Wednesday, January 27, 2016

Interesting Gigs - if you can do it..


                                                                            Looking to Hire Art Students for Caricatures

We are looking to hire art students for the Senior All Night Party at Marysville High School on April 16, 2016.  The party takes place after the senior prom to keep the students in a safe and fun environment.  We are in need of 3 art students to draw caricatures of the students  from 12:30 am -3:00am.  We are expecting approximately 160 students to attend, although not all will want a caricature. We are working on a limited budget but would be able to pay $70.00 per student. The 2015 class parents hired one artist last year but most students were not able to get a drawing due to time constraints which is why we are looking to get multiple artists.  The students last year loved having this memento to remember their party.  Please contact me by email at gkjansen@sbcglobal.net or by phone at 810-479-2079.

Thank you, 

Kim Jansen

Sunday, January 24, 2016

Assignment 2: Making a High and Low relief in one sculpture: Front facing Work!! Due Thurs





      •Relief simply means a sculpture is on a flat surface and not in the round. (does not have a back – can’t walk around it)
      




High relieve means the sculpture is carved quite deep and show a strong shadow it is also a point of where important details are.
High relieve means the sculpture is carved quite deep and show a strong shadow it is also a point of where important details are.
Haut Relief – high relief (pronounced ‘HAh’)













 Low usually is pushed back and is smoother, flatter and tend to show less contrast of lit and shadow.



 


         Low usually is pushed back and is smoother, flatter and tend to show less contrast of lit and shadow.

      •Relief Sculpture – physically pushing or pulling the two-Dimensional picture plane into the third dimension of actual space. 

Relief simply means a sculpture is on a flat surface and not in the round. (does not have a back – can’t walk around it)

Bas Relief – low relief (pronounced “Bah”)



ASSIGNMENT


Make a relief work that deal with both a High and low relief in some way.
One part must be a High Relief in the piece and one must show an area to be low relief– size optional
FRONTAL VIEW
Draw at least 4- 5 drawings to plan it out
Build it out of cardboard/foam board
Assignment Due:  Thursday, January 28

NOTE:  In relief sculpture and full round sculpture on the other hand, depth and the modeling of form hinges upon the artist’s ability to control how actual light (and its inverse-shadow) plays across the surface of the relief or sculpture.
Build a relief piece using white styro- foam or cardboard or intermix the piece.
Must incorporate both (haut) high and Low (Bas) Relief!
Think abstract.
Think texture

In three-dimensionality work- art can be viewed from primarily a frontal view as in a relief form. In frontal view the work is organized in the front  - where the visual interest is sought.  This experience is presented for frontal view by the artist.
Make a Relief piece – size optional
Must show both low and high relief in it





FRONTAL VIEW
Draw at least 5 drawings to plan it out
Build it out of cardboard/foam board

Assignment Due:  Thursday January 28.

Assemblage - Sculpture: Jeremy Mayer at TEDxGoldenGatePark (2D)

Paola Antonelli: Treating design as art

Killer Work




Christo and Jeanne Claude’s “The Umbrellas: Joint Project for Japan and U.S.A.” was conceptualized in 1984, but not carried out until 1991. Composed of hundreds of six-foot-tall 485-pound umbrellas installed on the coasts of California and Japan, it’s a peaceful work about interconnection. Yet, due to a failure of the joint holding an umbrella in place, Californian Lori Keevil-Matthews was crushed to death against a boulder when the umbrella escaped its socket. After the tragedy, Christo called for the installation to be dismantled, but then during the dismantling process in Japan, worker Masaaki Nakamura was electrocuted when the arm of the crane he was operating struck a high-voltage power line.

Yikes!

_____________________________________________________________________________
Man accused of sculpture deaths


Maurice Agis inside Dreamspace
Artist Maurice Agis created the first Dreamspace in 1996
The artist who created an inflatable sculpture that killed two women when it flipped over in a freak gust of wind has been charged with manslaughter.Maurice Agis, 76, from Bow, London, faces a count of gross negligence manslaughter after his Dreamspace sculpture overturned in County Durham.
He was bailed to appear before Peterlee magistrates on 26 February.
Elizabeth Collings, 68, from Seaham, and Claire Furmedge, 38, from Chester-le-Street, both died in 2006.
Another 13 people were hurt when the artwork lifted into the air at the Riverside Park at Chester-lee-Street on 23 July.

Claire Furmedge and Elizabeth Collings
Claire Furmedge and Elizabeth Collings were killed
Mr Agis also faces a charge under health and safety laws.
Liverpool-based promotions company Brouhaha International Ltd and Chester-le-Street District Council have also been charged with breaching the Health and Safety at Work act, in connection with the incident
The council's director of development services, Tony Galloway, faces a charge on a separate breach of the act.
They are all due to appear before Peterlee Magistrates' Court on 26 February.
Durham Police said Mr Agis had been charged at Charing Cross police station in London.
"These proceedings follow a lengthy investigation by Durham Constabulary and the Health and Safety Executive," a spokesman said.
"The families of those killed and the people injured have been informed of the developments." 

_

the work:


In July 2006, an inflatable, inhabitable sculpture that artist Maurice Agis had installed in Country Durham, England lifted up and blew away. The multicolored bubbles that make up the work look pretty innocuous, but factor in a few engineering mishaps and you end up with the death of two women who fell from the installation while it was in flight. Though several people including Agis himself attempted to hold the sculpture down as it floated away, the lift off was inexorable. It turns out that the construction company hired to install the piece didn’t use enough tethers to connect the work to brackets in the ground. In the end, the artist was charged with a $10,000 fine, which was later decreased to $2,500.








________________________________________________________________________


Luis Jimenez, a successful but often controversial sculptor whose work was supposed to be installed at Denver International Airport this year, died Tuesday in what authorities are calling an industrial accident.
Part of a 32-foot sculpture was being moved with a hoist at Jimenez's New Mexico studio when it came loose and struck the artist, pinning him against a steel support, said the Lincoln County Sheriff's Department. He was taken to the Lincoln County Medical Center, where he was later pronounced dead.
"Luis Jimenez's loss to the United States, to New Mexico, to the Chicano community is great," friend David Hall told Albuquerque television station KRQE. "He was an icon, he was a very famous and well-respected artist. ... We will dearly miss him."
Jimenez, 65, was known for his large and colorful fiberglass sculptures that depicted fiesta dancers, a mourning Aztec warrior, steelworkers and illegal immigrants. His work has been displayed at the Smithsonian and the Museum of Modern Art. It's often started arguments and spurred emotions.
"It is not my job to censor myself," Jimenez once said. "An artist's job is to constantly test the boundaries."
Nancy Fleming, a friend of the artist, said Jimenez was working on a huge fiberglass rendering of a rearing horse when he died. That sculpture, named Mustang, was bound for DIA. Fleming said he was making the statue in three pieces: the head, middle and legs.
"Mr. Jimenez's untimely death is a tragic loss for the nation's art community," said Erin Trapp, director of the Denver office of cultural affairs. "He will be remembered for his artistic vision, compassion and generosity through a rich legacy of work."
The airport and the cultural affairs office will work with the local community to determine how the piece can be finished, the office said in a news release.
Earlier this year, the airport threatened to sue Jimenez again because he had not finished his piece on time. He had been working on the sculpture for more than 10 years and had been given several deadlines. His last deadline was May 31 but it passed with no sign of the horse. He was to be paid $300,000 for the piece.
The city sued Jimenez to get back an upfront payment of $165,000 and finished parts of the sculpture. Jimenez filed a counter suit after the airport considered putting the sculpture inside the terminal instead of on a street median outside as originally agreed. Both lawsuits were dismissed.
James Moore, former director of the Albuquerque Museum, praised Jimenez's abilities.
"If there were a Michelangelo living in our time in terms of talent and creativity, Luis was it," Moore said, adding that Jimenez was always concerned with humanity and social conditions.
Gov. Bill Richardson ordered flags to be flown at half-staff Thursday and Friday in honor of Jimenez.
Jimenez grew up in El Paso, Texas, and learned to paint and to fashion large works out of metal in his father's sign shop. He graduated in fine arts from the University of Texas in Austin and lived in New York City for a time.
In 1969, he created "Man on Fire," a sculpture of a man in flames that drew its inspiration both from Buddhist monks in South Vietnam who burned themselves and the Mexican story of Cuahtemoc, set afire by Spanish conquerors. The sculpture was displayed at the Smithsonian.
Jimenez recently completed a mud casting of firefighters and three fiberglass flames as part of a memorial for the city of Cleveland.
Jimenez won numerous awards and his work is on display at public sites across the nation and in New Mexico, including the University of New Mexico and Albuquerque's Martineztown.
Some of his pieces also are in museum collections, including the Museum of Fine Arts in Santa Fe.


"I think because his works are so monumental -- they have a presence in communities that other artists who show in galleries maybe don't have -- that their presence will stay on with us," Fleming said. "His vision and his technique will stay with us. We will miss anything more that he might have produced."

_______________________________________________________________
After Ai Weiwei’s Tate exhibition was effectively quarantined for its impact on visitors’ health and well-being, we thought we’d investigate the art world for a few other pieces and exhibitions that ended up being a little more than curators and artists bargained for. From the Tate Modern’s numerous Turbine Hall offenses to falling sculptures, environmental devastation, and out of control Richard Serras, here are a few works we’d only want to admire from a safe distance.

_______________________________________________________________
Richard Serra’s “Sculpture No. 3”
Richard Serra, "One Ton Prop (House of Cards)" (1969) (from Arttattler.com)
In November 1971, Richard Serra’s “Sculpture No. 3” was installed at the Walker Art Center in Minneapolis, Minnesota. A sculpture formed from two 5-ton steel plates balanced against each other much like “One Ton Prop” above, the installation turned deadly when rigger Raymond Johnson was trapped underneath a plate that slipped its support and fell. Johnson was killed, and his wife filed a lawsuit against the artist, the museum, and the piece’s fabricators for wrongful death. The safety slots that would have held the steel plates in check were later discovered to have been shoddily built; in the end, it was the fabricators who were found negligent and the artist was exonerated.
Though, according to ArtFlaw, “In October 1988, 2 workers were pinned for several minutes when the 32-ton steel Richard Serra sculpture, ‘Reading Cones,’ toppled from its jacks in the Leo Castelli gallery.” So, how safe are Serras really?

The Met’s Falling “Saint Michael the Archangel”

Andrea della Robbia, “Saint Michael the Archangel” (15th C.) (image via met.org)
In 2008, another art work accident occurred at the Met: a 15th century “Saint Michael the Archangel” relief by artist Andrea della Robbia fell from its wall mounts onto the floor. Fortunately, the 62” x 32” terra-cotta relief fell during the night or early morning, so no one was harmed by the heavenly visitor. Still, not something you want to get  blessed with.

 “Big Bambu” at the Metropolitan Museum
“Big Bambu” (2010) at the Metropolitan Museum (image from NYtimes.com)
Ai Weiwei’s sunflower seeds caused a stir because visitors were restricted from interacting with the piece. Some exhibition-goers called for the Tate to let visitors willingly risk their health anyway, which the Tate does not seem inclined to do. But the Metropolitan Museum is! “Big Bambu” (2010) from Doug and Mike Starn presents an enormous structure of bamboo poles that roosted atop the Met’s roof. Visitors were allowed to climb up the structure, but only after signing a release that freed the museum from any danger of lawsuit.

Maurice Agis’s Inflatable “Dreamspace”

Maurice Agis, “Dreamspace” (2006) (image from guardian.co.uk)
In July 2006, an inflatable, inhabitable sculpture that artist Maurice Agis had installed in Country Durham, England lifted up and blew away. The multicolored bubbles that make up the work look pretty innocuous, but factor in a few engineering mishaps and you end up with the death of two women who fell from the installation while it was in flight. Though several people including Agis himself attempted to hold the sculpture down as it floated away, the lift off was inexorable. It turns out that the construction company hired to install the piece didn’t use enough tethers to connect the work to brackets in the ground. In the end, the artist was charged with a $10,000 fine, which was later decreased to $2,500.

Christo and Jeanne Claude’s “The Umbrellas”


Christo and Jeanne Claude, “The Umbrellas” (1991) (image from leninimports.com)
Christo and Jeanne Claude’s “The Umbrellas: Joint Project for Japan and U.S.A.” was conceptualized in 1984, but not carried out until 1991. Composed of hundreds of six-foot-tall 485-pound umbrellas installed on the coasts of California and Japan, it’s a peaceful work about interconnection. Yet, due to a failure of the joint holding an umbrella in place, Californian Lori Keevil-Matthews was crushed to death against a boulder when the umbrella escaped its socket. After the tragedy, Christo called for the installation to be dismantled, but then during the dismantling process in Japan, worker Masaaki Nakamura waselectrocuted when the arm of the crane he was operating struck a high-voltage power line.

Robert Smithson’s “Island of Broken Glass”

Robert Smithson, “Map of Broken Glass (Atlantis)” (1969) (image from diabeacon.org)


Robert Smithson, earthwork artist of “Spiral Jetty” fame, planned an unrealized work that proved too deadly to carry out. “Island of Broken Glass” proposed to dump 100-tons of broken glass onto a patch of rock off the shores of Vancouver, British Columbia. Following immediate outcries from the environmentalist community due to concerns of the threat to marine and bird life, the project was canceled. Who would want to roost on a pile of broken glass anyway?

Christo and Jeanne Claude’s “Over the River”


A concept drawing for Christo and Jeanne Claude's “Over the River” (image from NYtimes.com)
Christo and Jeanne Claude’s work seems to be fraught with danger. But then wouldn’t anything this big? The proposed plan for “Over the River” calls for “a snaking ribbon of porous polypropylene, totaling nearly six miles,” suspended above the Arkansas River in Colorado. PBS reports that locals feel “taken advantage of by the work,” and have doubts about its safety. From fears of accidents caused by heavy machinery on the relatively small US Route 50 to concerns about the environmental impact of enclosing the river, the project is far from accepted by the community. When we reached out to ROAR, Inc. a nonprofit environmental organization that has been fighting the Christo/Jeanne Claude project area, in August they provided us with the following statement:
The environmental review of the proposed Over the River project is guided by NEPA (National Environmental Policy Act).  Topics covered in that review process are related to environmental issues and concerns such as safety, traffic, public access to homes, businesses and recreation areas, air and water quality, energy use and vegetation and wildlife, among others.  Evaluation of the proposed project as a work of art is not part of the process, nor is it within our mission or purpose.  Accordingly, it is ROAR board policy to avoid commentary on all matters related to the artistic qualities of the OTR project.

Wolfgang Laib’s “Pollen From Hazelnut”

Wolfgang Laib, “Pollen from Hazelnut” (1998-2000) (image from hirschorn.org)
Here at Hyperallergic, we are obviously very sensitive to allergies. That’s why Wolfgang Laib’s “Pollen From Hazelnut” (1998-2000) at the Hirshhorn Museum in Washington, DC has us so worried. The piece is literally an enormous pile of hazelnut pollen, and at last visit, there were no signs or guards in place to warn of the material. For the nut allergic, this piece could easily turn fatal. It’s pretty though!

interesting websites

Relief Sculpture Resource:

Artists:

http://www.acegallery.net/artistmenu.php?Artist=37#

http://www.artyulia.com/index.php/Illustration

Contemporary Gallery/Museum

http://www.moma.org/collection/browse_results.php?object_id=80522


Relief Sculpture:

http://www.sculpturegallery.com/relief.html

_______________________________________________________________________________

ARCHITECTURE:

Berlin Wall:

http://artnode.se/artorbit/issue4/i_koolhaas/i_koolhaas.html

Berlin Wall 20 years afterward:

http://www.spiegel.de/international/germany/landscaping-the-death-strip-a-vision-of-the-berlin-wall-as-a-giant-garden-a-633556.html

Great Hub of informative use:

http://www.dhub.org/?p=1161

Architectural Models:

http://www.flickr.com/photos/iqbalaalam/sets/72157603379114131/

http://www.flickr.com/photos/peteshep/4094389287/

Awesome Cultural and Architectural Reference:

http://www.usu.edu/markdamen/1320hist&civ/chapters/05SPACES.htm

http://www.pitt.edu/~medart/menuglossary/INDEX.HTM
__________________________________________________________________________________

LIGHT AS A MEDIUM:
Interesting to check out!!

http://ec2-75-101-145-29.compute-1.amazonaws.com/art21/artists/james-turrell

http://lostamerica.com/

__________________________________________________________________________________

Kinetics, Art and Science

Calder!!
http://www.youtube.com/watch?v=t6jwnu8Izy0

http://calder.org/work/by-category

http://www.nga.gov/exhibitions/calder/realsp/roomenter-foyer.htm

Duchamp!!
http://www.moma.org/collection/object.php?object_id=81631


Misc. Kinetics
http://www.youtube.com/watch?v=LLRYo4V3HB8

http://www.interactivearchitecture.org/kinetic-art-and-architecture-part-1.html

http://www.wimp.com/kineticsculpture/

http://www.kugelbahn.ch/3_link.htm

http://www.youtube.com/watch?v=dehXioMIKg0

http://www.kinetica-museum.org/

http://www.youtube.com/watch?v=9Z2A6qJyURY&feature=channel

http://www.youtube.com/watch?v=mlUqu6QE7bw&feature=related


http://techtv.mit.edu/genres/25-humanities-arts-and-social-sciences/videos/3315-metropathologies

http://www.youtube.com/watch?v=fYa0y4ETFVo&feature=player_embedded

http://www.youtube.com/watch?v=HmcADeaiHAc

http://www.thewire.co.uk/articles/1706/

Tinguely!!

http://www.moma.org/collection/object.php?object_id=81174


MUSEUMS:

http://www.nga.gov/content/ngaweb/Collection.html

___________________________________________________________________

Amazing Paper Sculpture

http://www.chrisnatrop.com/

http://www.yeesjob.com/origamic-architecture.htm


http://ingrid-siliakus.exto.org/


_________________________________________________________________________

RESOURCES

http://www.artlex.com/

http://www.behance.net/

Wednesday, January 13, 2016

Assignment 1

Assignment 1: Self with Cantilever in it
 Self with a Cantilever - Critique on Tuesday Jan. 19

Assignment:

1. 5 images of ideas of making an object with a cantilever in it
2. Build an object that describes you with a cantilever within it
3. Research and assess what you like, and what makes you you!


Definition of a cantilever:

 A projecting structure, such as a beam, that is supported at one end and carries a load at the other end or along its length.2. A member, such as a beam, that projects beyond a fulcrum and is supported by a balancing member or a downward force behind the fulcrum.

What Glue Should I Use?

Ted Talk - Journey of an Artist Mind



Syllabus

Art -107-01 3-Dimensional Design--Course Outline
2016 Section 01, T/TH 4:00-6:50 pm FAB Room 25
St. Clair County Community College

Professor:                                                 Myrna Pronchuk
Office: Art Office FAB
Phone:                                                 615-974-2726 No Text
Email:                                                            mlpronchuk@sc4.edu
Office Hours:   T/TH  11:00-1 appointment suggested
Class Blog:    3DSCBlog@BLOGSPOT.COM
Class cancellation hotline:    810-989-5770

Textbooks: Will post reading abstracts to be discussed in class on Blog. 

Course Rationale
In this course you will be introduced to 3-dimensional design.  This class is a core class in the Fine Arts Curriculum.  It provides a strong introduction to visual arts for non-majors and assists to develop an awareness and appreciation for the 3-dimensional world in which we live.  3-d Design focuses on purposeful decision making in utilizing elements and principles of design in an integrative way in relating to depth and space.  Students are introduced to 3-dimensional concepts with problem solving challenges.  Emphasis is also placed on visual communication idea building and critical analysis in the content of contemporary art and design.

Catalog Description
Three-dimensional problems in the fundamentals of design include projects that are both decorative and functional. Emphasis on form, texture and color are stressed. A variety of media both man-made and natural are explored. Offered winter semester only.
Prerequisite: None
3 credits, plus 3 contact hours = 2 lecture, 4 laboratory

Academic Accommodations
SC4 will provide reasonable accommodations to students with disabilities in accordance with ADA, provided such accommodation does not fundamentally alter the nature of the program, cause undue hardship on the college, or jeopardize the health or safety of others.

Course Objectives
All Students who successful complete this course will demonstrate these skills and/or knowledge:

1.     Demonstrate visual literacy, seeing with awareness, appreciation, insight and knowledge;
2.     Demonstrate visual communication skills through the basic problem-solving approach to 3-D design;
3.     Use a basic visual arts vocabulary to include 3-D design terms;
4.     Demonstrate knowledge, hand skills and technical expertise in model making;
5.     Demonstrate and expanded awareness of 3-D materials;
6.     Demonstrate a refined understanding of form, space, color and its application to the design solution.

Course Requirements
·      Completion of in-class assignments
·      Work illustrated within sketchbook
·      Two tests
·      Participation and attendance at class critique
·      Reading discussion and oral quiz
·      Portfolio – completed - hand-in midterm and end term
·      Capstone Project with research paper - including presentation and critique
(Research paper must be done MLA styling, double space, research 2 artists)
·      Late hand-ins of work, including Assignments and Capstone projects will loose one whole letter grade for each class day they are late, beginning with the due date. This is if you are there or not.
·      Any readings, quizzes, cannot be made-up for any reason whatsoever.
·      Attend all classes.  More than three absences will lower your final grade one full grade (ie. A to B).  More than four unexcused absences will keep you from passing the course.
·      Come to class on time.  3 tardies = 1 absence.
·      ELECTRONICS POLICY: No outside buds to be allowed in class.
·      Disabilities that need an accommodation must be reported to the Academic Achievement Center.
·      No Audiotaping of class, unless needed for accommodation needs my permission on a daily basis.  Videotaping just isn’t going to happen.
·      INCOMPLETE GRADES only can be given when there is reasonable chance the student can finish the work.  The amount of work allowable is small.  Also, I must be contacted well before grades are due in the Record’s Office.  It has been my experience that very few incomplete grades are actually completed by the contracted date.  When this happens, the “I” grade turns into an E.
·      CANCELLED CLASSES, snow days, disasters (natural or otherwise) happen. If class is cancelled, we will do the assigned work the very next day we meet.
·      NETWORKING is always a good idea since life is so unpredictable.  I encourage you to get the phone numbers of a few classmates.  Always, of course, you can contact me, too.
·      Notify instructor of absence by email.  Due to the tight schedule I will not go over the missed classes in class time-you will be responsible to make an appointment and meet with me during office hours to review what you have missed.
·      Be professional by meeting all deadlines for sketches and finished art.
·      Contact instructor via email for appointment for extra assistance.
·      Work load: 6 hours of work outside class is required each week.
ACADEMIC DISHONESTY:  Plagiarism, or having someone else write all or part of your papers will not be tolerated. Cheating, in any form is not tolerated.  If I detect plagiarism or intentional cheating, I will fail you for that assignment with an E grade of 0%.    If the academic dishonesty is blatant, repeated, or damages a classmate’s grade or impeded his or her chance for success, I might add further penalties including a E grade for the entire course.  These acts of academic dishonesty might be reported to the college, and the college might take action against you as well.  Consult the College Catalog for more details.  Proven cases of academic dishonesty are recorded on your transcripts, and they will follow you wherever you go.  It’s just not worth the consequences. Remember this too, unintentional, accidental, plagiarism is still cheating, and can bring similar penalties.
CLASSROOM   CONDUCT:   Any behavior that disrupts class, threatens physically or verbally, or intimidates any member of the class is absolutely out of line with good conduct in any classroom and especially a college classroom since we are supposed to be mature adults.  A classroom, the hallway, or any instructor’s office is not your personal venue for venting your frustrations or unsolicited opinions.  Check your ego at the door and allow your classmates and the instructor his or her chance to talk.  Remember this:  a college class is not a democracy.  The teacher has absolute say, and even though we welcome input, what happens or doesn’t happen in the classroom ultimately is up to the instructor.  When you sign up for and attend a college class, you’ve signed on with the implied intent of proceeding with mutual respect.  If you exhibit behavior that is threatening or disrespectful, you might be asked to exit the classroom for that meeting time, and you could be removed from the class permanently (after due process, of course).  Security might be called in if the teacher so chooses.
 **A NOTE ON COURSE AND DISCUSSION CONTENT:  Be aware that art and literature can be very frank on issues of politics, religion and human sexuality.  If some of the art and literature’s or the discussions’ attitudes or language should so offend your sensibilities that you feel it might be difficult for you to participate in open discussion, let me know so that I might find another way to engage you in the course material.  Even so, you still will be responsible for being evaluated on the content of the syllabus.



Evaluation:
All design problems will have definite attainable goals, which will be fully explained in detail at the beginning of each assignment.  Students will be graded in relationship to these goals and a letter grade will be assigned in each of the following categories:
Concept/planning  (sketchbook)                         10
Aesthetic resolution                                               20
Craft                                                                          20                                               
Final grades will be based on
Class participation                                                  10
Design Projects                                                       20  =     80%
Completed Portfolio*                                                   =   20%
And Final Capstone
Improvement on an individual basis will be considered in relationship to the final grade.  Letter grades will be assigned using plus and minus system
*Students are responsible for documentation of 3-d work on a CD to be handed in to Instructor at the end of term.           
Supplies (partial list only)
9x12 Sketchbook 66167090451  $11.60
Tackle box or storage box
Ruler
X-Acto knife - $3
Eraser, sissors
18 guage dark annealed soft wire (50 ft coil)
pencil
glue
Collage supplies including:
Mod Podge or Matte acrylic gel medium (required for collage)
Masking tape
Hot glue gun and glue
18"-24” metal ruler 
Assorted small and medium paint brushes and paint, as necessary
Wire cutters
Needle nose pliers
Safety glasses
Sandpaper 


You will need additional materials and tools. Your project ideas will necessarily dictate this need. It is your responsibility to determine what you need for each class and to have them at the beginning of class. You man NOT use class time for trips to the hardware store, art supply store, or to otherwise. Failure to be prepared for class with your supplies will result in you being marked absent for the day.

SKETCHBOOK/JOURNAL:

For this course you are required to keep an artist's sketchbook.  You are expected to bring it to each class and in it you should keep all your research, class handouts, drawings, plans, notes on group discussions, interesting anecdotes, suggested artist names, assignment due dates, and notes on techniques/processes that we review during open studio sessions. Actively use your sketchbook as a matrix of research and ideas. Your sketchbook is one of the few inviolable spaces for creativity that you will have as a constant throughout your lives. Sketchbooks will be collected for twice, once after the first sketchbook assignment and again near the end of the semester.
  

MID TERM PAPER:  Double spaced,

                Work Schedule
***The following "schedule" is the best approximation at this time of what will happen in this class. However, the course content and the timing of the assignments might vary from this schedule in order to meet the particular needs of this class:

Week 1            Introduction, Hand Outs/Material Terminology and                                                                         Identification
            Reading/Research Navigation
                        Ted Talk: 
Week 2            Found art
Week 3            Surface/Space
                        Bas Relief
Week 4            Planes; Interpretation
Week 5            Volume, Mass -
Week 6            Subtraction/reorganization
Week 7             Addition/Reorganization
Week 8             Cross-Section
Week 9            Traditions Challenge-Cabinet of Curiosity
Week 10            Space/Position – Kinetic Investigation
Week 11            Design Abstraction I – Wire Form
Week 12            Design Abstraction II – Organic Forms
Week 13            Design Abstraction II – Carving
Week 14            Decorative Special Concepts – Paper Form
Week 15            Research Paper/Work Capstone/Final Critique
Week 16            Capstone/Final Exam
                        Portfolio Turn in CD*                       
*The Visual and Performing Arts Department will not be responsible for any student art work, projects or written work left in the Fine Arts building after the end of the semester unless special arrangements have been made by the student with the appropriate instructor.  The Department reserves the right to hold selected work for the following calendar year to be included in FAB gallery exhibition


Revised Schedule:
Week 7 – Feb            26                        Intro to next –cross section
Week 8-Mar 3/5                        Cross-Section /sculpture race?
Week 9-Mar10-12                        Traditions Challenge-Cabinet of Curiosity
Week 10-Mar17/19                        Space/Position – Kinetic Investigation
Week 11-Mar 24/26                        Design Abstraction I – Wire Form
Week 12-Mar 31/Apr2            Design Abstraction II – Organic Forms
Week 13-Apr 7/9                        BREAK
Week 14-Apr 14/16                        WAX Carving
Week 15-Apr 21/24                        Research Paper/Work Capstone/Final Critique
Week 16- Apr/28/30                        Capstone/Final Exam

                                                Portfolio Turn in CD*