So many ideas, so little time...you will be experimenting with a select number of sculpture methods....and then working with specific themes to drive your art-making process.
THE LISTS BELOW ARE WORKS IN PROGRESS - stay tuned....
Vocabulary to know:
Materials and processes we will experiment with:
Artists to know (see also, Artist Spotlights):
Class Project: DUE April 3rd
This project is to be completed in class and should be based primarily on additive or subtractive sculpture processes as described above. Found objects may be used but not solely. Use one of the suggested themes or devise your own. As always, your work must be thoughtfully built to consider subject, composition, and content. FORM is especially important in sculpture.
Home Project: DUE May 12th
Your challenge is to create a sculpture that communicates an idea, concept, or personal feeling about the theme of ENVIRONMENT.
You may choose from four possible approaches:
2) Found object/Trash
These approaches, with examples of artists who work this way, are explained HERE.
Regardless of how you interpret the theme, or which approach you use, your sculpture must creatively - and with good craft - address the theme AND the sculptural issues of BALANCE, FORM, and SPACE (at a minimum). In the case of video or performance art, your consideration must be on the presentation of your work (burn a dvd, schedule a performance, etc. - your work will be displayed just as the others will - how will you manage that?).
As with your in-class sculpture, an artist statement will accompany the piece while on display so that viewers can understand your intentions and choices in form, medium, and process.
From: MoMA Learning - Abstract Expressionism:
"Abstract Expressionism is a term applied to a movement in American painting that flourished in New York City after World War II, sometimes referred to as the New York School or, more narrowly, as action painting. The varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content. These artists moved away from European traditions of painting to create a distinctly American kind of art, which both acknowledged and challenged the domination of early 20th century giants such as Henri Matisse, Pablo Picasso, and Vasily Kandinsky.
Abstract Expressionism is best known for large-scale paintings that break away from traditional processes, often taking the canvas off of the easel and using unconventional materials such as house paint. While Abstract Expressionism is often considered for its advancements in painting, its ideas had deep resonance in many media, including drawing and sculpture."
IF THE SUBJECT IS NON-OBJECTIVE, IS COMPOSITION STILL CRITICAL? .......UM.....YES!!!!
IF THE SUBJECT IS NON-OBJECTIVE, DOES THE WORK HAVE CONTENT?
.......UM.....YES!!!! BUT, IT'S A DIFFERENT KIND OF CONTENT. DISCUSS.
IF THE SUBJECT IS NON-OBJECTIVE, DOES COLOR THEORY EVEN MATTER?
OK, SO LET'S TALK MORE ABOUT COLOR CHOICE:
This video below illustrates the concept of simultaneous contrast. The colored square in the center is the same yellow but appears different because of its surrounding color.
REMEMBER THESE TERMS?
What did you learn from your Old Master? How can you apply this type of deliberate drawing, mark-making, and specific use of medium to illustrate YOU.
FIRST: Look at previous examples of student work to critique their use of the three properties of art PLUS their ability to mimic the Old Master's mark. Below are some student examples and you are encouraged to explore more by searching through student website galleries HERE:
Izumi Miyazaki, 2015
Megan Lee, 2015
THEN: Put your photograph and your Old Master's image side by side; keep them this way for the duration of this project. IT IS CRITICAL THAT THE SAME MARK IS EMULATED IN YOUR SELF-PORTRAIT. Don't worry, you WILL be developing your own mark! This continued study of your Old Master's mark is a way to further refine your skills.
FINALLY: Select your paper, measure enlarged proportion, deckle edges, sketch, tone, and DRAW! Take daily progress shots and post weekly progress.
Leonardo da Vinci said: “To draw is to learn to see”. How can the study of an Old Master's drawing help YOU to see?
WHO ARE THE OLD MASTERS? WHY DO THEY MATTER SO MUCH? Use the resources below as a starting point for finding out. Document info. and thoughts in your sketchbook as you plan for the upcoming project.
A CONTEMPORARY CONTEXT:
The Drawings of Leonardo da Vinci
Art III Projects
Class projects will cover a variety of media skills and content. Home projects will complement class work and help to develop personal, artistic vision/voice. This page will contain important details, resources, and information related to each project. It is your responsibility to use these resources to guide and reinforce your progress; create sketchbook entries for each project presented here, allowing yourself the time and space to learn, explore, practice, be curious, and generate ideas.
This site is for educational purposes. Resources used and contained within this site are meant to supplement and encourage deeper understanding in the art classes for which it has been developed. Links to material created by persons other than mosleyart.com are not intended to endorse products or services that may be described therein. Any opinions expressed in such material are those of its author(s) and do not necessarily reflect those of mosleyart.com. Links needing attention should be reported to Kori Mosley.