| ART4031/5031 |
Professor ANN BAVAR |
Course Description
Sculpture, in this course, will occur through development of both formal and conceptual design. Students will be encouraged to incorporate metaphor into their work, which amplifies the conceptualization process. Assigned projects will revolve around a material, central theme, issue, or concept. The art may take its form through construction, modeling, carving or casting. Emphasis will be on contemporary art, theory and concepts. These concerns will be stressed through assigned readings and discussions as well as group critiques. Hopefully, these constructive classroom critiques will stimulate thinking. Suitable for the beginner or advanced student.
Learning Objectives of Contemporary Sculpture
Conforming to the Institutional Learning Objective Knowledge
and Skills in the Discipline the student will learn the four primary
sculptural techniques, modeling, carving, construction and casting.
Course Requirements
Attendance
Completion of assigned sculpture projects (approx. six)
Sketchbook with complete documentation and drawings of projects
Chelsea Galleries and/or Museum trips
Attendance at Art Department Artist Receptions and Functions
The college will supply most materials and
transportation.
ALL
COURSE REQUIREMENTS MUST BE COMPLETED FOR A GRADE TO BE RECORDED.
Grades
will reflect personal aesthetic growth, development of assignments, class
contributions, attendance and General
Professional Attitude. Attendance will be reflected in grading. In excess of
2 unexcused absences will lower the final grade.
Projects – 80%
Attendance/Participation, 20%
Course Requirements ART 5031
All of the above plus two
additional projects
Supply List
Bound notebook 8˝” x 11”
(unlined paper)
18” metal ruler with cork backing
Metal T-square
Pencils
Erasers
Scissors
Masking tape
Clay tools
Heavy duty utility knife
Recommended
Book List
Available in Manhattanville College Library and Art
Department Library
Ashton, Dore. The Sculpture of Ursula Von Rydingsvard. New York: Hudson
Hills Press, 1996.
Beardsley, John. Earthworks and Beyond. New York: Abbeyville Press. 1984.
Bush, Martin H. Duane Hanson. Wichita, Kansas: Wichita State University
Press, 1976.
Cheatham, Frank. Design Concepts and Applications. Englewood Cliffs, New
Jersey: Prentice-Hall, 1983.
Fry, Edward F. David Smith. New York: Solomon R. Guggenheim Foundation,
1969.
Goldsworthy, Andy. Stone. New York: Harry N. Abrams, Inc., 1994.
Goldsworthy, Andy. A Collaboration With Nature. New York: Harry N.
Abrams, Inc., 1990.
Grillo, Paul. Form, Function, and Design. New York: Dover Press, 1969.
Knevitt, Charles. Shelter: Human Habitats From Around the World. England:
Polymath Publishing, 1994.
Verhelst, Wilbert. Sculpture, Tools, Materials and Techniques. New
Jersey: Prentice-Hall, 1976.
Some Examples of Projected Projects
Body Parts – Using supplied Rigid Wrap make a casting of a body part (arm, back, leg, etc.). Use the resulting form as the basis of a sculpture. You may transform the part and combine it with other materials.
Site-Specific – Work in an outdoor environment. The resulting work may be achieved through building, digging, etc., using either indigenous or transported materials. Documentation on video/disc and slides will be integrated into the project.
Transform a well-known two-dimensional painting into a sculpture combining the aesthetic concepts of the artist with materials of your choice.
Kinetic Objects - Achieve movement in a sculpture either through pure design or with the use of a small battery driven motor.
Architectonic Sculpture – Concept will be based on a researched style of architecture. Materials employed will depend upon proposal.
Casting – Castings from clay designs utilizing plaster mold-making techniques. Video of bronze casting techniques will be shown.
Self-portrait – Sculpture may be life-size or parts of body. Create a sculpture that is a self-portrait of your feelings and thoughts about who you are and your relation to the world. Choose materials that suit your character. The shapes and forms that you create and organize are metaphors in a description of you.
Design a Public Sculpture and Space – The student will create a model, proposal, and presentation for this imaginary or real site work. Artist chooses a suitable material, i.e. mat board, clay, particleboard, chipboard, foam-core, etc.
Create a “Boundary” – Refer to Christo/Jeanne Claude’s “Running Fence” and “The Gates” projects.
Found Object: Utility and Non-Utility
Find an object or several objects that are meaningful to you. Transform the object or assemble objects in a sculpture or wall piece. You may combine items you find with those that you make (from wood or mat board, etc.). Another option is to make a utilitarian object (toaster, comb, chair) out of traditional art materials.
Disability Statement
If you believe that you have a disability that may warrant accommodations in this class, I urge you to notify me immediately so that together we can work to develop methods of addressing needed accommodations in this class. You must also contact the Academic Dean’s office.
Academic Misconduct
Plagiarism, cheating and other forms of academic dishonesty are prohibited. Students guilty of academic misconduct either directly or indirectly through participation or assistance, are immediately responsible to the instructor of the class. In addition to other possible disciplinary sanctions that may be imposed through the regular instructional procedures as a result of academic misconduct, the instructor has the authority to assign an F or a zero in the course.
Office Hours: Room 208 – ext. 5247/5331 – bavara@mville.edu –
Home telephone: 914/967-1038
Wednesday: 9:00-11:00, 4:00-5:00
and by appointment.