Wednesday, January 19, 2011

Student Blogs, Spring 2011

Section A:
Ben Cronin bcdesign2.tumblr.com
Katie Davis ktdavis.wordpress.com
Rachel DeCuba wastelandart.blogspot.com
Kaitlyn Dietz
Tristian Dollinger tdollinger.tumblr.com
Lianne Elloitt liannein3-d.tumblr.com
Chryssha Guidry chrysshadesign.wordpress.com
Chantel Harding hardingart89.blogspot.com
Christopher Hardwick
Brad Horsfield bhorsdesign.blogspot.com
Kristen Matulewicz kmatulewicz.wordpress.com
Ari Myles a-myles.blogspot.com
Andi Parent
Stacy Piagno spiagno.blogspot.com
Christie Ruether christiereuther.blogspot.com
Ryan Tempro bobodadogboy.blogspot.com

Section B:
Brianne Angelakis bangelakis.blogspot.com
Anne Bradt abradtdesign2.blogspot.com
Liliana Cerquozzi lilianadesign.tumblr.com
Kelly Daly kdaly152.tumblr.com
Johanna Falzone cherrydesign2.wordpress.com
Maddie Fees dibbs1215.blogspot.com
Allison Forshey af2ddesign.wordpress.com
Felicia Guerriero felicialeigh.tumblr.com
Brittany Higgins brit1090.wordpress.com
Rachael Horne rachaelhorne.tumblr.com
Sara Lear slear.tumblr.com
Christie Oakes christieaoakes.wordpress.com
Christian Ouellette wix.com/caocao/cao2
Ryan Palm ryanpalm.wordpress.com
Eduardo Rodriguez yayotas.blogspot.com
Sofia Schissel sofia-s.tumblr.com
Lizzie Schuler lizzieschuler.blogspot.com
Katie Vidan kdesign2.tumblr.com

Tuesday, January 11, 2011

Make It Tall, Assignment Guidelines

Assignment: Using only corrugated cardboard (that's right, no tape, glue, staples or any other methods of adhesive/attachment) to create a stable, innovative structure that begins on the table (in our classroom) and reaches up toward the ceiling. Base area no larger than !4" x 14". This is an in-class assignment - meaning we begin at the start of the hour and complete by end of class time.

Materials: Cardboard and box cutter.

Sunday, January 9, 2011

Masking Tape Shoes Assignment Guidelines




Assignment: 
Using only masking tape, create an exact replica (to scale) of a pair of shoes (left and right shoe). Replicate every detail. This includes the texture on bottom of each shoe as well as other areas of texture. Observe texture visually as well as through the sense of touch. If you can see and feel the texture, it must be replicated on the final solution. 


Objective: 
  • Practice the use of sight and touch to observe from life.
  • Observations provide opportunity to understand and practice elements and principles of art and design.
  • Employ methods of planar construction.

Student Examples of Final Solution:
Go to the category "Masking Tape Shoes Student Work" in the right column. If viewing this blog on your phone and right column does not appear, scroll to bottom and click "web version". 


Student Examples of In-Process:
Go to the category "Masking Tape Shoes In-Process Examples" in the right column. If viewing this blog on your phone and right column does not appear, scroll to bottom and click "web version". 


Materials: 
  • White copy paper (or any other scrap paper) and tape to make the mock up.
  • Masking tape in various widths
  • Exacto knife with blades
  • Cut matt
  • Banning wheel (optional purchase, there are plenty in the studio)
  • A pair of shoes WITH LACES. 
    • See images below for examples of shoes that will work for this assignment. 
    • Feel free to invent your own tools to make marks in the masking tape. This will be necessary as each of you will be replicating textures/details on your shoes.
    • Sometimes students purchase a cheap pair of shoes at Walmart so they can cut up the shoe and examine all details/shapes. You are not required to cut up a shoe. Therefore, you can use a shoe you currently own. 

Guidelines:

1. PAPER MOCK-UP, TO SCALE
  • Create a to-scale mock up of one shoe.
  • Including laces is optional for the paper mock-up. 
  • Use white copy paper (or any other light weight paper) and any kind of tape.
  • Do not use card stock.
  • Pencil marks and tape can be visible. The intention is to discover the shapes, textures, lines and spatial relationships apparent in the shoe. Think of the paper model as a 3-dimensional sketch.
  • You will have to mentally deconstruct the shoe with regard to planes in order to understand how it is constructed. Some people actually cut up the shoe, but this is not required.
  • Do not concern yourself with details for the paper model. Use this exercise to gain a basic understanding of the shapes, planes and proportions.
  • Go to right column category "Masking Tape Shoes Paper Mock-up" to see visual examples of or click link: https://foundations3ddesign.blogspot.com/search/label/Masking%20Tape%20Shoes%20Paper%20Mock-Up




2. CREATE A LIST OF OBSERVATIONS
  • Carefully examine each shoe. Rely on visual observation. 
  • Write down all observations - no matter how minor. 
  • Next, close your eyes and observe the shapes and lines through your sense of touch. 
  • Add these observations to your list (or further define observations made visually). 
  • Note: If you have a used pair of shoes, there may be slight differences to the bottom. A new(er) pair of shoes - can simply examine one shoe.
  • Sketching is optional. 



3. BEGIN CONSTRUCTING WITH MASKING TAPE
  • Do not "mold" the tape over the shoe.
  • Remember, you will have to deconstruct the shoe with regard to planes in order to understand how it is constructed. You can visually deconstruct or actually cut apart the shoe. 
  • Refer to the list of observations you made. Duplicate all details. 
    • If you can SEE IT AND FEEL IT, create it with masking tape. 
    • The sole of the shoe, stitching, mesh, raised surface areas are a few example of what can be seen AND felt by touch.
  • Do not change the scale of the masking tape shoes. 
    • The final solution should be the exact size and have the same proportions of the actual shoes.
  • Be aware that there is a difference between the right and left shoe.
  • Look over student images of work in-process before you begin. 
  • Go to category in right column "Masking Tape Shoes In-Process" or click on link: http://foundations3ddesign.blogspot.com/search/label/Masking%20Tape%20Shoes%20In%20Process%20Examples




4. SUBMITTING FINAL SOLUTION (A PAIR OF SHOES)






Below are a few examples of shoes 
that will work for this assignment. 

The shoes must have laces. 

Do not use a shoe that has "negative space" such as 
Keen shoes, flip-flops or sandal like shoes. 

A low heel is good (no higher than 1/2 inch). 

High tops and boots will work fine. However, 
keep in mind you are creating every detail of the shoes 
and these shoes can take extra time to complete. 














Shoe dissection. You are not required to take apart your shoe. 
The photos below show planes are transformed 
to create a 3D form (the shoe). 
Source:












This assignment is accompanied by a music video 
for your entertainment pleasure. 
Nancy Sinatra, These Boots Are Made for Walkin', 1966






Post the following information on your blog in the order listed below. All images of the final solution are to be professional quality. See right index bar for category "How to Photograph Your Work". 

  • Three (3) professional photos of the final solution (a pair of shoes). Each with a different view. 
  • At least two (2) detail photos (focus in on an area that is well executed and provides the viewer with a better understanding of the final solution).
  • At least one in process photo. 
  • Optional - Sketches and/or notes. 


Saturday, January 8, 2011

Clay Hybrid, Student Work, Fall 2010







Callie Cheney. Two forms from life and three hybrids.




Maya. Two forms from life and a hybrid example.





Ryan Flannery. Top two images are examples of modeling from life. Bottom two images - two different views of one hybrid form. Ryan's photographs are good examples of professional images.

Paper Stacking, Student Work, Fall 2010

Materials used: Rives paper and wood glue.

Ryan Flannery.

Sarah.



Josh Weaver


Callie Cheney







Janine Antoni, Born 1964, Bahamas



The article below was written by Anika Gupta, Feb. 10, 2015 for Smithsonian.com
It often takes first-time visitors a few minutes to figure out exactly what’s different about the two portrait busts standing next to each other on the third floor of the Hirshhorn gallery. The two busts—one a deep brown, the other a smooth off-white­—are sculpted from two of the more uncommon materials in the Hirshhorn collection: chocolate and soap.  
Contemporary artist Janine Antoni created the original sculptures in 1993 from molds of her own head. Then she licked the chocolate bust down until its features became indistinct, and took the soap bust into the shower with her, letting water slowly erode its features. Hence the artwork’s name: Lick and Lather.  The goal of licking and washing the busts, says Antoni, was to highlight the conflicted, but intimate, relationship that many people have with their surface appearance.
“Both acts [licking and washing] are very gentle, loving, intimate acts, but what was curious to me was that through that act I was erasing myself,” says Antoni, who was born in the Bahamas, but is now based in New York.
For Antoni, the busts provided a new form of intimacy: it was the first time she’d worked with a representational self-portrait, although not the first time she’d used her body as a tool in her artwork. A previous piece, Gnawhad involved chewing down a large slab of chocolate and another slab of lard, and then using the chewed materials to create new, smaller pieces. She says Lick and Lather represented a natural evolution of the concepts in Gnaw using the body and everyday materials to make the artistic process more transparent and meaningful. Taking the soap bust into the shower with her, she says, was almost like “washing a baby.


But the busts also offer another commentary. Antoni created the busts to be shown at the Venice Biennale, an international cultural exposition. She says she wanted to create an artwork that would reference that city’s well-known classical artwork, but with a twist. She wore down the soap and chocolate to emphasize the everyday, as opposed to the grandiose. But when she arrived in Venice, she noticed how many classical busts had also aged in unexpected ways.
“I saw these marble sculptures that were washed down very much like the soap heads,” she says.  “I think that we think of aging as something that happens to us, something we can’t control. I started to think about the way we live our lives as a reflection on how we choose to age.”
For Hirshhorn curators, the busts represent an unusual and important commentary on the classical tradition. In the newly refurbished third floor galleries, artwork is organized by theme. Lick and Lather stands in the same gallery as paintings of male nudes by artists such as Lucian Freud and Francis Bacon.
“It’s great, in that company, to get a woman’s perspective,” says Hirshhorn curator Melissa Ho. “This [piece] is very much about a female artist’s point of view.”
Ho says that once visitors realize what the materials are, they often try to smell the chocolate bust, as if to confirm that it’s really chocolate. The viewing experience is sensual and intimate, just like Antoni intended.
“With a conventional representational painting, part of the magic is that you don’t understand the process behind it,” Ho says. “By contrast, with Lick and Lather, the magic is exactly that it is very readable.”
 Lick and Lather also represents something else—the success of a long and scientific partnership between Antoni and the Hirshhorn’s conservators.
The Hirshhorn acquired its version of  the work in 2001. But sometime between 2004 and 2008, the Hirshhorn’s soap bust began to decay. Both the busts had aged, with the chocolate bust taking on the same whitish tinge that a chocolate bar does when it’s been around for a while. To an extent, this normal aging is part of the artwork’s intention, says Antoni. But the soap bust had developed problematic-looking white crystals on its surface, which distracted from the message. Eventually, the changes in the soap bust became prominent enough that curators realized the bust would have to be repaired if the piece were ever to go back on display at the museum.
Hirshhorn conservator Gwynne Ryan suggested calling Antoni to get her input on the process. Although partnerships between artists and conservators are becoming more common in the contemporary art world, they still aren’t the norm, she says.
“In terms of the field of contemporary art conservation we’re learning that this has to be part of our workflow,” says Ryan.
The conservators needed Antoni’s input partly because there isn’t a lot of scholarship about how to preserve soap as an artistic material. Over the past hundreds of years, conservators have built up a wealth of information on how to preserve different artistic materials, even unconventional materials like chocolate. There’s even a book on how to conserve chocolate-based art, says Ryan.
But soap represented a new challenge.



Over the next two years, starting in early 2011, Ryan says, Antoni opened her studio to the conservators. They read Antoni’s notes, tested other Lick and Lather soap busts, and interviewed her soapmaker.
They discovered that Antoni’s soapmaker had used different soap formulations for different busts. There are several versions of Lick and Lather in various collections, and the soap busts had aged differently. Bound by a common goal—to discover which soap would yield the most stable busts—Antoni and the Hirshhorn team began experimenting.
Soap is made up of three principal components: fat, water and lye. The Hirshhorn’s bust had become unstable because there was excess lye in it. So the team decided to formulate 16 different varieties of soap in the conservation lab, which they then cut into samples that they tested in different environmental conditions. One batch became a control group, another batch went to Antoni’s studio. Other batches were exposed to UV light, humidity and other conditions.
Eventually, the team discovered which formulation would be the most stable. Antoni gave them a different soap bust to replace the older one.
“The goal of our work is to be able to see it on display, and that’s really satisfying,” says Ryan. “I think we’ve seen this as a really successful collaboration.”  Ryan says further experiments may focus on how heat and mold thickness affect the soap’s durability. This information, says Ryan, could be beneficial not just to Antoni and the Hirshhorn, but to the museum conservation community as a whole.
Despite the sometimes unexpected challenges of conservation, Ho says that these unexpected materials are part of the revolutionary impact that pieces like Lick and Lather can have on audiences.
“I think that’s one of the great accomplishments of modernism, that you could make a work of art out of a common household thing,” says Ho, who traces the tradition back to Picasso’s experiments with collages made with newspapers. “That’s been going on for a hundred years, but it’s still an important and disruptive notion.”
Antoni has recently returned to the mold used to create the Lick and Lather busts. She’s using the mold as part of a new artwork. For her, the process has brought her back into conversation not just with a piece that strongly impacted her career, but also with the physical image of her younger self.
“I have used the mold to create a new scenario around the ideas of birth,” she says. “I’m still in relationship with that image.



"I wanted to work with the tradition of self-portraiture but also with the classical bust...I had the idea that I would make a replica of myself in chocolate and in soap, and I would feed myself with my self, and wash myself with my self. Both the licking and the bathing are quite gentle and loving acts, but what’s interesting is that I’m slowly erasing myself through the process. So for me it’s about that conflict, that love/hate relationship we have with our physical appearance, and the problem I have with looking in the mirror and thinking, ‘Is that who I am?’"
- Janine Antoni

Want to see more of Antoni's work? Link here to watch the ART 21 Video Interview.

Assignment: Write a personal response to the article and/or video and post on your blog. The response is not a summary.  The response should demonstrate thoughtful and meaningful comments.  For instance, how the work made your feel/how the work influences you/what the work means to you/the reasons you think the work is valid or not valid.


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