COURSE CREDIT HOURS (3) CLASS HOURS (6) Wed ACADEMIC CALENDAR COURSE DESCRIPTION FOR ART 381

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1 RED DEER COLLEGE COURSE OUTLINE ART SCULPTURE 11 Fall TERM 2015 INSTRUCTOR- Ian Cook OFFICE- BTL PHONE OFFICE STUDIO Office Hours Mon PM, and Wed PM.00 mlcook@shaw.ca (home) Ian.Cook@rdc.ab.ca 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 11 Developing and realizing sculpture using various techniques and materials. Pre-Requisites: Art 281, Art 231, Art 233, Art 241 and Art 243 (Art 381 may be available for Prior Learning Assessment. Students should refer to the RDC Calendar for a list of excluded courses.) COURSE OBJECTIVE FOR ART 381 The course objective for Art 381 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. MATERIALS AND SPECIAL FEES Students have already paid a $50.00 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. 1

2 Students will be charged a fee for bronze cast sculpture, whereby the first 2 pounds of weight are free. Plaster will be supplied free for mould work. 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 3 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 You will need a sketchbook for note taking and problem solving. You will also need a set of clay tools, sculpture modelling tools (Princess Auto), calipers, mat knife, metal ruler, respirator, and 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 and extend existing ideas and the strength of existing work to a higher level. 9 Ability to compare and analyze sculptural works as a method of critique. (describe, analyze, appraise, etc.) 2

3 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 and conceptual parameters to each problem. You will be expected to complete outside work and historical and contemporary research of artists and their work which will reinforce and support in class 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/Concepts: 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 Perceptual Modelling from life. 3

4 4 Found Object and Assemblage. 5 Lost Wax Casting using the Ceramic Shell Casting Process. 6 Creative Problem Solving for sculpture. COURSE STRUCTURE AND LEARNING EXPERIENCE Your sculptural learning experience in Art 381 will introduce you to different types of sculpture experiences, some process-media driven, others concept driven, and at times a combination of both. Some 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 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, and some of the paintings of Francis Bacon. The sculpture could also have intimate and secretive aspects, and 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

5 4 (a) Volumetric space defining sculpture which is an assemblage constructed of repeated common elements. 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) Three part life sized portrait sculpture which defines the concept of metamorphosis, and possibly a secondary concept. The work must include one visually accurate portrait within the transformation. The references are Matisse s Jeanette Series, the work of Giacometti, and Evan Penny. (b) The work is to be redefined through mould-making. One or more of the poses is to be cast using a different media, and possibly an unexpected media. 6 (a) Bronze Sculpture which is based on one or more repeated elements. The element (s) may be sculpted or designed using using Google Sketchup and printed in 3d. A flexible mould can then be used to cast multiples in wax from which the sculpture will be built. 6 (b) Bronze cast strong sculpture which is sophisticated, conceptually profound, and visually arresting. 7 Other ideas for sculpture based on personal 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. 5

6 At Mid Term the instructor will meet with students at an appointed time to review individual portfolios and provide Feedback and grade. Performance is assessed primarily on the portfolio of work produced in response to assigned problems. The grade will reflect the completeness of the portfolio in terms of all assignments being present, and the quality of work produced to Midterm, and the end of term. 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. CRITICAL DATES - (ACADEMIC SCHEDULE) First Day Of Class Sep.03 Last Day For Tuition Refunds Sep 11 Last Day For Add/Drops Sep 11 Emergency Response Day Oct 7 Thanksgiving day (College closed) Oct 13 Mid Term Feedback by Oct 24 College Open but No Credit Classes Nov 10 Remembrance Day (College closed) Nov11 Credit Classes Resume Nov 12 Last Day For Withdraw with WD Dec 3 Last Day Of Class Dec 3 Final Grades Available Dec 22 College Closed (Noon) Dec 24 LATE OR ABENT FROM CLASS PENALTIES Attitude, commitment,and participation are important to your development and progress, Full Attendance of all classes and arriving punctually BEFORE class is an indicator of attitude and commitment. Three or more unexcused absences can lower your grade by as much as half of a full letter grade. Arriving late is the same as 1/2 of an unexcused absence. Six or more late arrivals is the same as Three unexcused absences. IF YOU ARE GOING TO BE LATE OR MISS A CLASS PLEASE PHONE THE STUDIO AT THE BEGINNING OF CLASS. YOU ALSO HAVE THE INSTRUCTOR S ADDRESS. MAKE SURE THAT YOU HAVE THE STUDIO PHONE NUMBER WITH YOU. 6

7 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 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) Grading Grading will be based on the overall quality of work produced including technical skill, compositional strength,completeness of portfolio presented, how well your sculpture work solves the visual problems presented, and overall visual strength of the work produced,and creative insight shown. 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) 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 or designate for completeness and consistency with all College policies and School standards. It is the student s responsibility to insure that all aspects of the course outline are clearly understood. If not clear please check with the instructor. 7

8 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 02 September,