Strategies for analysis and documentation are presented and discussed as students combine their research and reflections on their own evolving production into an illustrated, written thesis that organizes, focuses, and articulates their ideas. Artist's books, online publications and other formats will be explored. Intensive support for development and production of the thesis in relation to studio practice will be given.

Enrollment is limited to Graduate Printmaking Students.

Major Requirement | MFA Printmaking

Graduate Print I will focus on the notion that Printmaking (and its constituent processes/techniques) are a hub within the visual arts. Students will experiment with a multitude of print processes that branch from drawing (a logical creative starting-point between Printmaking and Painting), and form extensions into the mediums of painting, sculpture, installation, and even video. Processes covered will include; drawing fluid/screen filler, screen monotype, image transfer, drypoint intaglio, and various other forms of monoprint. Assignments will require experimentation with each new technique and projects will require the individual exploration of these techniques and application to each students' personal studio practice. Demonstrations, presentations, and group/individual critiques will supplement all work time.

Estimated Cost of Materials: $100.00

Open to Graduate Printmaking Students.

Major Requirement | MFA Printmaking

Graduate Print I will focus on the notion that Printmaking (and its constituent processes/techniques) are a hub within the visual arts. Students will experiment with a multitude of print processes that branch from drawing (a logical creative starting-point between Printmaking and Painting), and form extensions into the mediums of painting, sculpture, installation, and even video. Processes covered will include; drawing fluid/screen filler, screen monotype, image transfer, drypoint intaglio, and various other forms of monoprint. Assignments will require experimentation with each new technique and projects will require the individual exploration of these techniques and application to each students' personal studio practice. Demonstrations, presentations, and group/individual critiques will supplement all work time.

Estimated Cost of Materials: $100.00

Open to Graduate Printmaking Students.

Major Requirement | MFA Printmaking

Since the invention of the printing press, printmaking has been uniquely tied to text. In this course, we will use intaglio printmaking as a medium for exploring how images and words can come together to inform and expand our practices. We will experiment with the role text can play as a visual element, research tool, and vehicle for clarifying ideas. Intaglio printmaking will provide the medium for exploring the relationship between text and image. Student-artists will learn techniques including drypoint, hard and soft ground etching, aquatint, and photo-based intaglio as they work toward a final project that brings together text and image. This course will focus on the development of ideas through the interplay of visual and textual modes of thinking, group discussions, demonstrations, group and individual critiques, museum and special collections visits, and creation of a final print portfolio.

Estimated Cost of Materials: $100.00

Elective

The aim of this course is to introduce relief printmaking and its deep historical contexts and evolution over time, in order to develop visual narratives that speculate on reality and form forward-thinking/conjecture. Referencing graphic novels, works of speculative fiction, and contemporary artists and researchers working across disciplines, we will gain insight into the diverse visual languages used to navigate uncharted territories and uncertain phenomena. How can contemporary visual storytelling influence realities and inform futures? We will explore relief printmaking in its physical and theoretical contexts and its role in dissemination of information, mass production, digital media and contemporary culture.

Estimated Cost of Materials: $125.00

Elective

Deception, manipulation, reproduction. Life, death, or something in-between. What does it mean when cowbirds move into your neighborhood? Can plants cause animals to have bizarre sexual practices, for their benefit? Are most wasp species pest colonies that torment humans, or parasitoids that benefit ecosystems? This course will focus on the intimate relationships within ecology, morphology and behavior in the evolution and diversification of plants, animals, and other living things. Symbiosis (pl. symbioses) is when different species live together. Sometimes both benefit (mutualism), but often one benefits at a cost to the other (e.g., parasitism). The focus of this course will be to observe and study examples of the myriad of ecological interactions that involve symbioses. We will examine the structures and relationships that exist in a variety of ecosystems and learn to understand why things look (or act) the way they do. The basic biology of many types of organisms will also be covered. We will consult diverse scientific literature and films, and conduct (solo) forays into nature. Coursework will combine lecture, discussion and presentation; weekly readings; frequent homework assignments; final synthesis.

Elective

The goals of this course are threefold:

(1) to explain how the natural world works, and how humans physically change and are changed by some of its processes

(2) To emphasize how society understands, evaluates and confronts the dangers posed by these natural processes

(3) To encourage students to view the unique sets of problems caused by flooding, earthquakes, tsunami, climate change and other earth functions as challenges demanding intelligent and creative solutions that they are equipped to deliver.

Case studies of recent natural disasters and design solutions will be discussed, and students own creativity and concepts for potential design solutions will be employed. No prior science background is required.

Elective

This course, taught by zoological medicine veterinarian Dr. Lucy Spelman examines how we interact with animals-both domestic and wild-and how, in turn, these interactions affect us. Each week we focus on a different species, working our way up the taxonomic tree from corals to gorillas. We study the animal's basic biology, including its anatomy, natural history, and ecology. We consider the role it plays in human society, including as companions, as food, and, as sources of medicine and spiritual inspiration. We study how human activity is affecting its health and the ripple effect on our own health. We explore how agriculture, climate change, emerging diseases, habitat loss, hunting, and trade are driving many species to extinction. In the process, we discover that while many human-animal interactions are positive, many more are problematic, and that although we have solutions for most of these negative interactions, we often fail to implement them. Examples include excessive antibiotic use in cows, the continued loss of wetlands threatening frogs, and, the increasing number of coyotes favored by urban landscapes. We explore some of the underlying reasons for this inaction. In their final project, students identify a problematic human-animal interaction and explore solutions.

This course is designed to encourage you to explore the range of biological complexity in the animal world, the many ways we interact with animals, both domestic and wild, and, the scientific basis of the interconnectedness of health. You will also have the opportunity to explore solutions for problematic human-animal interactions; it is possible to live in balance with animals if we make informed decisions. The material presented will challenge you to learn more about animal classification, zoology, ecology, food animal science, veterinary medicine, public health, and conservation biology. For your final project, you will research a problematic human-animal interaction, explore potential solutions, and create a work of art or design that inspires others to take action.

Elective

Has the unfathomable diversity of insects ever fascinated you, but left you wondering where to begin? This is a basic course in entomology for the natural historian and artist. All orders of Class Insecta will be introduced, with both field and lab components whenever possible. Basic insect morphology and ecology will be covered for most orders, with opportunities for artistic rendition and use of both live and dead specimens as models. Students will learn basic insect anatomy and taxonomy for the identification of insects to order-level. Elements of insect ecology will infiltrate everything we look at, in both the field and the lab. Emphasis will be placed on the major orders (beetles, flies, butterflies/moths, etc.); the minor orders will be covered to varying degrees, but this can be adjusted according to the class consensus. Coursework will include field collecting trips, observation and drawing of specimens using a microscope, identification quizzes, and a course project that will emphasize the creation of materials for educational outreach. Additionally, students will finish with their own curated insect collection identified to order-level (or beyond, if student desires).

Elective

The goal of the course is to explore how fundamental questions in philosophy, psychology, and medicine are currently being addressed by research in modern cognitive neuroscience. This course will examine the relationship between the brain and cognition by focusing on topics including perception, attention, memory, language, emotions, decision-making, mental representation, knowledge, and intelligence. Interactive participation will be encouraged as students investigate these topics by actively engaging in experimental design, debates, and demonstrations. Throughout the course, the future of cognitive neuroscience will be discussed including how developments in the field will influence society and the ethical implications of these advancements.

Elective

Sculpture is a particularly expansive field. Sculptors embody the possibility to create not only new objects for the world we live in, but whole new worlds unto themselves. In this class, we will work collaboratively across several mediums to create a temporary immersive installation that builds a shared world from our collective imagination. 

In this course, students will work collaboratively to transform classroom Metcalf 320 into a new, immersive world. This course is designed for students with no prior experience with sculptural materials or processes to experience a fast immersive dive into the pool of major foundational sculptural practices including: welding, woodworking, and casting. We will use metal and wood to create an armature onto which cast elements, and other materials such as found objects, textile, paper/cardboard, paint, and digital projection can be incorporated. We will document the project along the way and create a documentation record of our work together. 

The course will culminate in a public exhibition of our temporary collaborative installation, and a printed documentation booklet, which will serve as the historical record of our shared, temporary world. 

This course is designed for first year students who are considering majoring in sculpture. 

Estimated Cost of Materials: $300.00

Elective

The development of new biodegradable materials is a crucial step in creating a sustainable future, but what processes are involved in making these materials and what role can fine artists play in their creation? In this hands-on course, we will delve into the essential techniques for producing biomaterials while emphasizing play and experimentation. Within the context of the lab and the studio, we explore three specific biomaterials: algae (sodium alginate), kombucha leather, and bioconcrete. Students will explore these materials through sculptural processes including but not limited to moldmaking, slipcasting, and wet forming. This class will familiarize students with established techniques while emphasizing experimentation, creating opportunities to develop new methods and materials. This class will visit the Edna W. Lawrence Nature Lab and the Materials Collection within the Visual + Material Resource Center to gain an understanding of natural materials and existing biomaterial innovations. As an important and growing field in both regenerative design and contemporary art, students will be prompted to consider sustainability, environmental stewardship, and material sourcing within their practice. Through practical hands-on instruction, this course will demystify biomaterial processes. By the end of the course, students will be equipped with the knowledge needed to continue biomaterial experimentation with confidence.

Estimated Cost of Materials: $30.00

Elective

Using exclusively cardboard, we will spend this class building diverse technical competence.

Through a combination of technical demos and presentations of artistic and cultural references, we will teach students to build with cardboard. We will draw upon various legacies including figure sculpting, architectural modeling, and paper-making. By teaching students how soaking, carving, and laminating cardboard can shift its properties we will emphasize how treating a material can completely overturn its applications.

Each class will end with a brief improvisational making exercise—group or individual—that introduces the skills and activities we will cover in following demonstrations. By using improvisational scores, derived from theatrical and choreographic devices, we will find the functional and spontaneous expression of techniques demonstrated in class. These scores will be prompt based, inspired by artistic practices such as Richard Serra’s Verb List. Designed to put you in new situations, these frameworks will playfully invigorate the possibilities you experience in your work with cardboard (and, by extension, other materials).

Throughout the term, we will present on artists and projects that push the boundaries of cardboard, including Chris Gilmour, Warren King, Shigeru Ban and Ann Weber and the movie Dave Made a Maze (2017). With weekly assignments, students will be expected to bend, break, and combine the methods we’ve offered them.

With the optional inclusion of supplementary materials, the final project will serve as an opportunity to explore these ideas of lateral thinking and improvisation on a larger scale, or through more involved methods.

Estiamted Cost of Materials: $65.00

Elective

Collaging materials can provide a fresh perspective and enhance the significance of sculpture. In this course, participants will examine various techniques for binding materials to create new narratives, paying careful attention to the implications of their material choices and techniques in the context of their artwork and interests. Selected readings and discussions will emphasize the role of materials and techniques in conveying meaning, as well as how different presentation contexts influence interpretation.

Students will begin by assembling a collection of materials to establish an archive tailored to their interests and practices. This process will involve considering the source context, social implications, and the evolving identity of the artwork once exhibited. From this archive, students will develop a sculpture utilizing a chosen selection of materials. Workshop demonstrations will cover assembling materials through sewing, latching, drilling, slicing, riveting, and wrapping.

The course will conclude with a final sculpture project, during which students will participate in a peer critique session. Additionally, each student will present their material archive list along with an extended description of their piece, articulating its conceptual and material significance.

Estimated Cost of Materials: $100.00

Elective

This course adds another layer of engagement to the MFA Sculpture curriculum in relation to the work done in Grad Studio and Advanced Critical Issues. The class will be divided into two six-week sections taught by a visiting critic and visiting curator. Through these distinct perspectives, students will develop a deeper understanding of the many roles that the artist can play in society in conjunction with gaining knowledge of professional practices within the fine arts field. Additionally, this course will consider the ways that art is displayed, viewed, contextualized and experienced and how visual art can influence contemporary thought and conversation through the history of curation and exhibition-making.

The course will consist of lectures, discussions, group critiques and one-on-one studio visits. The first half of the semester will focus on professional practice and consider each student’s practice through the lens of relevant historical and contemporary artists. Course content will include discussions about maintaining post-graduate art practices, application processes and cultivating thriving creative communities. The second half will focus on curation with emphasis placed on current trends and shifts in artistic and curatorial production, theory, and criticism. Students will examine a range of curatorial practices and consider case studies of artist curated shows. The class will also develop a proposal for a potential group exhibition to occur post-graduation. Both sections will involve the topic of exhibiting works in various spaces such as galleries (artist-run, for-profit, university, etc.), museums and alternative art organizations.

Enrollment is limited to 2nd-year Sculpture Graduate Students.

Major Requirement | MFA Sculpture

In this class, we will delve into the realm of digital design and fabrication, specifically within the context of contemporary art. We will primarily focus on exploring the varied potential of sculptural techniques using a Digital Plotter, Laser Cutter and 3D Printers. Through the use of CAD software, digital tools and traditional making practices, students will enhance their comprehension of how to incorporate digital fabrication into their own art practice.

While our course content revolves around acquiring highly technical skills, its core goes beyond mere technicality. Our objective is not to achieve mastery in a particular software application or fabrication technology. Instead, we aim to cultivate a flexible knowledge of how to adeptly employ a few fundamental digital fabrication processes within one's artistic studio.

Students are expected to investigate each skill-set by way of experimentation and research, extending their practice well beyond scheduled class time. It is crucial that students make time outside the scheduled meetings to develop familiarity with the processes and tools taught in class and continue to develop knowledge outside of class.

Estimated Cost of Materials: $300.00

Elective

“Any attempt to understand an artistic medium through the lens of technology alone is futile and counterproductive,imposing limits on the conceptual understanding of the work. Good art is always both deeply rooted in and at the same time transcends its medium.”
-Christiane Paul
 
This course will explore digital design and fabrication within the context of contemporary art, design and architecture. Through a series of technical demonstrations and assignments, connections will be made between CAD/CAM software, fabrication technologies and the physical world. Additionally, the course will explore digital fabrication as it relates to traditional sculptural processes such as mold making + casting, metalworking and woodworking.
 
This course, although technical in nature, is not technical in spirit. Our goal is not the mastery of any one software application or fabrication technology, but instead an understanding of how to effectively leverage digital processes and tools in one’s studio.
 
The semester will be divided into a series of assignments, each exploring various approaches to digital design and fabrication, and will culminate in a final project blending digital fabrication with an existing project and/or research interest.
 
You will leave this course with the ability to model complex geometries, to collect and process 3D scan data, and to output using additive fabrication equipment. We will utilize the resources of RISD at large, but will focus on highly accessible, open source digital fabrication tools available within the Sculpture department.

Elective

Any attempt to understand an artistic medium through the lens of technology alone is futile and counterproductive, imposing limits on the conceptual understanding of the work. Good art is always both deeply rooted in and at the same time transcends its medium.
- Christiane Paul
 
This course will explore digital design and fabrication within the context of contemporary art, design and architecture. Through a series of technical demonstrations and assignments, connections will be made between CAD/CAM software, fabrication technologies and the physical world. Additionally, the course will explore digital fabrication as it relates to traditional sculptural processes such as mold making + casting, metalworking, and woodworking.
 
This course, although technical in nature, is not technical in spirit. Our goal is not the mastery of any one software application or fabrication technology, but instead an understanding of how to effectively leverage digital processes and tools in one’s studio.
 
The semester will be divided into a series of assignments, each exploring various approaches to digital
design and fabrication, and will culminate in a final project blending digital fabrication with an existing
project and/or research interest.

You will leave this course with the ability to digitally model complex geometries in two and three
dimensions, generate toolpaths in two and three dimensions, and output to a CNC Plotter, CNC Plasma
Cutter, and CNC Router.

Elective

This hands-on course introduces the fundamentals of mold making and casting, with an emphasis on experimentation and iterative problem-solving as essential to the process. Students will work with plaster and other easy-to-use mold making and casting materials to explore one-part and simple textural molds, direct modeling with oil clay, and basic casting techniques. The course builds toward more complex flexible mold systems—particularly with silicone rubber—while addressing key challenges like undercuts and scale. Alongside technical instruction, students will examine contemporary uses of casting in art and develop the skills to confidently adapt mold making techniques to suit their evolving studio practices.

Estimated Cost of Materials: $300.00

Sculpture Sophomores have registration priority. Juniors and above require department permission to register. Use the Request Course Section Prerequisite Override task to request permission to register for the course.

Elective

This course is structured according the notion that artists can use what is on hand to research and craft simple solutions to the complex physical, mechanical, and technical problems that must be routinely addressed in their making practices. This material and process based, hands-on, research studio will be structured in response to the issues that the advanced fine arts student is grappling with on a regular basis. Many of the issues that arise in the process of making provide the opportunity to transcend perceived material-based boundaries and thinking. Some of the questions this course attends to include: How do you defy gravity? How do you generate the hidden components required to physicalize the thing we can see in our mind's eye? How is the magic we need to create our work scalable to the resources we have readily available? Example working processes include: mig welding, tig welding, casting for prototyping, woodworking, and mold making.

Junior class level and above and instructor permission is required to register for this course, please contact the instructor directly.

Elective