A plaster detail of Auguste Rodin’s La Muse (1905-1908) at the Musee d’Orsay, Paris
La Pensee, carved stone, Auguste Rodin, 1895
An example of a curvilinear object translated into a planar form.
Conceptually a plane has length and width but not depth. In design, planes are formed by walls, ceilings or floors. Planar elements can act in a similar way to lines: Horizontal plane suggests rest and vertical planes suggest stability. Curved planes suggests motion and diagonal planes suggests movement and/or dynamic forces. For this technical exercise we will be working with horizontal, vertical, and diagonal planes.
Fred Wilson is a contemporary artist who re-arranges museum collections in an effort to reveal racial injustice and prejudice within institutions such as art museums. This artistic practice is often referred to as “institutional critique.”
In this video the contemporary scholar, Manuel DeLanda, explains the philosophy of Giles Deleuze.
Plaster tools and supplies:
– extra small bottle of WD-40
– 2 and 1/2 quart mixing bucket
– 2 Thin plastic (7-8 mm) drop cloths (hardware store)
– Fine 400-600 grit Wet/Dry sandpaper pack (hardware store)
– Clay tools (fabricated, found, or purchased), small sponge, pin tool, ribs
– N95 particulate respirator mask (hardware store)
– Sur Forms: size aprox. 2” by 1 ½” and 6” by 1 ½” (found in the tool section of the hardware store near saws/clamps/files)
You will pick three separate (potential) sites for your Yarn Bomb. You will take images of each site and prepare a presentation showcasing them. You may include detail images (close-ups) if needed. Based on our class discussion and feedback on your presentation, you will choose one final site for the yarn bomb. You can present in a Powerpoint, PDF, or keynote format (NO Prezis). Each of your 3 proposed sites must address the 6 Areas of Inquiry for the Yarn Bomb site analysis:
Environmental: What are the characteristics of the location in which the yarn bomb is proposed?
Contextual Based on your reading of Chapter 4 in the Critique Handbook, what is the context for your piece?(note: there can be multiple contexts)
Philosophical/Cultural: What impact could the yarn bomb have in this location? How could it change the viewer’s perception of the site as a whole?
Social/Economic: Could this yarn bomb take advantage or change the way that people use the space? Who is the audience/participator? Who would like a yarn bomb in this setting? Who would not like a yarn bomb in this setting?
Architectural/Logistical: By placing the yarn bomb in this space, does it contrast with its surroundings, or blend seamlessly with its environment? What technical difficulties can be expected? How would you overcome these technical difficulties?
Formal: How is the yarn bomb designed to fit in the site? What elements/principles of design would be used?
A review on the Elements and Principles of Design:
Design Elements: Line, Color, Texture, Form, Space
Principles: Unity, Balance, Hierarchy, Scale/Proportion, Dominance/Emphasis, Similarity/Contrast
We will begin in-class presentations on: Thursday September 11th
“I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out…It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.”
A link to her NY Times obituary:http://www.nytimes.com/2013/08/18/arts/design/ruth-asawa-an-artist-who-wove-wire-dies-at-87.html?smid=fb-share
And a recent article about the artist and her work from the NY Times: http://www.nytimes.com/2013/05/05/arts/design/orly-genger-in-madison-square-park.html?emc=tnt&tntemail0=y&_r=1&