ART 3311A SCULPTURE: BEGINNING CARVING

ART 3312A SCULPTURE: ADVANCED CARVING

Spring 2014 / Brian Rust / Tues./Thurs. Noon-2:30pm, GRU Sculpture lab

phone numbers: public safety 737-1401 (1401 from campus phones), sculpture lab 737-1789

Brian’s office 667-4869 ( 232 Washington Hall), art office 667-4869 , email brust@gru.edu

Office Hours: Tues, Thurs, 2:30-3:00pm - Sculpture Lab, Mon,Weds. Fri. 232 Wash Hall by

appointment, as Assistant Chair, I am often in the Art Office.

Pre-Requisites: Art1211, Art1520, Art1530

Important Dates:

Holiday- Monday Jan 20st 2014

Midterm- Mon. March 3th

, 2014

Holiday- April 7-11, 2014

Last day of classes-Mon May 28st, 2014 (for our class Thur. April 24

th)

carving finals period Thursday May 1st

1-3pm

Course Description:

Sculpture: Carving is an upper level studio art course where you learn to use the subtractive

method (carving away) to create a series of sculptural forms. We will use plaster, clay, and wood

as materials. The semester is divided into several in-class demonstration sessions along with in-

class and out-of-class work time centered around a series of group critiques for the finished

projects.

Learning Objectives/Teaching methods:

1. To explore various wood carving techniques and tools.

2. To continue to develop an understanding of three-dimensional design principles with an

emphasis on the medium of wood.

3. To stimulate individual creative responses to the given assignments. Students will be pressed

to develop and articulate their own artistic processes and aesthetic.

4. To broaden student understanding of contemporary art concepts and develop familiarity with

the work of contemporary artists using woodcarving or construction as their main artistic

language

5. Students are shown historical examples of carving and past examples of student work in

lectures as well as a series of technical and tool demonstrations. These two methods are brought

together by the students with assignments that give some direction but give plenty of room for

creativity and personal responses to the material covered.

Course Requirements:

1. Timely completion of all course assignments. (For Art3311A this includes two beginning

carvings and two major carvings/constructions and appropriate preparatory drawings or models,

Art3312A will be arranged on an individual basis.)

2. Attendance to all classes and lab times as required. GRU policy states students are to be

dropped by the instructor after missing10% of scheduled classes for a given course. For Art

studio courses that is 3 class periods.

3. Participation in all group critiques and discussions. Critique days are the most important days

of the term for studio courses. Be prepared and be on time! (These are equivalent to an exam

day.) Failure to attend/participate in group critiques will lower of your overall grade. Assisting

other students in the class with their projects counts as participation and will positively affect

your grade.

4. Participation in daily and final cleanup activities.

5. Demonstrating a working knowledge of all tools, equipment and safety procedures for the

sculpture lab relevant to this course. Students will demonstrate this by passing a tool safety quiz

(given in week 2) and daily adherence to all power tool and other safety rules while in the lab.

Failure to pass the safety quiz or meet the other safety requirements will result in a restriction

from 24 access power tool restriction.

Grading:

First two intro projects - 20% (10% for each the brick and plaster carvings). Assignments are

graded in relation to the time, thought, and energy put into them and a demonstrated

understanding of the concepts of materials and the subtractive method.

Two major carving assignments - 45% (20% and 25% respectively). Assignments are graded in

relation to the time, thought, and energy put into them and a demonstrated understanding of the

concepts of materials and the subtractive method.

Student presentation -10%. All students will present a power point presentation of 10-15

images related to research they have done related to carving (including contemporary or

historical artists using carving, techniques or tools, etc.) these presentation will be shown in

class.

Class participation (in and outside class time and in the visiting artist/lecture activities),

attendance, and clean up will constitute 25% of your total grade. Daily and final clean up

sessions expressly count as participation and all those failing to assist in their part after each class

will be graded accordingly. Accommodations: Student needing special accommodations because of a disability, please see the

Director of Disability Services at Testing and Disability Services (706) 737-1469.

Safety: Students must follow these rules when operating any power equipment or carving tools:

Failure to do so will result in equipment restrictions and/or withdrawal from the course.

(newest “don’t” for spring 2014- no ear buds during class or when operating any power

tools or equipment.)

1. Wear safety glasses

2. Wear clothing that will not get caught in equipment

3. Tie back long hair

4. Use only tools and equipment you have been instructed on

5. Do not use equipment or tools which are not operating properly

6. Report all malfunctioning equipment (tag and unplug large equipment)

7. Do not allow non students to operate any equipment

8. Give any equipment your full attention when operating it

9. Properly set all guides, blades, etc. before operating equipment

10. Do not allow minors into the lab at any time.

11. Do not remove any tools from the Sculpture lab without permission from the Professor.

12. Do not distract others while they are using any carving tools or saws.

13. Do not use loud tools (saws, grinders, etc) in the outdoor work area beside the sculpture lab

after10pm or early morning before 8am.

14. Treat all hand gouges extremely carefully as they are both sharp and fragile. Do not drop

them on the floor or use them as a crow bar.

15. Always follow Public Safety’s two person rule for after hours/weekend access.

16. No open toe shoes (sandals, flip flops, etc.). Keep a pair of shoes in your locker if needed.

17. Wear ear protection when appropriate with loud equipment.

18. Identify and know location of the fire extinguishers, eye wash station and first aid kit.

19. Identify and know the location of the Public Safety call box and gathering area in case of a

fire alarm.

Health Concerns: Students will adhere to the following rules when in the sculpture lab.

1. All grinding, power sanding, or other dust creating activities will be done outside.

2. Wear a dust mask for all activities that require creating large amounts of sawdust.

3. All spray painting and processes that release fumes must be done outside. Do not paint directly

on floors or walls, always use a drop cloth.

4. All sawdust will be swept up daily. Do NOT use the compressed air hoses to blow off the

tables. This puts the dust into the air within the room.

5. All Tables will be wiped down daily with sponges to reduce fine sawdust.

6. Do not do anything that will stir up sawdust any more than needed.

7. Do not use lumber that has been treated for outdoor use, (this wood is green in color)

8. All empty spray or other paint cans need to be placed in red containers in the Lab.

9. The class will do multiple cleanings per semester (as needed) to keep the lab clean.

10. All food and beverages must remain in the break area in the Sculpture lab.

Woodshop and lab hours and requirements: The ceramics/sculpture area is normally open from 7am - 5pm, M-Th for all currently enrolled art students to work. You may gain access to the facilities after hours in two ways, by calling Public Safety or by using your current Jagcard on the after hours access door on the ceramics lab. The wood shop is only open 7am - 5pm, M-F only. No access will be given to this area on weekends or holidays by Public Safety or the instructor. Either way you need to fulfill the following requirements:

You are currently enrolled in a sculpture course and are on the roll sheet. You have a valid student I.D. There are at least two people in the ceramics/sculpture area. Students must sign-in and out anytime they are using facilities outside their class time. I use

this to monitor out of class work time - don’t forget. The only times you cannot be in the sculpture lab is when other Sculpture classes are in

session. Students must get permission from the instructor to work either inside or outside the lab during other classes. For Spring 2014 the other classes are: 3D- M,W 11:20-1:50 pm,3D-M,W 2:30-4:50, and Multimedia-T,Th, 9-11:30,

Important Dates:

Holiday- Monday Jan 20st 2014

Midterm- Mon. March 3th

, 2014

Holiday- April 7-11, 2014

Last day of classes-Mon May 28st, 2014 (for our class Thur. April 24

th)

carving finals period Thursday May 1st

1-3pm

Assignments:

Fire Brick Carving: Jan. 23, Thurs. Using basic tools (provided) carve a piece of fire brick starting with two 2-dimensional shapes.

Assignment is an introduction to integrating 3-dimensional forms using the subtraction method.

Plaster Carving: Feb. 18, Tues.

Using the negative clay system, produce two plaster forms. Refine one of these forms using

plaster tools (provided). Do not use other sculpture tools.

Small Solid Block Wood Carving: March. 18, Tues. Carve a sculpture from drawings or a model using the tools provided. Finished piece should be

exhibition ready; with sealer, paint and/or base as needed. Students may choose a solid wood

block, provided by the school, or purchase lumber from a hardware/lumber store. Other materials

may be included but the emphasis of the work must be on the subtraction method.

Constructed Wood Piece: April 24, Thurs. (last regular class) and May 1, Thurs.

1-3pm (finals period). Students must attend both sessions Using gouges, saws, grinders, etc. construct a sculpture that reflects a geometric/constructed

sensibility and uses a variety of shaping and joining methods. Critique will focus on the overall

completion of the work and integration of elements. Discussion will be directed toward the

textures, surfaces, planes, and forms created as well as the concepts and associations brought

forth in the works. Wood for this project will be provided by the students and may include:

lumber, found objects (old furniture, etc.), or natural tree limbs, sticks, etc. Other materials may

be included but the emphasis of the work must be on the constructed wood.

Power Point Presentation:

Beginning Jan. 30,Thursday Students will choose in class dates to present their images and discuss their findings. We will

select dates the third week of class.

Magdalena Abrakanovicz

Siah Armajani

Jean Arp

Richard Artschwager

Alice Aycock

Leonard Baskin

Scott Burton

Deborah Butterfield

Louis Bourgeois

Constantine Brancusi

John Buck

Wendell Castle

Leonard Cave

Eduardo Chillida

Jim Dine

Patrick Dougherty

Marisol Escobar

Jackie Ferrera

Alberto Giacometti

Barbara Hepworth

Tadashi Kawamata

Mel Kendrick

Gordon Matta-Clark

Marisol

Mary Miss

Henry Moore

Louise Nevelson

Manuel Neri

Isamu Noguchi

Pablo Picasso

Martin Puryear

Bill Reed

Italo Scanga

George Sugerman

James Surls

Mark di Suvero

Vladimir Tatlin

Alexander Rodtschenko

Ursula Von Rydingsvard

William T. Wiley

H.C. Westerman

Stephan Balkenhol

BIBLIOGRAPHY Sculpture in the Age of Doubt, by Thomas McEvilley, NYC, Allworth Press, 1999, Call Number:NB198.5.P66 M37 1999 Claes Oldenburg, Coosje Van Bruggen, byClaes Oldenburg, Abbeville Publishing, 1999 Call Number: N6537.O4y1999 Yayoi Kusama/ Laura Hoptman /Akira Tatehata/ Udo Kultermann, by Laura Hoptman, London, Phaidon, 2000, Call Number:N7359.K87 H67 2000 Rachael Whiteread: with Music for Torching, a Story, by A.M. Homes, London, 1998, Anthonyd’Offay Gallery, Call Number: nb497.W54A4y 1998 Mike Kelly, by John Welchman, London, Phaidon 1999, Call Number:n6537.k423 w45 1999 Stackhouse, by Richard Gruber, Augusta, GA Morris Museum of Art, 1999, Call Number:n6537.s68 A4y1999

Rodin and Michelangelo: A study in Artistic Inspiration, by Flavio Fergonzi, Philadelphia, Pa. Philadelphia Museum of Art, 1997, Call Number: NB553.R7 A4 1997 Modelled Sculpture and Plaster Casting, By Arnold Auerbach, Cranbury, NJ. A.S. Barnes, 1977, Call Number: NB1180 .A8 1977 The Figure in American Sculpture: A Question of Modernity, by Ilene Susan Fort, Los Angeles, LA County Museum of Art/ University of Washington Press, 1995, Call Number: NB1930 .F67 1995 American Art in the 20th Century: Painting and Sculpture 1913 - 1993, edited by Christos M. Joachimides and Normon Rosenthal, Munich Neues Publishing Company, 1993. Call Number: ND212.A45y 1993 The Isamu Noguchi Garden Museum by Isamu Noguchi, NYC. Abrams, 1999, Call Number: NB237 N6 A4y 1999 Indian Art: A catalogue of the Los Angeles County Museum of Art, by Pratapaditya Pal, Los Angeles, University of California Press, Berkeley, 1988 Call Number: NB1002 L67 1986 Sculpture Parks, Art in the Landscape ( set of 160 slides) Available at Media Services, GRU. Contemporary Public Sculpture: Tradition, Transformation, and Controversy, by Harriet Senie, NYC. Oxford University Press, 1992 Call Number: NB198 S355 1992 Beyond Modern Sculpture, The Effects of Science and Technology on the Sculpture of This Century, by Jack Burnham, NYC. G. Braziller, 1968, Call Number: NB 198 B84 Passages in Modern Sculpture, by Rosalind Krauss, Cambridge, Ma. MIT Press. 1981, Call Number: NB 198 K69 1981 Places With A Past: New Site-Specific Art at Charlston’s Spoleto Festival, NYC. Rizzoli, 1991, Call Number: NB198 P49 1991 Practical Sculpture, By Tuck Langland, Englewood Cliffs, NJ. Prentice Hall, 1988, Call Number: NB 1170 L36 1988 Blurring the Boundaries: Installation Art, 1969-1996, By Hugh Davies, San Diego, Ca. Museum of Contemporary Art, 1997, Call Number: N6494 I56 B58 1997 Installation Art, by Nicolas de Oliveira, Washington DC. Smithsonian Institution Press, 1994, Call Number: N6494 I56 O44 1999 Dispossessed Installations: Steve Barry, John Fekner, Adrian Piper, Mierle Laderman Ukeles, Bill Viola, by Craig Adcock, Tallahassee, Fl., Florida State University Press, 1992, Call Number: N6512.5I56 A33y 1992 Ann Hamilton: Tropos, by Lynne Cooke and Karen Kelly, NYC. Dia Cener for the Arts, 1995, Call Number: N6537.h337 A4y 1995 Donald Judd, Colorist, by Dietmar Elger, NYC. Ostfildern-Ruit, 2000, Call Number: NB 237.J76 A4 2000 artist/museum/artpark websites http://www.southernartistry.org/index.cfm http://www.robertsmithson.com/index_.htm http://www.tristatesculptors.org/ http://www.henry-moore-fdn.co.uk/ http://www.meadowsweet-dairy.com/ http://www.burningman.com/ http://www.tomnakashima.com/ http://greenmuseum.org/ http://www.rodencrater.org/ http://www.ecotecturecanada.org/

http://www.stickwork.net/ http://virtual.clemson.edu/groups/scbg/sculptures/ http://www.stonequarryartpark.org/ http://www.djerassi.org/sculpture/tori.html http://www.wmich.edu/art/exhibitions/tour/ http://www.groundsforsculpture.org/ http://www.aug.edu/~brust/Welcome.html: http://www.barford.org/Caro/default.htm http://www.rogerfinch.com/ http://www.microsoft.com/mscorp/artcollection/exhibitions/ http://virtual.clemson.edu/groups/scbg/sculptures/ http://www.louvre.fr/louvrea.htm http://www.artmuseum.net/ http://www.survivalsoundz.com/mr_dizney/index.html http://www.chihuly.com/ http://www.chrisdrury.co.uk/ http://www.ghslibrary.webfront.net.au/link.art.html#sculpture http://www.ghslibrary.webfront.net.au/link.art.html#sculpture http://www.bartschi.ch/nu/nu_page01.html http://www.bartschi.ch/nu/nu_page01.html http://www.steinmanstudio.com/ supply websites: http://www.montoyasculpture.com/ http://highland-hardware.com/ http://www.mifco.com/ http://www.montoyasculpture.com/home.htm http://www.sculpt.com/ http://www.artstuf.com/ http://www.sculptor.org/ http://www.ssschemical.com/ http://www.farwestmaterials.com/