foster, Sigmund Freud, Karl Marx, Rebecca Solnit, among others. Student generated research drawn from studio practice will also inform the dialogue.
    Major requirement; Sculpture majors only
    Registration by Sculpture department, course not available via web registration

    ADVANCED CRITICAL ISSUES II

    What is the meaning of the contemporary? Is it a specific temporal constellation, the fall-out from modernism, a condition of the present or rather the artist's role? And if we look into the darkness of the present-what might we see and what stories would we tell? We have entered yet another crisis of representation, one with its own distinct historical stakes. What pressures does this place on us as makers of objects, writing, encounters? How does our work orient itself to these questions? Grad Critical Issues takes up these questions through multiple logics -of the object, of the aesthetic, of the speculative, of the phenomenological, of the psychoanalytic, of the ecological and economic-to consider how trajectories of form and narrative intersect in contemporary 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. Opening with Rosalind Krauss's seminal text "Sculpture in the Expanded Field," we trace the force of her thinking through Walter Benjamin, Marcel Duchamp, Minimalism, Land Art; consider the genealogies of Harold Szeemann's exhibition When Attitudes Become Form in light of Massimiliano Gioni's Unmonumental or Helen Molesworth's Part Objects/Part Sculpture, as examples. Additional readings include: Theodor Adorno, Giorgio Agamben, Sara Ahmed, Hal Foster, Sigmund Freud, Karl Marx, Rebecca Solnit, among others. Student generated research drawn from studio practice will also inform the dialogue.
    Graduate major elective; Sculpture majors only

    CASTING STUDIO

    This course is designed to build upon the fundamental principles of mold making and casting while exploring more complex concepts, materials, and techniques. The transformative process of casting can embody the signs of growth or decay, of evolution and metamorphosis. From cellular multiplicity to large scale sculptures, casting skills enable the artist to control the sensation of the finished work through a spectrum of materials and processes.
    Through demonstrations then 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.
    This class is for junior sculpture majors and other students with permission of the instructor.
    Registration by Sculpture department, course not available via web registration

    GRADUATE STUDIO I

    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

    GRADUATE STUDIO III

    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

    JUNIOR SCULPTURE STUDIO II

    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

    JUNIOR SCULPTURE: STUDIO I

    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

    SCULPTURAL FABRIC STRUCTURES

    This class is a hands-on studio elective that explores the potential of fabric as a sculpture material. We will spend the semester looking at useful examples of how fabrics have been utilized in a broad range of engineered solutions. Fabrics can be flexible, transparent, impermeable, delicate, rigid, lightweight, and stronger than steel. How has fabric been used to represent other materials in art? We will explore how fabric is being used in architecture, advertising, fashion, and design. We will consider the diverse functionality of all kinds of fabric and plastic materials and explore how these materials are engineered for specific purposes. We will study inflatable fabric structures as they have been engineered for art, architecture, advertising and functional objects. Students will build their own projects after learning the basics of patternmaking, assembly, and surface manipulation.
    Class will be held at a Brown University location, John Street Studios, per special arrangement.
    Permission of instructor required
    Open to juniors and above

    SENIOR SCULPTURE: STUDIO I

    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

    SOPHOMORE SCULPTURE: STUDIO I

    This beginning sculpture studio encounter is organized to train students to workshop their ideas and concepts with the basic materials and processes of the sculpture studio. In this department we teach visual vocabulary on the basic principle of, "Thinking while making and making while thinking."
    The assignments in the Fall Sophomore studio parallels the exercises in technical skills taught in WOOD AND METAL SHOP PRACTICE I.
    Students will begin working in sculpture specific metal fabrication methods. Students may expect to gain proficiency in gas, TIG and MIG welding techniques, along with hot and cold forming methods.
    The second half of the fall semester is focused on sculpture specific wood fabrication methods. Students will acquire skills in methods of cutting and joining alongside methods of forming and lamination.
    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

    THE ARTIST'S MACHINE: ELECTRICITY AND ELECTRONICS FOR ARTISTS

    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, nonmajors by permission of instructor only.

    THE ROCK ON WHICH THE STORM SHALL BEAT: FORT ADAMS INSTALLATIONS

    Historic architectural sites employed as exhibition space have offered artists an expanded context to examine contemporary issues by drawing on the social and cultural past, and provide a resonant place to engage the public. This interdisciplinary course will explore Fort Adams in Newport, Rhode Island as the context for creating site-based work. The Fort complex - part immaculately restored landmark, part ruin - and its strategic location on Narragansett Bay, offers a historic site rich in cultural, political and environmental material to draw on and respond to. Readings, slide presentations and discussion will examine artists and exhibitions that address site as context and content. The interdisciplinary structure encourages a dynamic exchange of ideas, methods and expertise that can serve to expand parameters of discipline based studio practice. Proposal research can be directed toward independent or collaborative projects. Students will implement site-based installations on the grounds of Fort Adams, culminating in a public exhibition with student led tours. This is a demanding course requiring multiple travel days and shared responsibility for the exhibition.
    Junior and above Elective;
    Also offered as SCULP-2232 and TEXT-2232

    THE ROCK ON WHICH THE STORM SHALL BEAT: FORT ADAMS INSTALLATIONS

    Historic architectural sites employed as exhibition space have offered artists an expanded context to examine contemporary issues by drawing on the social and cultural past, and provide a resonant place to engage the public. This interdisciplinary course will explore Fort Adams in Newport, Rhode Island as the context for creating site-based work. The Fort complex - part immaculately restored landmark, part ruin - and its strategic location on Narragansett Bay, offers a historic site rich in cultural, political and environmental material to draw on and respond to. Readings, slide presentations and discussion will examine artists and exhibitions that address site as context and content. The interdisciplinary structure encourages a dynamic exchange of ideas, methods and expertise that can serve to expand parameters of discipline based studio practice. Proposal research can be directed toward independent or collaborative projects. Students will implement site-based installations on the grounds of Fort Adams, culminating in a public exhibition with student led tours. This is a demanding course requiring multiple travel days and shared responsibility for the exhibition. Junior and above Elective;
    Also offered as TEXT-2232 and IDISC-2232

    WOOD&METAL SHOP PRACTICE I

    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

    Wintersession 2017

    INTERSECTING DIMENSIONS: WHERE PHOTOGRAPHY AND SCULPTURE MEET

    In this course, we will challenge the mediums of photography and sculpture through an expanded view of how both image and form are defined and created. Taking an interdisciplinary approach, we will interrogate the innate similarities in both mediums as well as their differences to find the intersections of a new dimensionality. Already, these modes intrinsically engage in explorations of interpretation, representation, and spatial relationships. Further, how can sculpture, as photography does, harness light and image as a material? And how can photography, in turn, become visceral in its materiality? Through demonstrations and assignments we will learn and utilize tools from both disciplines such as basic digital camera capabilities, Adobe Photoshop, digital printing methods, conventional and digital fabrication methods, and experimental techniques. Students will then be encouraged to build upon these skills by incorporating elements of an existing or developing studio practice. We will look to artists whose work ranges from the more sculptural to the more photographic such as Letha Wilson, Rachel De Joode, Kate Steciw, Sara Van der Beek, John Houck, Thomas Demand, Felix Gonzalez-Torres, Gregory Crewdson, Erwin Wurm, James Turrell, and more. This course will not rely strictly on the traditional methods, but rather students will be encouraged to experiment through an interdisciplinary mode of working.
    Estimated Materials Cost: $250.00

    MODULAR CONTRAINTS

    This course will examine the methods in which constraints (i.e.time, money, skills, identity, physical space, material, tools) impact the development and production of an artistic idea. By generating our own additional sets of constraints from personal interest, we will investigate the ways that rules can be an inspiring force rather than a limiting one. Through strictly defined assignments, students gain experience for finding simple solutions for fabricating repetitive processes. Based in Co-Works, this course will test how we can produce modular work through mainly two-dimensional digital fabrication methods such as: laser cutting, plotter cutting, UV printing, vacuum forming, and other digital fabrication methods. By visiting the Loeb Collection at the Nature Lab and through slides, readings and demonstrations we will explore the greater world of scripted or composed work and the way our universe fits together. The class will introduce the digital modeling software Rhino as a two dimensional drawing tool to be able to make parts with exact geometries. By combining design thinking and the artistic creative process we will have group critiques after each of the four major projects to aid in pushing students beyond their perceived limitations.
    Estimated Materials Cost: $50.00 - $100.00

    PERFORMATIVE DRAWING

    What is Performative Drawing? Akin to dance, drawing just might be the next human activity that engages a spontaneous simultaneous interplay of thought, action and acting upon. This workshop will make inroads into answering the question by making works that address how we image the body in time and space with tools and media.
    One of the genuine albeit complex truths about the act of drawing lies within the root word. You can draw straws, draw a breath, draw nearer, draw water, draw cards, draw a crowd, draw out, draw down, draw upon, draw a blank, draw a bead, draw attention. You can also draw a line. In doing so you are drawing upon a vast constellation of your resources. Impulse, desire, vision, philosophical thought, emotion, concept, motor skills large and small. These on board fuels are at once focused, then invested into a simple tool leaving traces on a surface in time and space. How an idea, concept, or emotion makes it's way to shape and form is right here in the triad of mind, hand and tool. You may draw a beautifully imagined thought but it s the the hand in motion and the practice of training the hand to guide the tools that make simple lines transmit these sensations through time and space to an audience.
    In this studio we will be working together and individually to explore how drawing is might to your studio practice. Drawing as a practice has often been somewhat mistakenly viewed as a preparatory or even secondary element within traditional studio practices like painting, sculpture and printmaking. Today in an expanded field, those outmoded viewpoints only stand to unfairly discriminate and rank modes of realizing concept and form. It is also true that this archaic view of drawing has origins in the humble materials often associated within the practice, such as charcoal, graphite and chalk and carbon black (ink), geological elements all. The substrates being skin and fiber. In a contemporary studio practice it is the artist's prerogative to either work with or challenge historical presets. The role of drawing in a contemporary studio practice may play multiple roles. Together we will look at, practice and explore that very thing trough installations, group projects and large scale immersive work.

    TRACE AND REPETITION: INVESTIGATIONS IN SILKSCREEN AND PLASTER CASTING

    We are surrounded by repetition and impressions in our everyday lives. But, there is diversity upon inspection of a repeated pattern and there are more ways to take a record than through photography. How do you define trace and repetition based upon what you've experienced? In this course, students will be engaged through critiques, readings, demonstrations, and self-directed projects. Specifically, they will investigate trace and repetition through the lens of silkscreen and plaster casting. They will learn the silkscreen process and also learn how to create a one and two part mold with plaster.

    Students will develop skill in plaster casting and silkscreen techniques, but also have more opportunity for independent research. The first two weeks of wintersession empower by expanding their repertoire of skills to include silkscreen and plaster casting. The last four weeks consist of two larger projects in which these skills will be incorporated with their own personal interests. At this point in the class, students will receive individual visits and be asked, how do you redefine repetition and trace? How do you apply these concepts to your art practice? Personal expectations of the limits of silkscreen and plaster casting will be challenged and questioned through exposure to contemporary artists and theorists in assigned readings, slideshow format, and in RISD Museum visits.

    Spring 2017

    ADVANCED CRITICAL ISSUES SEMINAR II

    Advanced Critical Issues Seminar 2 introduces a rigorous theoretical framework for thinking and writing about contemporary sculpture practice. Each seminar develops from a specific theme drawing on research from Grad Critical Issues 1, current debates in the field and contemporary events. Past seminars include: Artificial Natures, Precarious Relations, Frankenstein and Crime, Vanishing Points, as examples. Trespassing across sculpture, performance, cinema, fiction, feminist, queer, race and political theory and back again, we will address writings by Walter Benjamin, Lauren Berlant, Judith Butler, Gilles Deleuze, Michel Foucault, Maggie Nelson, Claudia Rankine, Jacques Rancière (as examples) in conversation with contemporary artists writings and projects to cultivate a conceptual grammar to extend to our studio practice. Approaching issues in contemporary sculpture through these discursive perspectives generates new strategies simultaneously material, conceptual, and critical.
    Major requirement; Sculpture majors only
    Registration by Sculpture department, course not available via web registration

    DIGITAL DESIGN AND FABRICATION

    This course will explore digital design and fabrication within the context of contemporary art, design, and architecture. Through a series of technical demonstrations, students will make connections between CAD/CAM software, digital fabrication technologies and the physical world. Students will become familiar with digital fabrication as it relates to traditional sculptural processes such as mold making/casting, metalworking and woodworking.
    Students will undertake a series of projects exploring 3D model creation using various CAD applications, 3D scanning technologies, and experimental approaches to digital model generation. Simultaneously, digital models will be made physical through additive and subtractive fabrication technologies including 3D printing, CNC milling, and laser cutting. The course will culminate with an ambitious final project encouraging students to blend digital fabrication technologies with their existing studio practice and/or research interest. The class will use Rhino3d as the primary CAD tool and students will need their own laptop with Rhino installed. The Mac version of Rhino is currently a free download and the Windows version is available at student pricing through rhino3d.com.
    Sophomore and above
    Elective, nonmajors by permission of instructor.

    GRADUATE SCULPTURE THESIS PROJECT

    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

    GRADUATE STUDIO II

    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

    JUNIOR SCULPTURE STUDIO II

    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

    METAL FABRICATION STUDIO

    We will explore metal by cutting, machining, bending, warping,welding, stitching, binding, and altering the materials to pushand 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 junior sculpture majors and other students with permission of the instructor.
    Registration by Sculpture department, course not available via web registration

    PERFORMANCE: OBJECT, BODY, NARRATIVE

    This course explores questions and methods central to performance, and in particular the relationship between performance and sculpture. Temporal and spatial dimensions of both sculpture and performance will be discussed in terms of the performance "prop" as sculpture, sculptural outcomes of performance, and sculptural documentation of performance. We will examine performance in its social, political, formal, and corporeal aspects, engaging questions of ritual, labor, and movement. Approaching sculpture in both the conventional and the "expanded" senses of the term, we will pose the question of "immaterial" sculptural forms and actions. We will consider immaterial "sculpture" as performance while also considering traditional sculpture's material concerns as performative. Sculptural material concerns of process and technique; site and context; and objects and objecthood will all be examined as performance prompts. Art historical and political questions of power, agency, audience, gaze, attention, and passivity will take shape as we theorize and enact performativity and its relation to embodiment, display, and language. Through individual and collaborative work, students will create and critique performances. A range of text, sound, lens, and object-based documentation will be encouraged. Documentation will be considered both as representational and as generative.
    Open to sophomore and above

    RHODE ISLAND AND THE RE-MEMORY OF SLAVERY

    The Studio component of Rhode Island and the Re-Memory of Slavery will function according to specific, themed projects that use both action and form. In this class, students will be using historical and theoretical material from their Liberal Arts section to inform their works, while using visual and performative means to translate and transform spaces in effort to engage the community in discussion about Rhode Island's history of slavery. Students will have the option of working site-responsively, using various locations around Providence as backdrops and contexts for artwork produced in their media of choice. Class time will include weekly discussion and critiques, field trips, studio time, and visits from artists engaged in discussing historically motivated political themes in their works.

    ROBOTICS

    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
    Permission of instructor required
    Also offered as D+M 7013. Register into the course for which credit is desired.

    SCULPTURAL INSTALLATION: MATERIALS AND SPACE

    We will create a unique learning environment where a classroom space is dedicated solely to the making and the display of the course work for the duration of the semester. This approach will encourage the participants to generate work that cannot be "carted in and carted out for a critique". The opportunity creates a unique format for interacting and making work within RISD's academic and facility structure. The explorations in this course are based on the fact that absolutely everything is a material and that everything can be manipulated using conditional approaches, responses and skills.
    We will start with fundamental skills that use; contextual influences, site specific analysis and behavioral observations. The emphasis will always be on making. You must be willing to adapt the way you work and collaborate with one another during the development and fabrication of every exploration. There will be occasions when you are used as material to be worked with.
    After a series of investigations and assignments, studio participants will generate work that is connected to their own interests. Together we will also create an environment within the room that supports the optimum display for all of the individual works. Everyone will be required to document their individual process and contribute to a final class compilation. This course supports the exploration and engagement of interdisciplinary and experiential learning.
    Major Elective, Junior and Above
    Open to non-majors by permission of department
    Course not available via web registration

    SCULPTURE STUDIO INTENSIVE: WOOD, PLASTIC, AND COMPOSITE FOUNDATION

    This studio welcomes students at all levels of experience and skill to participate in a three part workshop spanning wood, plastic and composite fabrication / formation. While focused on techniques for bending, shaping, molding and forming wood and plastic materials, an experimental and problem solving approach is expected in the studio. Students will be encouraged to conceptually play, hack and bend and rigorously combine materials and methods. Students will learn key methods for bending and laminating and joining wood, vacuum forming, bending and joining plastic sheet and rod and lamination techniques for FGR95 and Epoxy + Fiberglass & Carbon Fiber composites. This course is intended to assist, augment and enhance ongoing studio work for all students as they workshop their emerging studio practices.

    SENIOR SCULP DEGREE PROJECT

    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

    SOPHOMORE SCULPTURE STUDIO II

    The Spring semester of Sophomore Sculpture Studio is organized to continue training students to workshop their ideas and concepts while learning basic materials and processes of the sculpture studio. In this department we teach visual vocabulary on the basic principle of, "Thinking while making and making while thinking."
    The assignment projects in the Spring studio parallels the exercises in technical skills taught in WOOD AND METAL SHOP PRACTICE II.
    Advancing from basic fabrication methods learned in the previous semester, students will progress into workshops in modeling, molding and casting. Students will learn the basic language of form through the lens of basic mold-making methods working in wax, plaster and clay advancing to contemporary silicones and plastics. This workshop will culminate with lost wax ceramic shell casting in our foundry.
    Major requirement; Sculpture majors only
    Registration by Sculpture department, course not available via web registration

    SPATIAL VIDEO

    Our eyes are nearly always drawn towards something moving over something inert. What innovative strategies can be employed to incorporate video, sculpture, and physical space into a single work, without one medium dominating the other? How can an artist resolve the fundamental differences between two-dimensional moving images and three-dimensional objects or space? This intensive studio elective will explore methods and issues of assimilating video, photography, sound, performance, objects, and space through studying and constructing multimedia sculpture and installations. Throughout the semester we will be presented with assignments that examine these different possibilities from multiple perspectives, including studio projects that deploy video in a sculptural context, and sculpture that is only activated through a video work. We will study the recent history of artists and designers who engage multimedia techniques and experiment with new formats and technologies. Students will learn the basics of DSLR camera technique, digital video editing, audio production, audio/video display technology, and installation techniques. Students in the course should have an understanding of sculptural materials and fabrication techniques, and should be ready to experiment with the fundamental structure of the presentation of media.
    Estimated Material Cost: $150.00
    Sophomore and above

    WOOD&METAL SHOP PRACTICE II

    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