skeleton & skin critique & due date: january...
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Gravity and Buoyancy Fall 2013 University of Florida Erin Curry 1 of 3
Skeleton & Skin
Critique & Due date:
Consider skin - its function as a protective container; skin is formless, pliable, and requires a skeleton (or armature) to support. In this project, create either an internal armature that supports a skin form or an external armature that houses a skin. Think of a bug’s exoskeleton and a human’s endoskeleton. Consider the interior and exterior space the work occupies. How do these spaces relate to each other (push, pull, compress, expand, retract, etc.)?
Consider all sides of your form. Forms could convey a sense of delicacy, weight, tension, strength, fragility, etc. Think about structure and surface, color and texture, form and space. Explore qualities of opacity and translucency in support of your final concept. Materials can include paper, wire, wood, bamboo, string, cloth or other appropriate materials. Explore and try to expand on the possibilities of what you might do with your materials and what materials you might use in the first place. You may alter your materials in any way you like. For example: you could dye or draw on fabric, paint wire, or give paper a texture, weaving materials together. You may use any method of joining the materials together. Your sculpture should reflect your own interpretation of skeleton/skin. Think about the world around you in terms of natural vs. constructed by humans. Be inventive, experiment, and push yourself to use something other than glue and other “go to” materials. Other Criter ia: Forms should not exceed 4 ft. in any direction. This is intended to keep the project manageable and to focus on craftsmanship. Consider these a very well crafted sculptural sketch. Materials not to be used without proper consultation: fishing line, plastic wrap, aluminum foil, pipe cleaners or other craft type items, cardboard or similar products, others to be determined. Imagine your work at the MOMA; present it in that manner.
5 Part Project:
1. research (record in sketchbook) 2. reading with response 3. material Studies & maquettes 4. Proposal 5. the Sculpture itself
You will end the project with one sculpture based on the ideas of skeleton and skin.
“All my pieces seem fragile, but that is deceiving because they all begin with steel understructures.” -Petah Coyne
Internal armature: Build both an armature and skin form. The armature acts as a skeleton, which supports your skin form. Consider how the two forms work together to form a cohesive whole. Choose materials that will enhance this relationship. Will the skin be transparent or opaque? Will the skeleton be noticeable from the outside (your fingers), will it be hidden (your thigh), or a combination of both (your spine). Remember that skeleton is a loose term; it need not be limited to life forms. Even tents have an armature.
To fabricate a form with an external armature, the armature should support a skin externally. Special consideration should be given to materials. This project will take some problem-solving as to how the skin will attach to the armature, in other words, not just glue. Here you may consider exoskeletons of bugs or perhaps an orange. Are the innards well-contained or busting out? Does the inside affect the form of the outside? How is the viewer aware of the interior and exterior?
Gravity and Buoyancy Fall 2013 University of Florida Erin Curry 2 of 3
We will conduct some in-class research, but the bulk of this will be your responsibility. It is often helpful to research aspects of the topic (i.e. skeleton/skin) and other artists who have made related work. We will go into greater detail in class. Take 10 photos/images or do 10 drawings of examples of skeleton and skin situations in your environment and place them in your sketchbook. Record the parts that you believe are the skin and skeleton. All photos must be taken by you for this project, not Googled or borrowed and make a Concept Map.
Read all 3 articles, then choose one of these articles and write a response around 1-1½ pages typed (double spaced). Essentially it is a (1 paragraph) summary and your thoughtful critique/response to the article or interview. You can relate the articles to the materials or concepts within your own work. We will discuss these in class and you should be able to discuss all the readings. Participation is a portion of your final grade and class discussions are an excellent opportunity to make your presence known. DUE: Reading Response and Project Brainstorm
You will create five materials studies, experimenting with material transformation. Material studies should be 4 - 6 inches. Then you will create three maquettes, each with a different sculptural material you are considering using in the final work. A maquette is a three dimensional thumbnail sketch of what your final work may look like. A maquette is an opportunity to put your ideas to form in a preliminary/investigative manner before investing time/materials and energy into the final work. It is a helpful way to work out scale issues, determine proportions and visualize potential materials. Maquettes should not exceed 12 inches in any direction. For these maquettes I encourage you to experiment with a variety of materials; these may or may not be used in the final work. Be sure to document studies and maquettes with photos and notes. How did you do what you did?
material possibilities SKELETON SKIN
metals/wire (copper, aluminum, steel, etc.) paper (a zillion kinds to consider) plaster (with rigid armature) fabric wood (e.g. dimensional lumber) wax bone, nails Steel mesh stone latex ceramic materials plastic sheeting shells plaster glass weaving/basketry plastics fur bamboo tape
Part I RESEARCH EXERCISE due:
Part II READING RESPONSE & PROJECT IDEAS due: 1.14
3Material Studies/ due: Wednesday 9.03 Maquettes due:
Artists List: Christo and Jean-Claude, Marissa Merz, Mario Merz, Robert Rauschenberg, Jana Sterbak, Elaine Reichek, Magdalena Abakanowicz, Christian Boltanski, Joseph Beuys, Lee Bontecou, Martin Puryear, Leonardo Da Vinci, Erwin Wurm, Petah Coyne, Ernesto Neto, Frank Gehry, Buckminster Fuller, Isamu Noguchi, Celeste Roberge, Do Ho Suh, Charlotte Posenske, Anthony Gormley, Lillenthal’s Gliders, Eva Hesse, Sopheap Pich, Ruth Asawa, Anthony Gormley, John Grade
o Abbotsford, Victoria. Australia Within Without: Elisabeth Weissensteiner, Chapman & Bailey Gallery by Khadija Z Carroll http://www.sculpture.org/documents/scmag05/april_05/webspecs/weissensteiner.shml
o Measuring the Clouds: A Conversation with Jan Fabre http://www.sculpture.org/documents/scmag04/march04/fabre/fabre.shtml
o Buhmann, S. New Dimensions for the Senses: A Conversation with Ernesto Neto by Stephanie Buhmann, Sculpture Magazine, June 2011, 29(5), p. 26-33. see class site.
Gravity and Buoyancy Fall 2013 University of Florida Erin Curry 3 of 3
Part V Project & Artist Statement due: Wednesday 1.28
Based on what you have learned from your sketches, research, and maquette studies, construct your final sculpture. You must complete a typed, double-spaced artist statement for each project that is no more than a page in length. Guidance and class time will be provided to help you get your statement in order if need be. The statement should address the central concepts and themes of your work and briefly explain how you have fulfilled the goals and objectives of the project. You should also mention research that influenced your project and explain its significance. The research is meant to allow you the opportunity to learn more about things that interest you. Consider your statement as another opportunity to captivate your viewer. Statements should be well written, fluid, and concise. Due Monday 9.15: Your project – completely installed before class begins, title card if necessary, and artist statement to hand in.
“When I first started making sculptures with gampi paper, they were like inflated Japanese paper balloons that I had as a child, I was trying to think about how to make sculpture about the skin, how to make something like an envelope, how
to make three dimensional things weightless.” -Kiki Smith
Project Proposal due:
Your final proposal is a document with clear sketches of your intended final work that outlines: your conceptual basis for the work, a clear description, materials, processes, scale, timeline, installation parameters, etc. See handout “Guidelines.” A stranger should understand what you are going to make.
Ernesto Neto Kink 2012 Aluminum, crochet, polypropylene balls, wood, felt, and rubber 14’ 3” x 66’ 8” x 13’ 8”
Gravity and Buoyancy Fall 2013 University of Florida Erin Curry 4 of 3
Evaluation: o Evolution from proposal to finished work o Craftsmanship - Is the work well crafted? Is it
presented professionally? Are details attended to? o Aesthetic Concerns - Is the work coherent, are you
using effective forms of visual communication? o Conceptual Rigor - Are you making active, thoughtful
choices in material, form, and ideas? o Inventiveness Developing your ability to solve problems and devise new
approaches will help you to achieve not only the course objectives, but also personal goals. New and unusual approaches often lead to discovery in your work. Demonstrate your willingness to move beyond basic requirements and boundaries. Did you take RISKS? Is your voice present in the work?
o Personal Investment- Did you invest time and mental effort? Did you learn and use new skills?
o Successful resolution of the assigned problem Did you resolve the assignment in an interesting way?
o Experimentation within the parameters of the project guidelines. Did your maquettes show diversity and depth? Are the lessons you learned apparent in the final work?
Sketchbook Criteria (expanded in another handout) -Conceptual Research -Images and sketches (side, front, aerial views) with measurements -Process recording and notes from lectures, demonstrations, research, critiques, experiments, etc. -Project-related artists(at least 5 artists for each project) -Independent artist and art research -Materials Cost and Timelog