RED DEER COLLEGE COURSE OUTLINE ART

Transcription

1 RED DEER COLLEGE COURSE OUTLINE ART 381 (Sculpture 2), and Art 383 (SCULPTURE 3) Winter Term, 2017 INSTRUCTOR- Ian Cook OFFICE- BTL PHONE OFFICE STUDIO Office Hours Mon PM, and Wed PM.00 (home) CLASS ROOM 954 COURSE CREDIT HOURS (3) CLASS HOURS (6) STUDIO CLASS HOURS: Wed , and Wed ACADEMIC CALENDAR COURSE DESCRIPTION FOR ART 381 ART CREDITS (4-2) 15 weeks, SCULPTURE 2 Developing and realizing sculpture using various techniques and materials. Pre-Requisites: Art 281, Art 231, Art 233, Art 241 and Art 243 Note. Not eligible for challenge ACADEMIC CALENDAR COURSE DESCRIPTION FOR ART 383 ART CREDITS (4-2) 15 weeks, SCULPTURE 3 Further study and work in sculpture. Pre-Requisites: Art 281, Art 231, Art 233, Art 241 and Art 243 Note. Not eligible for challenge COURSE OBJECTIVE FOR ART 381 and ART 383 The course objective for Art 381 and Art 383 is to extend the student s understanding of sculptural principles and sculptural processes associated with making traditional and contemporary art. DESCRIPTION OF LEARNING EXPERIENCE Assignments will explore new ideas, new materials, and new ways of working while producing modern and contemporary sculpture. Projects will have historical, conceptual, and media parameters within which the student can explore and find personal expression. 1

2 MATERIALS AND SPECIAL FEES Students who register in Art 381/383 have already paid a Materials Fee for the course at the time of Payment of Fees. This fee covers printed and audio visual materials as well as some of the cost of keeping sculpture tools and equipment functional. Students will be charged a fee for bronze cast sculpture. Student may be charged for sculpture materials made available through the studio. A sculpture Locker Fee will be charged as a non refundable rental fee. REQUIRED TEXTBOOKS AND EQUIPMENT 1 Sculpture Now, Thames and Hudson Publishers, 2 The Elements of Sculpture, by Herbert George OPTIONAL TEXTBOOK History Of Modern Art -by H.H. Arnason (for reference only) This text is a very good reference and it is a required text for Art History, Art 307. Students will have to do required research using the College Library and Internet. THE TOOLS AND EQUIPMENT YOU WILL NEED - sketchbook for note taking and preparatory drawings. - set of clay tools, - set of sculpture modelling tools (Princess Auto), - callipers. - mat knife. - metal ruler. - respirator. - safety glasses. - etc. COURSE LEARNING OUTCOMES (CLO s) Students who successfully complete the course will have a portfolio of work which demonstrates: 1 Safe and proper use of equipment and hand tools for cutting, shaping, and fastening materials. 2 Safe and proper use of rigid and plastic materials and processes associated with making sculpture. 3 Skill in creating sculptures using a range of casting materials and processes. 4 Skill in combining found and constructed materials to create unified sculptural assemblages. 5 Casting skill in the Lost Wax Method of bronze casting, from employing the principles of building a sprue system through to methods of patination. 6 The ability to manipulate and model plastic and rigid materials into perceptually accurate sculpture. 7 Skill in developing an sequencing an idea through stages of development from a drawing to a maquette, and from a maquette to a finished sculpture. 8 Ability to revise, reformat and extend existing ideas and take them to a higher level. 2

3 9 Ability to compare and analyze sculptural works as a method of critique. (describe, analyze, appraise, etc.) OTHER IMPORTANT LEARNING OUTCOMES * Demonstrate strategies for creative problem solving. * Demonstrate perceptual skills in the handling of figurative and portrait subject matter. * Ability to integrate art historical and contemporary ideas into their work. * Employ methods of visual analysis which guide the direction of future work. Engage in methods of critical thinking which focus on description, analysis, and appraisal of sculpture work. * Create a sculptures which demonstrate specific intent and expression derived from person experience. PRESENTATION OF LEARNING ACTIVITIES The majority of time will be spent on processing your work as hands-on-learning. The studio experience will include the formal presentation of problems reinforced by a slide presentation of of art work by master artists and former students work and at times instructor demonstrations. There are technical, material, and conceptual parameters to each problem. You will be expected to complete research on the work and nature of historical and contemporary sculptors as part of studio assignments. In class studio critiques will follow each assignment. STUDIO HOURS The semester has only 13 weeks of learning. Each class represents one week of semester time. If you miss 1 class you have missed 1 week of time, or 8% of the Academic Term. If you miss 3 full days of class you will miss approximately 25% of the term work and valuable class time. The studio learning experience includes formal studio instructional hours of 6 hours per week. You will need to put in minimum of 6-10 additional hours per week to do well. Course Topics and Projects: General topics will include but may not be limited to: 1 Safe Practices in Construction and Fabrication Techniques. 2 Casting Techniques including piece mould, waste mould, flexible mould, and life casting. 3 Modelling from life, portrait and figure. 3

4 4 Sculpture based on Found Object and Assemblage. 5 Figure Casting using plaster bandage referencing George Segal. 6 Lost Wax Casting using the Ceramic Shell Casting Process. 7 Welded Steel Sculpture, and welded steel sculpture in combination with other materials. 8 Kenetic Sculpture 9 Modular Sculpture. 10 Installation Sculpture, Form and Context. 11 Metamorphosis as a concept and application to sculpture. Examples:Matisse and Dine. 12 Sculpture making use of a a Space Frame. Giacometti, Moore, 13 Conceptual based sculpture. 14 Nature Based Sculpture. ( Andy Goldsworthy, Richard Long, and David Nash). 15 Sculpture in wood, assembled, constructed, and carved, 16 Public Art, concept and setting. 17 Creative Problem Solving for sculpture. 18 It will be possible to add to the list of explorations based on student interest and need to explore modern and contemporary sculptural processes and ideas. COURSE LEARNING OUTCOMES Your sculptural learning experience in Art 381 / 383 will introduce you to different types of sculpture experiences, some process and media driven, others concept driven, and at times a combination of both. Examples of the types of problems you will explore are as follows: 1 Sculpture problems which involve nature and the environment. Your work will reference the sculpture work of Andy Goldsworthy, David Nash, Anselm Kiefer, Richard Long, and others. Artists respond to nature in different ways, some empathetically and emotionally; others respond to nature by imposing their human imprint on nature. Some sculptors include within their work, mythologies, narratives, and philosophical viewpoints which express an emotional, spiritual, and cerebral viewpoint. Some artists reference ethical and social issues where environment and climate have 4

5 been impacted in such a way that our well being and future are threatened. The sculpture work which references nature should include a photo record of the sculpture and include drawings, and possibly culminate in an installation. 2 Sculpture problem which makes use of enclosures include space-frames, boxes, cabinets, etc.. The sculptors referenced will include Lucas Samarus, Joseph Cornell, Alberto Giacometti, Louse Nevelson, paintings of Francis Bacon and others.. The sculpture could also have intimate and secretive aspects, and possibly employ an eyepiece for a peep show, referencing Duchamp or other artists. 3 Media based sculpture which defines planar spatial relationships, where sculpture becomes a definer of space. Sculpture defines the relationship between Form, Place, and Space. Sculpture can define a ground plane; define a vertical wall plane; define a linkage between ground plane and wall plane; define an inside Corner Space linking two vertical planes; define an Outside Corner Space; define a Ceiling Plane; or define a connection between Floor and Ceiling. This problem will reference some of the artists found in the book Vitamin 3D and other historical and contemporary artists, Tatlin, Moore, Robert Morris, etc. The sculpture can be constructed in Wood, Plaster, Steel, or another approved material. The list of artists will be expanded at the time of presentation... In part the aesthetic impact and value of the sculpture will be determined by the relationship of material to the idea being conveyed. 4 (a) Space defining sculpture which is an assemblage constructed of repeated ele ments. The reference will be Lyndal Osborne, and other assemblage installation artists. (b) Sculpture made up of found objects which includes juxtaposed elements. The elements used in context with one another will signify and build meaning within the work. 5 (a) A Series of Portrait or Figure sculptures which defines the concept of metamorphosis, and possibly a secondary concept. The work could as its starting include one visually accurate portrait within the trans formation. The references are Matisse s Back and Jeanette Sculpture Series, the work of Giacometti, Jim Dine, and Evan Penny. Examples could include: Change in context by redefining a work through mouldmaking and casting using different media, or applying forces ton the work to create a three-five step transformation of form over time. 6 (a) Bronze Sculpture which is based on one or more repeated elements. The element (s) may be sculpted or designed and digitally printed in 3D. 5

6 A flexible mould can then be used to cast multiples in wax from which the sculpture will be built. (b) Bronze cast strong sculpture which is sophisticated, conceptually profound, and visually arresting. 7 Other ideas for sculpture based on student personal interest and research. STUDENT SAFETY Please refer to the RDC Visual Art Studio Policy and Procedures for details regarding after hour access to studios and studio conduct. A copy is a available from the Instructor or Studio Technician. The Sculpture Studio is the one place used by every course. Therefore it is of the utmost importance that the studio be kept clean. Please clean your work space and any table tops and large equipment that you have been using as part of your studio activity. Please return all borrowed equipment to its proper location before you leave. If any of the equipment malfunctions or needs repair please point this out to the Studio Technicians.The Sculpture Studio contains a variety of equipment and materials that pose serious health and safety risks if improperly used. If you are unsure about the proper use of any tool or material, please ask the instructor or technician for assistance. ASSESSMENT OF STUDENT PERFORMANCE There are two assessment time periods, Mid Term Review and Final Portfolio Assessment. CLASS ATTENDANCE POLICY\ As a Department Policy: Attendance and active participation in class is mandatory. Attendance will be taken at the beginning of each class. More than two unexcused absences as well as late arrivals will adversely affect the final grade and will result in a reduction of the grade by up to 10% or half of a letter grade. IF YOU ARE GOING TO BE LATE OR MISS A CLASS DUE TO ILLNESS IT IS YOUR RESPONSIBILITY TO PHONE OR THE INSTRUCTOR. MID TERM FEEDBACK In Class interviews between the instructor and students will be conducted on an appointment basis to provide Feedback to the student. (Mid Term Grade is 50% of Final Grade) END OF TERM FINAL EVALUATION Studio Courses do not normally have written final exams. Portfolios will be called in for Final Assessment by the instructor at the end of term at an agreed to date which may be the last day of class. (The RDC Final Examination Policy Will Be Followed) 6

7 Final Assessment will include all of the work produced from over the whole semester. Attendance and participation in critiques and activities will be considered part of the grade. Grading Grading will reference Course Learning Outcomes. Work will be assessed based on the overall quality of work produced including technical skill, compositional strength, and completeness of of the portfolio presented, how well your sculpture work solves the visual problems presented, the overall visual strength of the work produced, and creative insight shown. RDC GRADING STRUCTURE The grading structure follows the established College structure as outlined in the RDC Calendar. Please consult the RDC Calendar description of the four point letter grade system. Grades of D do not generally transfer to other institutions. LETTER NUMBER DESCRIPTION A+ 4 Exceptional Performance A 4 Excellent Performance A- 3.7 Excellent B+ 3.3 Excellent B 3 Good Performance B- 2.3 Good C 2 Satisfactory Performance C- 1.7 Satisfactory D+ 1 Pass F 0 Fail CRITICAL RDC CALENDAR DATES - (ACADEMIC SCHEDULE) First Day Of Class Jan 04 Last Day to Register or Add/DropCourses Jan 09 Last Day For Withdraw with WD Feb 17 Family Day (College closed) Feb 20 Mid Term Break Feb Credit Classes resume Feb 27 Mid Term Feedback Mar 01 Emergency Response Day Mar 07 Last Day Of Class April 11 Last Day for Course Withdraw April 11 Good Friday (College Closed) April 14 Final Exam Week begins April 17 Final Grades Available April 28 7

8 ACADEMIC MISCONDUCT Please be familiar with what constitutes Academic Misconduct as well as the consequences as outlined in the RDC Calendar. Plagiarism involves submitting someone else s research or work in a course as if it is your own. CHANGES TO THE COURSE OUTLINE Changes can only be made with the consent of the class and consent of the Associate Dean. It is the student s responsibility to insure that all aspects of the corse outline are clearly understood. If not clear please check with the instructor. This course may be eligible for Prior Learning Assessment. students should refer to the RDC Calendar for a list of excluded courses. STUDENT RESOURCES Students should be aware that Personal Counselling and Career Counselling are provided to all RDC students as well as Disability Services. Inquire at the Information Desk. It is the student s responsibility to discuss their specific learning needs with the appropriate service provider It is the student s responsibility to be familiar with the information contained in the Course Outline and to clarify any areas of concern with the instructor. Students should refer to the Appeals: Formal Policy, Appeals: Informal Resolution Policy and Student Misconduct: Academic and Non-Academic Policy should they have questions or concerns about the course outline that cannot be resolved with the instructor. Associate Dean Date 03 January,