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

    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

    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.

    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