Ondrizek
Monday and Wednesday 1:10-4:00pm
The smell of the rain-wet dirt, the texture merged with the color and the fragrance of orange rinds, and the steel-iced fusion of cold hard: these shape the haptic realm. The essence of material, smell, textures, temperature, and touch vitalize everyday existence.
Phenomenology is a discipline that puts essences into experience. The complete perception of architecture depends on the material and detail of the haptic realm, as the taste of a meal depends on the flavors of its ingredients.
Steven Holl, Chemistry of Matter, ParallaxCraft is another way of saying means. I think it’s a question of conscious intention, finally and personal gifts or giftedness. It seems that in art there is a primacy of idea over both means or craft and function. Idea has to transcend both.
Martin Puryear
This course introduces you to the structural principles and communicative possibilities of materials and physical forms. We will explore the hap tic and experiential qualities and structural abilities of materials. Examples of Artist work will be used to demonstrate these ideas.
Each project will address one of the three scales of sculpture: and the intimate, which relates to the hand or head; the human, to which the body relates; and the architectural, which the body fits into.
You will learn the fundamentals of wood fabrication, aluminum fabrication, and some wood and stone carving. Throughout the course slide lectures and readings on the work of artists will demonstrate how these problems were addressed in the past.
• Introduce you to the structural principles and communicative possibilities of materials, primarily
Wood aluminum and stone.
• Develop your ability to apply the formal visual principles in sculpture.
• Expose you to the content and context of past art forms.
• Application of the three scales of sculpture; the intimate, which relates to the hand or head; the
human, to which the body relates; the architectural, which the body fits into.
THE LANGUAGE OF MATERIALS AND STRUCTURES:
3 Exercises in Form.
More info on this assignment...
PLANES, FORMS AND SKELETAL STRUCTURES:
Looking at the interior and exterior of a from simultaneously.
More info on this assignment...
MUSEOLOGY, CABNETS AND CASES:
containment and objectification.
More info on this assignment...
PRESENCE AND ABSENCE:
casting and carving the intangible.
More info on this assignment...
We have many materials in the cabinets.
You may want to get a few of your own.
Put your name on a locker and please share it with a classmate.
Get a lock for your locker!
1. Tool box- shoebox
2. Matt knife
3. Drawing pencils
4. Grid paper
5. Sketchbook
6. Trace paper
7. Work gloves
8. Masking tape, duct tape
I will provide wood and stone for the projects. Please see us for the resource list if you need other materials.
Sculpture Center http://www.sculpture-center.org/
Alen Wexner http://www.allanwexlerstudio.com
Bauhaus http://www.bauhaus.de/english/
Andrea Zittel http://www.zittel.org/
Steven Hull http://www.stevenholl.com/
Museum of Jurassic Technology http://www.mjt.org/
Joseph Cornell http://members.aol.com/mindwebart2/cornellpage3.htm
Art 21 http://www.pbs.org/art21/
Rachael Whiteread- http://www.publicartfund.org/pafweb/projects/whiteread_detail.htm
Do-ho Suh http://www.pbs.org/art21/artists/suh/index.html
Cronelia Parker http://www.tate.org.uk/colddarkmatter/texts.htm
Christian Boltanski http://www.artcyclopedia.com/artists/boltanski_christian.html
http://www.tate.org.uk/magazine/issue2/boltanski.htm
Fred Wilson http://www.renabranstengallery.com/WilsonF.html
Allan Wexler http://www.allanwexlerstudio.com/
Richard Deacon http://www.richarddeacon.net
Martin Puryear
http://www.donaldyoung.com/puryear/martin_puryear_index.html
http://www.pbs.org/art21/artists/puryear/
Robert Stackhouse http://www.tandempress.wisc.edu/tandem/gallery/stackhouse/stackhouse.htm
David Nash http://www.hainesgallery.com/Main_Pages/Artist_Pages/DNAS.bio.html
Eva Hesse http://www.sfmoma.org/hesse/
Gordon Matta-Clark http://collections.sfmoma.org/THA2798*1
http://www.multimedia.au.dk/~nrune/lav/web/opg3ref/matta_clark/matta_clark03.jpg
Dan Flavin http://www.diacenter.org/ltproj/flavbrid
http://www.hayward.org.uk/flavin/retrospective.htm
DennisOppenheim http://home.earthlink.net/~dennisoppenheim/index.html
Dia Beacon http://www.diabeacon.org/
Main Reference: Passages in Modern Sculpture. R Krauss
Benezra, Neal David. Martin Puryear (Chicago, Ill.: Art Institute of Chicago; New York, N.Y.: Thames and Hudson, 1991)
Fox, Howard N. "Introduction" and "Tadashi Kawamata," A Primal Spirit: Ten Contemporary Japanese Sculptors (Los Angeles, Calif.: Los Angeles County Museum of Art, 1990)
Barr,Alfred. Sculptors on Sculpture (New York, Distributed by Simon and Schuster, 1954)
Hans Hackke, Texts and Works, Obra Social ( Antoni Tapies Fundacio 1995)
Haupttman,Jodi Joseph Cornell,Stargazing in The Cinema,-The Romantic Museum (Yale University Press, 1999)
Grosnick, Ute Women Artists, Eva Hesse, Muna Hatoum, Rachel Whiteread, (Tashen 2001)
Krauss, Rosalind E. "Forms of Ready Made: Duchamp and Brancusi," pp. 84- 103, Passages in Modern Sculpture (Cambridge, Mass.: MIT Press, 1981, 1977)
Isamu Noguchi [video recording] (Chicago: Home Vision, 1980)
Kristeva, Julia. Interview with Catherine Francblin, Flash Art, January1986, Julia Kristeva, Interviews edited by Ross Mitchell Guberman (New York: Columbia University Press, 1996)
Kruger, Barbara. Love For Sale: The Words and Pictures of Barbara Kruger (New York: H.N. Abrams, 1990)
Ana Mendieta [video recording]: fuego de tierra/a videotape by Nereyda Garcia-Ferraz, Kate Horsfield, Branda Miller (Chicago, Ill.: Video Data Bank, 1987)
Andrews, Oliver. Living Materials: A Sculptor's Handbook (Berkeley: University of California Press, 1983)
Krauss, Rosalind E. Passages in Modern Sculpture (Cambridge, Mass.: MIT Press, 1981, 1977)
Penny, Nicholas. The Materials of Sculpture (New Haven: Yale University Press, 1993)
Miss, Mary Mary Miss , Think Space, Joseph Giovanni (Princton archiectual Press)
Serra, Richard, Richard Serra,1985-1998 The Plates
Stiles and Selz. Theories and Documents of Contemporary Art, A Sourcebook of Artists' Writings (Berkeley: University of California Press, 1996)
Wallis, Brian and Tucker Marcia. Blasted Allegories (New York: New Museum of Contemporary Art; Cambridge, Mass.: MIT Press, 1987)
1. Working in class 6 hour a week.
2. Attend workshop-training sessions on electric hand tools, wood fabrication, woodshop skills, and aluminum fabrication, box making and stone carving.
3. 4 hours of outside class work time a week on your projects. (Including the workshops.)
4. A written 2-4 pages self-critique is due at the conclusion of each project. This includes information on the technical skills you learned, the conceptual idea you worked with, the artists and readings we covered.
5. Storage of your work, clean up after working and proper use of materials
Attendance 40%
Attend all classes. You have two excused absences.
You must be in the studio by 1:15.
We will usually begin the class with a discussion, so it is vital that you are here for the beginning of the class.
Participation 20%
You’re input and interest in the class, and willingness to share ideas visually and verbally.
Discussion is vital to a studio course.
Doing the readings and the assignments and talking about them is necessary.
Assignments 40%
You will write a 2-page essay discussing your work, the readings done for the assignment, and detailing the technical challenges you personally over came in doing the assignment.
1.Turn in projects on time. Your grade will be lowered for each week the project is late.
2. Generation of basic ideas and exploration of solutions. This includes drawings, models and exploration of materials.
3. Visual organization of your forms. Your ability to follow a system of formal design.
4. Conceptual thought process put into visual forms. Your ability to convey the ideas behind the form created is vital to the success of the piece.
You may have a key to the art building and use this studio when you wish.
The tool cabinet in the right corner of the studio has tools for your use.
You may only use the Wood shop when the Wood Shop Tech is present.
You may only use the shop after you have been trained. Training will take place on Fridays beginning in September. Please sign up with Laura for your training day.
Marko Lulic/Peter Kreider Exhibition
Douglas F. Cooley Memorial Art Gallery
Opens September 5, at 6:30
Lecture
Marko Lulic
http://markolulic.net/
Peter Krieder
http://registry.whitecolumns.org/view_artist.php?artist=288
Barbra Stafford
William B. Ogden Professor of Art History
The University of Chicago
Steven Ostrow Distinguished Visitor in the Arts Lecture
Lecture: October 1- 7:00
"The Remaining 10%: The Role of Sensory Understanding in the Age of the Self-Organizing Brain"
Vollum Lecture Hall
Ian Boyden
Artist/Bookmaker
Cooley/Gray Visiting Artist
Lecture October 24- 7:00
Psychology Auditorium
Gary Hill
Artist, one of the founders of video installation art.
Steven Ostrow Distinguished Visitor in the Arts Lecture.
November 13-16, 2007
Lecture November 13- 7 pm Vollum
27.Introduction to the course, discussion of types of wood and hand tools.
Introduce The Bauhaus project: “Make a paper tower”.
Assignment: Readings-“ Beginning course at the Bauhaus”
Look at- http://www.bauhaus.de/english/
Sol Le Witt
29. Slides, “The Function of Aesthetics, the Aesthetics of Function”.
Discussion of formal language.
Work on the Paper towers.
Begin collecting materials for, “Language of Structure” assignment.
Friday: Finish Towers.
3. Labor Day
5.Look at Towers. Lesson: Hand Saws, Chisels, How to join wood without glue.
Begin fabricating forms.
Assignment: Work on forms. Reading: Marco Lucia
Friday: Work with hand tools, Fabricate 2 forms.
10. Meet Marko in the Cooley Gallery
Work time- Complete 3rd form.
Reading: “Analytic Space” Krause
Review Artist/Architects works:
Alan Wexnerwww.allanwexlerstudio.com
Eva Hesse http://www.sfmoma.org/hesse/
Cronelia Parker http://www.tate.org.uk/colddarkmatter/texts.htm
Sol LeWitt
Martin Puryear http://www.pbs.org/art21/
12. Discussion/critique of 3 Forms.
Introduction to “Planer/ Skeletal Structures” Slides/Discussion
Introduction to new tools, jig saw, band saw, sanders drills.
****Friday: Woodshop Training******
Begin planning work, make sketches, collect materials.
17. Meet Peter Kreider in the Cooley Gallery
Introduction to materials, steam bending, lamination, popriveting.
Meeting with students to plan the project.
Assignment: Reading, Sol LeWitt, Martin Puryear
19.Slides /video: Le Witt, Serra, Puryear, +Contemporary Artist
Begin fabricating. Individual meetings about the project.
Assignment: Use Thursday/ Friday workshop hours to begin the fabrication process for
your piece. Make sure all wood strips are cut for lamination, bending or popriveting.
24.Work time.
26.Work time.
2.Work time.
Assignment: Use the workshop time to finish your project!
Barbara Stafford Lecure
4.Last work day! Make sure you work is installed in the gallery before the critique at 1pm
8.Critique- Planer/Skeletal-DUE!
Look at: Museum of Jurassic Technology http://www.mjt.org/
Reading- The Museum as Muse, Open the Box
Barbara Staford -----------------
10.Slides to introduce Museology, Cabnets and Cases, Discussion of Reading, Web site, Museum of Jurassic Technology. Brain storming sketches in class.
Assignment: Reading- Joseph Cornell http://members.aol.com/mindwebart2/cornellpage3.htm
Mark Dion,
Gather materials!
22. Slides, CD- Cornell.Discussion of reading.
Brain storming sketches in class.
Lessons in box building.
Ian Boyden Lecture
24. Lessons in box building. Work time in class, Drafting/drawing the project, box building. Friday: Practice box building, make a model, begin working
Assignment: Begin gathering materials and start working. Review Mark Dion, Zittel and Wilson
29. Slides/Video-Mark Dion, Fred Wilson, Andrea Zittel
Meeting with student about projects.
Work time in class, Drafting/drawing the project, box building.
31. Work
Assignment:
5.Work Time
7.Work Time
12. Crit, Museology, Cabnets and Cases
Assignment: Look at RachaelWhitereadhttp://www.publicartfund.org/pafweb/projects/whiteread
Janine Antoni http://www.varoregistry.com/antoni/1.html
Do-ho Suh http://www.pbs.org/art21/artists/suh/index.html
Reading: Some Notes on Anthony Gormley
14. Introduce -PRESENCE AND ABSENCE: carving stone forms.
Review works, Video and Slides, Rachel Whiteread, Do- Ho Soh, Antonie
Introduce Casting.
Friday: Casting
19. Discussion on place, space and installation.
Work time.
21. Casting practice
26./28.Work time
3.Work time
10. Final Critique: PRESENCE AND ABSENCE
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