manifesto: a written statement declaring publicly the intentions, motives, or views of its issuer
We will look at examples of artist manifestos in class today. Your HW for Monday 11/28 is to write your own “Manifesto for Making” based on your experiences this semester.
Your manifesto must be submitted to the folder labeled “Manifestos” in D2L prior to the beginning of class on Monday (please include your name on the document). In addition, you are required to bring a hard copy of your manifesto to class that day and present it to us as a group. Everyone will present their manifesto in class on Monday 11/28.
Your manifesto can be written in paragraph or list format and should define what is important to you:
– Think about why you make art/design
– Strategize new ways that you will face the challenges ahead
– What is your vision? for your work? for your life? For the intersection of the two?
Your manifesto can be bold and wild in its statements or subtle and centered in the present. That is up to you. You must have 10 to 12 points in the final version.
RULE ONE: Find a place you trust, and then try trusting it for awhile.
RULE TWO: General duties of a student – pull everything out of your teacher; pull everything out of your fellow students.
RULE THREE: General duties of a teacher – pull everything out of your students.
RULE FOUR: Consider everything an experiment.
RULE FIVE: be self-disciplined – this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make.
RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.
RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes.
RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage)
HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything – it might come in handy later.
Simulacra and Simulation is most known for its discussion of symbols, signs, and how they relate to contemporaneity (simultaneous existences). Baudrillard claims that our current society has replaced all reality and meaning with symbols and signs, and that human experience is of a simulation of reality. Moreover, these simulacra are not merely mediations of reality, nor even deceptive mediations of reality; they are not based in a reality nor do they hide a reality, they simply hide that anything like reality is relevant to our current understanding of our lives.
– Clean and precise cuts and application of glue.
– Stable and free-standing
– Must comfortably hold your full weight while seated
– Meeting the intended function as expressed by the student designer
– Decisions made by you as the artist to unify the final composition using the basic principles and elements of design: space, form, scale, and balance
– Considered as a whole object from all visible sides
As always…concentration and perseverance for the duration of the project’s timeline
Independent Research and active participation in critique. (NO PHONES!)
For the critique you will share your finished chair with the class. We will discuss the process, the final outcome, and how your chair functions as a designed object.
Today 10/31: Model Critique, Begin Construction
Deadline: November 7th: Weight test. Your chair should hold your weight by this day.
Deadline: November 9th: In-progress Critique Day: chair should be 3/4 of the way finished
Deadline: November 16th: Begin Cardboard Chair Critique
Skills: The Hoax Project will involve intermediate to advanced mold-making strategies.
Concepts:The Hoax Project is about simulation, replication, and believability. We will discuss ideas associated with the production of sculptural replicas. We will also learn how to construct situations. There will be a specific focus on the viewer’s experience, both in person and through documentation.
The Hoax Project will continue an ongoing conversation about the role of CONTEXT in the production and viewing of sculpture.
The Hoax Project: 3 Steps:
1. Step one will be to create a believable replica of an original object using a variety of mold-making strategies. (Weeks 1 and 2)
2. Step two will be to place the “believable” object in a “believable” situation. (Week 3)
3. Step three will be to document and submit your “hoax” image. The critique of this project will involve both the actual object and the documented image of the object in a setting or environment.(Week 4)
Dylan Palmer, Soccer Ball and Chain, 2008, Archival Inkjet Print 20″ x 30″
Chris Taylor, Bubble Wrap, 2010; glass; 2.3 x 4 x 1.5 ft.
Beginning Friday 1/29:
Brainstorm ideas for your hoax, collect objects for moldmaking
We will begin with producing life-casts using alginate and will primarily work with non-toxic materials for the duration of the project.
Preliminary Materials List:
1. If you are interested in molding a porous object, you will need to purchase a sealant such as shellac or clear polyurethane.
2. One or several materials for casting your object: wax, plaster, cement, soap, sugar, jello..
3. Carving tools.
4. Paints (optional)
What are you installing? Describe the formal qualities of your piece in detail covering the
Describe your System. How was the piece constructed?
○ name your individual unit (ex. plastic spoon)
○ introduce your system (how does it work, what are the rules that
govern the structure of the whole?)
How will it be installed? Describe your installation plan
■ what hardware or tactics will you use to install your piece?
■ what special tools or equipment will you need to do so?
■ in what ways will the piece interact with it’s environment?
● viewer experience/interaction?