Vince Pitelka - wpitelka@tntech.edu 
Office Hrs. - Tues, Thurs. 1:30-2:30 - Phone: Office - 931/372-3051 Ext. 111 or 615/597-6801 Ext. 111, Home - 615/597-5376

Art 2010 -  Three-Dimensional Design/Intro to Sculpture
Syllabus

Students With Disabilities requiring accommodations should contact the Office of Disability Services (ODS). An Accommodation Request (AR) should be completed as soon as possible, preferably by the end of the first week of the course. The ODS is located in the Roaden University Center, Room 112; phone 372-6119.

Note: As you read this syllabus, consult the Design Vocabulary for definitions of terms.

Course Objectives - To build in the student:

Course Description
Art 2010 is essentially an introduction to sculpture. We will explore how the attributes of three-dimensional form and surface affect us objectively and subjectively, and how we can manipulate sculptural form to achieve our goals. Utility is not a primary concern, although it will inevitably come up as a part of the visual narrative in functional objects.

Today we use the word art in a broad sense, encompassing a wide range of creative endeavor in the fine and applied arts. In contemporary art we find crossover between media and approaches that traditionally were kept clearly separate. Distinctions are blurred between art, architecture, furniture, photography, sculpture, painting, functional craft, computer-aided design, product design, political propaganda, advertising, performance art, theater, music, dance, and mass media. There are some who bemoan the relaxation of media delineation in the arts, but this shift has opened a universe of possibly where different media inform and energize one another, and where there is no longer a clearly defined category of "art media."  In some cases, to define a thing is to limit its possibilities, and we must always avoid that in art.

You may be surprised at the scope of this course. Everyday we all encounter sculptural form in space - in architecture, appliances, food, utensils, furniture, people, animals, trees, shoes, automobiles, clouds, and so on. As we negotiate the physical world most of us take for granted the physical attributes of these forms, and we don’t spend much time thinking about balance, gravity, potential energy, perceived movement, and other qualities of 3-D form. But the design theory and language that explain human perceptual response to form and imagery in art clarify our understanding of all form and imagery we encounter in our lives. In other words, the information we explore while investigating three-dimensional form in art will enhance your perception of the physical world, and this heightened perception will last for the rest of your life.

Two-dimensional design deals with illusion - the creation of visual space on a flat picture plane. Three-dimensional design deals with physical reality - form which extends into space, challenging perception in ways we may not have considered. Through a series of assigned projects we will investigate the physical attributes of 3-D form in space. The primary elements or building blocks are line, plane, volume and space. We will deal with surface, which involves elements common to both 2-D and 3-D design, including pattern, texture, color, and value. In arranging and organizing all of these elements we will encounter the physical phenomena of 3-D form: mass, balance, potential energy, visual radiation, movement, gesture, and time. We will use unifying principles common to all design, including proportion, emphasis, variety, rhythm, and repetition.

In design we strive for an overall sense of unity, but it is easy to misunderstand what this means. Before the 20th century, almost all art was carefully balanced and visually ordered in order to achieve a well-unified, aesthetically pleasing composition. There is certainly nothing wrong with that as a goal in art, but the prime concern should be to achieve your objective and get your message across, whether or not the result is aesthetically pleasing or visually balanced in a classical sense.  In some cases the artist’s intent may require a chaotic, off-balance assault on the senses.  If all aspects of the work function towards that goal, then the work would be considered well-unified. 

The environment where art is displayed is always important, but especially with 3-D work, since the immediate surroundings affect both formal and narrative aspects of the work. 2-D art is usually isolated from its surroundings by a clearly defined picture plane and often a surrounding physical frame. That is never the case with 3-D work, which extends into its environment, interacting with and activating the surrounding space. If we choose to ignore a 2-D artwork, it becomes part of the wall. 3-D work asserts itself on our environment in a way that we cannot ignore. We must confront it and negotiate our way around, over, or through it.

Individual Interpretation of the Assignments
In each assignment we will work within specific concepts and guidelines that must be incorporated into the finished piece, but art and design generally suffer from absolute rules. There is rarely a single clear-cut solution to any design problem, so always remain open to possibilities outside the accepted or expected solution, and look for information within yourself. It is important to personalize your work so that it says something original. Think about your own interests and concerns, likes and dislikes, your background and family history, and when appropriate allow this information to impact your work. That is how we come up with original style and direction.

Formulating a Concept/Realizing an Object
Much of the content of this class, or of any art class for that matter, has to do with formulating a concept for art, and then figuring out a way to express that concept, generally by visualizing and then realizing a physical object.  In this case, the concept may be as simple as the specific principle or phenomenon of 3-D design that we are addressing in a particular assignment.  In other cases, you may develop a concept that addresses those specific phenomena in more personal terms, incorporating personal concerns and imagery.  Either approach is valid, but do not avoid the incorporation of personal imagery and idea.  This course will be far more interesting for all of us if you take the time and trouble to inject your work with narrative and individual expression. 

Much of the work we will view in our slide shows represents completely abstract or non-objective sculptural form, but almost without exception the artists worked from deeply personal content and concept.  IN traditional foundation design courses, explorations of 3-D form were often conducted on the German Bauhaus model as dry exercises in alignment and repetition of shape, excluding all narrative content.  How boring.  So, with every assignment, consider the formal issues we are studying, and then try to think of a truly interesting and original way to address those issues.  Remember that abstract form never precludes the incorporation of personal imagery or narrative.  Whether or not you incorporate specific text or objective narrative in your work is entirely up to you, but the essential thing is to make this decision consciously so that your work says something meaningful to you and to the viewer.

While I strongly encourage you to seek interesting and unusual interpretations of the assignments, your work must specifically and carefully address the primary guidelines and objectives stated for each project.  In other words, you might come up with a knock-out sculpture, but it doesn't address the issues stated in the assignment handout, it won't receive credit.

The terms conceptual art and conceptual artist are ubiquitous in contemporary art, referring to work where the intellectual concept supersedes the physical manifestation of a traditional art object.  A conceptual sculpture might be a simple pile of redwood sawdust, addressing the tragic decimation of America's old-growth forests.  In this course we must maintain a realistic balance between concept and object, because we are studying the manipulation of 3-D form in space.  In other words, come up with a concept that is meaningful to you, but always remember that you will be graded only on the physical artwork resulting from that concept.  

Rendering, Realism, and Abstraction
This course has little to do with ability in pictorial rendering, although you will be expected to submit preparatory sketches for most assignments.  Rendering (realistic drawing) is a valuable skill, but in itself has very little to do with the potential for effective art-making.  Remember that all young children make art freely and openly, abstracting what they see around them.  Unfortunately, we often do a very poor job of fostering those natural inclinations.  Misinformed but well-meaning teachers, parents, and peers direct kids towards pictorial representation, which frustrates the artistic inclination in most of us.  There is nothing wrong with realistic representation, but it is just one of the many choices in art.  Personal artistic inclination should evolve naturally.  When it does, the artist finds his or her way honestly and intuitively. That’s the most important part of becoming an artist.

Course Structure
Class time will be used primarily for slide lectures, discussions, and critiques, with a little time now and then for work on assigned projects, which will be completed mostly outside of class. For the kind of work we will be doing, it does not make sense to transport the work back and forth to the studio any more than necessary.  With that in mind, there will be times when I will dismiss class early, sending you off to work on projects elsewhere.  It is important that you invest that time wisely, working on projects for this class.  Every assignment will require that you obtain appropriate materials, with as much flexibility as possible for you to choose materials.  Many of these projects will involve found materials, and it is up to you to allocate time to do the necessary searching and scrounging.

Course Handouts
For each project you will receive a handout explaining intent, formal considerations, materials and processes, and due date, and a second handout discussing the primary concepts and expectations critical to the assignment.  This syllabus discusses many concepts basic to 3-D design, and you will receive a vocabulary list to help you become fluent with the language of art and design.  We will use this language in discussing assignments and in critiquing your work, and it will be the focus of a written take-home final exam.  Purchase a good folder to organize and preserve your syllabus, vocabulary, assignment handouts, and other handouts. These are in lieu of a text, and you will need them throughout the semester. You are expected to learn and use the language of art and design.  Be assured that I will notice.

Sketchbook and Preparatory Drawings
Purchase a small sketchbook, at least 8" by 10". With the exception of the first assignment, all projects will require preparatory sketches, and they will be graded as part of the assignment. These do not have to be great drawings, but must be done with care and commitment as part of the creative process, and each image must be large enough so that people can see it when we pin it up on the wall.  Each drawing must either have a page to itself, or must be isolated in open space, avoiding visual conflict with other images on the page.  With that in mind, do not put more than two drawings on a single page. 

Keep a sketchbook with you, and record interesting visual arrangements. They will appear in unexpected places - architectural details, landforms, construction projects, store displays, machinery, industrial structures, demolition sites, debris piles, etc. This visual information will prove very useful in developing your ideas.

Group Critiques
When each project is due we will have a group critique to evaluate your work. The critique is one of the most important learning dynamics in a studio class, and it is essential that you approach it as such and that you actively participate. I believe in structuring critiques around constructive dialogue and information exchange, avoiding confrontation or embarrassment. The end result is that negative criticism is often made by omission, which can be confusing. If no one says anything about your work it may be because they cannot see anything to talk about. It might be because there are elements they do not understand. It could be that they are impressed and do not feel up to commenting. Or perhaps they just do not know where to begin. If information is not forthcoming, step in and ask specific questions of the rest of us. It is your responsibility to contribute to critiques in a constructive and proactive way, and when we are discussing your work to seek comments and suggestions. I will be happy to call on you individually to get you to participate in critiques, but it is far better if you do so voluntarily.  Your participation in the critique will be considered as I am grading each assignment. 

Contacting You Via Email
I will occasionally send you messages via the TTU email distribution list for this class.  This has become a preferred means of getting class information to students, and it is your responsibility to check your email daily.  If you use another email address, then set your TTU email address to forward to your preferred address.  You are responsible for any information sent to you via the TTU email distribution list for this class.  

Expectations and Grading
Prompt and regular attendance is mandatory. Discussions or critiques will begin promptly at the start of class.  Be on time, bring the required materials, take breaks when you need to, and don’t leave early without permission. If illness or other serious problems cause you to miss a class, get in touch with me and we will work around it.

Due dates are specified on each assignment handout. Unless I extend a due date for the whole class, you must be present in person at the critique with your completed assignment on the specified date, except in the event of documented illness or emergency. An assignment which receives your best effort and is turned in on time may be improved or redone for a higher grade. All assignments which are late without a satisfactory reason will drop one letter grade for each class meeting they are late, and cannot be redone for an improved grade.

Up to 80% of the final grade is based on completion of the assigned projects (including preparatory drawings), done with originality and good craftsmanship, purposefully addressing the concepts and guidelines specified in the assignment handout, utilizing information from class handouts and discussions. Creativity and innovation will be generously rewarded. 5% of the grade is based on a vocabulary exam at the end of the semester, and at least 15% is determined by your active involvement in critiques and discussions, and class attendance. This includes using the language of art and design during discussions and critiques. The above percentages are flexible, at my discretion, in that excessive absence or poor class participation will seriously affect your grade, regardless of the quantity and quality of work. I will take roll, and after four unexcused absences each additional unexcused absence will result in one letter grade reduction in your final grade.

Required Materials
Each assignment handout will specify particular materials for that class.  Basic tools and materials are listed below, and following that is a list of local vendors where you can get supplies and tools.  Additional materials will be required as the semester progresses. You are encouraged to be inventive. We will be doing quite a bit of work incorporating found objects, so review the handout on mixed-media, and start collecting 2-D and 3-D found materials that have a visual, tactile, and/or narrative quality that appeals to you. In some cases, important 20th century sculptural works have been inspired by some interesting object found in quantity.  If you come up with a hoard of something good, bring it in and we will stockpile it here for everyone to use.  Also, a good way to change the surface of a material like Styrofoam is to cover forms with found color, pattern, or narrative taken from newspapers, magazines, wrapping paper, wallpaper, etc., so collect those as well.

Materials Suppliers
The following is a short list of local vendors who stock materials useful in this class.

Course Schedule
This is an approximate schedule, and may change as the semester proceeds.

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