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.
– 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
This week: Everyone learns the drill, the miter saw + box, the band saw, and the drill press. Everyone learns the fundamentals of pre-drilling, choosing the right screw, clamping, and the murphy’s oil trick.
Discuss designs: individual meetings, group talks
Discuss strategies: dividing the group into “stations” with factory-like precision.
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 using 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 to 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.