Self Evaluation: Print and bring to our exam meeting. I will only except this in a paper format on the day of the exam. It is worth 10 points on your final grade, the equivalent of a technical exercise or independent research.
3 Areas of Evaluation: 3 Paragraphs
Concentration/Perseverance – Briefly describe your journey with 3D Design from start to finish. Give an example of a personal high point and a low point within the course. On a scale from 1-5, did you accomplish the goals you set for yourself? Did you persevere through set-backs? Consider both technical and conceptual improvement and describe examples of both.
Creative Problem Solving – Describe your ability to overcome specific obstacles that you encountered within the process of creating three-dimensional artworks. Give examples of the initial encounter with the obstacle and how you overcame it. There should be at least one technical obstacle and one conceptual obstacle. On a scale from 1-5 rate your ability to problem solve in 3D. (Give Examples)
Craftsmanship – Describe the role of craftsmanship in your process. How concerned were you with perfection? Did you find yourself having to choose between overall quality and your ability to finish the assignment? What is the difference between craftsmanship and material sensitivity? On a scale from 1-5 rate your craftsmanship in this course
Paul Matthew Watkins presents:
Tuesday, November 24th at 12pm
Location: Shed Space in the Sculpture Yard
(refreshments will be served)
Join us as we celebrate the conclusion of Paul Matthew Watkins’ 4090 project in Sculpture with an exhibition entitled KNOTS. For this show, Matt will be exhibiting a series of sculptural knots and sculpture inspired by knots. This series takes knot concepts from advanced mathematics into the topological realm of sculpture. Mathematicians study knots which consist of crossings, chirality, and projections. Matt considers the knot’s most primal quality – the space that curves occupy in 3D space. He also equally considers the spaces that they are not occupying. With this series, Matt takes the mathematical concept of a line without width and creates tangible objects. Perhaps most importantly, he asks the viewer to consider knots as both fact and fragment.
This show will be exhibited in the Sculpture Area Shed Space for one day only.
A statement by the artist:
While moving into my upper level undergraduate studies, knot theory has become an intriguing topic. This work is quite blatantly inspired by theoretical images I observed. With this project I sought to make abstract ideas tangible and introduce knot theory to people typically uninterested in math.
About the artist:
Matt Watkins is an undergraduate math/art student currently studying at Austin Peay State University. He favors no particular thing. He is mostly interested in just being outside of what should be favored. He is inspired by math, magic, and messing things up.
Sondra Perry makes performance, videos, and works as a “data generator” and “free creative laboror” at “The Internet”. Perry has exhibited in group shows at the Seattle Art Museum, Seattle, Washington, MoMA PS1, Queens, New York, and the Studio Museum in Harlem, Harlem, New York.
The artist has participated in residencies at the Skowhegan School of Painting and Sculpture, Vermont Studio Center, Ox-Bow School of Art and Artists’ Residency, the Experimental Television Center, and is currently an artist in residence at the prestigious CORE Residency Program at the Glassell School of Art at the Museum of Fine Arts, Houston.
Perry received a BFA from the New York State College of Ceramics at Alfred University in 2012 and a MFA from “an expensive New York art school causing gentrification in Harlem” in 2015
To describe her work, Sondra Perry manifests paraspaces, a term coined by science fiction author Samuel Delany, meaning a ‘space’ existing parallel to the normal or ordinary, through performance and video. These paraspaces are phantom and twilight zones, her grandma’s attic, and corners behind bookshelves where dead skin cells, lost candy corn, and little black girls find their autonomy. In these spaces, she and the viewer explore how imaging, visual languages, and digital literacy structure identity and representation in the virtual and physical realms.
Fred Wilson is a contemporary artist who re-arranges museum collections to reveal racial injustices and prejudices within institutions (such as art museums). This artistic practice is referred to as “institutional critique.”
– 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)
Eleven Heavy Things, created for the 53rd International Art Exhibition at the Venice Biennale, is comprised of eleven sculptural works installed in an enclosed garden within Giardino delle Vergini. The cast fiber-glass, steel-lined pieces are designed for interaction: pedestals to stand on, tablets with holes for body parts, and free-standing abstract headdresses. A series of three pedestals in ascending height, The Guilty One, The Guiltier One, The Guiltiest One, ask the viewer to ascribe their guilt relative to the people around them. A large flat shape, hand-painted with Burberry plaid, hovers on a pole, waiting to become someone’s aura. A series of tablets invite heads, arms, legs and one finger: This is not the first hole my finger has been in, nor will it be the last. A wider pedestal for two people to hug on reads, We don!t know each other, we’re just hugging for the picture….
July assumes and invites the picture — these are eleven photo opportunities, in a city where one is always clutching a camera. Though the work begins as sculpture, it becomes a performance that is only complete when these tourist photos are uploaded onto personal blogs and sent in emails — at which point the audience changes, and the subject clearly becomes the participants, revealing themselves through the work.
Eleven Heavy Things has been installed in the Center Lawn of Union Square Park in New York from May 29 to October 03, 2010.
Eleven Heavy Things has been installed at the Pacific Design Center in Los Angeles from July 23 to October 23, 2011.
Today we introduce your next project: Body Extension. With this assignment, we will look at artists working sculpturally with the body. We will discuss strategies for building lightweight structures to be worn. Your homework is to arrive to our class meeting with a project and /or several ideas already underway, as well as, enough materials to continue working in class. I will conduct individual meetings throughout.
This project is a mixed media assignment lasting approximately 3 weeks with a critique scheduled for the last week of October. You are invited to work with any material(s) you deem appropriate to execute your idea. Your final piece must be worn and/or interactive for the critique.
We will begin with a short preparatory group workshop/project called “One Minute Sculptures” inspired by the work of Erwin Wurm. In addition to other supplies, please arrive prepared with a camera and several object “props” to work with for our next class meeting.
Austrian artist Erwin Wurm’s (b. 1954) One Minute Sculptures are equal parts sculpture, performance, and image. Here is an interview with Wurm about the series.
“If you approach things with a sense of humor,” the artist says, “people immediately assume you’re not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don’t always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”