ART
365 A: Ceramics 2 Intermediate Hand-building
Assistant
Professor: Stephen Robison, Department of Art
Office:
148
Office
Hours: Mon & Wed 8:00-9:00 and 11:30-1:00 and By Appointment
Meeting
Place: Randall 124
Time: Monday and Wednesday 9:00-11:30
Email: robisons@cwu.edu
Websites:
Suggested
Readings, Books:
Clay:
A Studio Handbook by
Vince Pitelka, Hands in Clay by Charlotte Speight, Working With Clay
by Susan Peterson, American Ceramics by Garth Clarke and Ceramics, A
Potters Handbook by Glen Nelson
Magazines:
Studio
Potter, Ceramics Art and Perception, American Craft, American Ceramics,
Ceramics Monthly, Clay Times, Art in America
FOCUS
ON HAND-BUILDING
Objectives:
1. To learn more complicated issues around
hand-building techniques and push the scale of your work.
2. To further enhance your awareness of
form and surface in ceramics.
3. To build on your basic knowledge of
historical and contemporary ceramics from around the world and begin more
personal research.
Course
Description:
The
main focus in this class will be to learn more about hand-building techniques
to push the level of complexity and issues around scale.
Requirements:
1. You are required to enter three
research papers on the ART 365 A and B blog. Each journal entry will include a
minimum of 4 images and a 200-words reflecting on the influence of the artists
you are researching. For each paper you will
research contemporary ceramic artists from; http://accessceramics.org/ or http://artaxis.org/artist.htm.
You can also use any of my blogs listed at the top of this syllabus.
You are required to enter your journal entries
in the blog. The blog address is http://art365b.blogspot.com/
Your
research journals need to be completed by the specific date listed in your
attached calendar.
The grade weight for your Journal entries
will be 20 points for each
entry this will equal to 60
points at finals week. This is very important to your grade, complete these journal entries on
time. No credit for late entries.
2. You are required to complete all
assignments by their due dates, pieces not completed by the due date will not
receive credit full credit.
You are required to complete 3 major assignments, each
assignment counts for 21 points. You also have a possible 20 points for an
extra credit pouring vessel assignment, these points are not a given if you
create a pouring vessel, the pouring vessel will also be graded through a
rubric. 63 points for
projects
3. You are required to keep the studio cleaned,
well maintained and are required to load and fire your work. A general rule to
follow is “LEAVE IT BETTER THAN YOU
FOUND IT”. This is a health and safety factor along with a common
consideration for others who use this space. I will assign an area for you to
be in charge of. You will be
graded on this and receive 10 points.
Grading
All
project grades will be based on the grading rubric included in your three grade
sheets. Grade sheets need to be
brought to class on the day of the critique, print them up now and keep them in
your locker. Grade sheets are on the last pages of this document.
Points
Total
63 points for projects, 60 points for
journal entries, 10 points for firing, cleaning and studio maintenance,.
The total points
possible is 133.
Grade
scale
A=133-119
B=118-106 C=105-93 D=92-79 F=78 >>
Attendance
Policy:
Absence is permitted only in cases of
illness or other legitimate cause.
Students taking this course are allowed two unexcused absences during
the term. Students who accumulate more than two will have their points total
dropped by 10 points for
each absence above two. Illness is excused with doctors note. Other
legitimate excuses may need documentation also. Attendance is checked from the
first class meeting. It is the student’s responsibility to make up all class
work missed. When the number of absences for any reason (excused or unexcused)
exceeds 6 the
student will fail the class.
If you miss a lecture, video or demonstration it is your
responsibility to do individual research to figure out what needs to be done
for that particular assignment. If you have an excused absence see me during
office hours.
Tardiness
Policy:
If you are not here when I take attendance you will be
counted as absent, lectures and demonstrations are usually at the beginning of
class and interruptions will not be tolerated, if you have a good excuse you
can talk with me after class is over.
Special Information and Notes
Materials:
You
will need to bring in an old hand towel, a ruler and a small plastic bucket, (a
1 or 2 gallon ice cream bucket is perfect). You will need to purchase a basic
tool set from the college bookstore or craft supply store. A hot glue gun and a
large pack of hot glue sticks, one small box of large black garbage bags, one
roll of masking tape, Two rolls of duct tape, a dust mask and a zipper ziplock
bag, A pair of rubber gloves, a large sponge and small sponge and an Exacto
Knife.
You
come supplied with three of the best tools you will ever need, the most
important being your brain (please bring it to every class), the second two
being your hands. If you really
want to excel in this class I suggest buying either Clay: A Studio Handbook by
Vince Pitelka, Hands in Clay by Charlotte Speight or Working With
Clay by Susan Peterson, all of which can be purchased on line, but even
more important then books would be to take good notes during demonstrations. I
also have shop copies of all these books that you can use at anytime during the
class.
Music: Music is often played in the studio. If
anyone is irritated or just doesn’t like something that is being played or just
wants some quite time then they must inform me and I will turn it off.
Students
are not to wear headphones during class time. Important information may be
addressed outside of lectures and students need to be able to hear me.
Assessment and
Learner Outcomes
COURSE: Art 365 (a): Intermediate
Handbuilding
1. Outline of
Course Content:
Art 365 (a): Intermediate Handbuilding. The main focus in this class will be to
learn more about hand-building techniques to push the level of complexity and
issues around scale. One hour of lecture and four hours of studio per week.
2. Course Objectives: To learn more complicated issues around
hand-building techniques and push the scale of your work, to further enhance
your awareness of form and surface in ceramics, to build on your basic
knowledge of historical and contemporary ceramics from around the world and
begin more personal research in reference to your visual voice and conceptual
concerns.
3. Learner
Outcomes and Assessment Tools:
Learning Outcomes
|
Assessment strategies
|
1. Demonstrate proficiency in intermediate handbuilding
techniques.
|
Assignments focusing on a variety of intermediate handbuilding
techniques and applying specific technical parameters for each assignment.
|
2. Demonstrate proficiency with ceramics and art vocabulary
and ability to conduct a visual analysis of 3-D work.
|
Class critiques for each assignment, incorporating
individual presentation as well as group discussion for the purpose of
assessing the use of descriptive ceramics and art vocabulary.
|
3. Integrate and apply conceptual concerns.
|
Class critiques for each assignment, incorporating
individual presentation as well as group discussion for the purpose of
assessing the application of technique and conceptual development.
Assignments focusing on specific conceptual
parameters for each assignment.
|
A Student’s
Guide to Building an Esthetic Foundation
The expansion of your conception of what
contemporary art and craft are and are not, will be the beginning of your
foundation on esthetics and philosophies.
In my classes, I ask you to look beyond commercialism to find your own
visual voice. With that in mind,
there are certain ideologies and objects that are inappropriate directions of
study and research in my classes. Not to say there is no place in the world for
these types of generic expression; there certainly is, but not in a college
level class. Watered down, overtly
commercial i.e. tourist trade, cookie cutter art or Kraft objects are
unacceptable. Examples that fall
into these categories include ash-trays, pot pouri burners, teddy bears,
hearts, big beer mugs that say bet ya can’t on them, bongs, pipes, piggy
banks, religious or other club-oriented iconography, light houses and sea
gulls. This is only a short list
and I do reserve the right to include other examples if they come up. Reasoning for certain esthetic rules
lie in the fact that to learn about the art and craft of ceramics or any other
media, you must look beyond the blatantly obvious. My classes are not about creating a product; they are about
learning skills to create, building a conceptual direction and about learning
to see. Searching for an
individual voice through historical and contemporary reference points outside
of commercialism will be your main objective in my classes.
Whether you build on a visual voice that is directed
towards a socio-political agenda or based on ideals of beauty, your visual
voice begins with your investigation into the almost inexhaustible
accomplishments of the past and the present. Your individual voice builds as an amalgamation of
historical and contemporary work and grows with your understanding of
both. Your audible voice grew by
learning to speak through your mom, dad and other voices, you then furthered
your education by learning to read and finally thinking more for yourself. I hope that even the way you speak and
think continues to grow. Remember, a major aspect of learning is acquiring a
taste that you may presently want to spit out or won’t even try and being open
to new ideologies that presently you may not understand.
If you allow yourself to taste things that may be
too sweet, too bitter, too ugly or incomprehensible to you now, you may open
you mind to flavors that will make you mouth (or mind) water later. Everyone
has disliked some food as a child and now loves it because they have learned
the subtleties, textures or nutrition of that taste. The same direction can be taken when learning a visual (or
musical) language if you listen to music or look at art more in depth and try
to see or hear what it is saying you will expand your horizons and see the
bigger picture. For instance there
are probably quite a few songs you listen to and really like but you don’t know
what the lyrics are. Once you figure out what the lyrics are sometimes you say
to your self, “Wow what a stupid song”.
In turn there are probably some songs you don’t like for some reason but
what they are singing about you may totally be in agreement with. We all start
out somewhat sophomoric at first, just making meaningless noise in music or
marks in art, and then start to build dexterity through practice and knowledge of
the tools. Just like the gibberish
(gib·ber·ish n. spoken or written language perceived as incomprehensible, and
probably not worth comprehending) of a toddler. It is after more and more
exposure to the historical and contemporary use of the media that you will
begin to see beyond the obvious.
Looking at art and listening to music becomes like reading; if you don’t
open your mind to what is out there you just become a mocking bird and never
learn to sing with your own voice.
As an educator it is my goal to make you realize you
have a voice, train it a little, get you to practice a lot, and then you can
sing solo or join a band. I
intentionally rely on analogies to help you relate to this ideology as it relates
to any field of study; creativity is important in every discipline. We call areas of study, disciplines
because that is what it takes. I really don’t believe that one is born with
talent; I believe one acquires it if they want to or if they have a nurturing
environment that allows them to. I will try to make the environment as
nurturing as possible for those who have the discipline and work ethic it takes
to learn and not just play around and have fun. Learning should be fun also so
I will try and make it so. However you are paying for this education and if you
do not want to get your moneys worth that is more your decision then mine. Show
up to class and do the 6 hours a week of homework and I guarantee you will be
on your way to being what ever you want to be. It is a creative approach to
growth and knowledge that makes any student successful and always above
average. So not only showing up
and doing the assignments but also going to the extra steps of studying the
material will reward you greatly in the end. If you are in the class to obtain a grade and get credit
then you may be in the wrong class. If you are in the class to learn about art
and how art imitates life and how clay touches your life then I am excited to
get to know you and help you along the way.
Health and Safety Rules:
Student
Copy
NUMBER 1 RULE
ALWAYS USE SAFETY
GOGGLES WHEN WORKING AROUND ANY POWERTOOL, OR HANDHELD GRINDING TOOL (i.e.
chisels or grinding bricks), AND A RESPIRATOR when working around dry
materials, dust and fumes! Dust from working with clay, glaze materials,
plaster, buffing compounds, and any material can cause health problems. Proper
respirators must be worn and smart clean up procedures must be followed.
Cleaning up any dry materials must be done in a wet procedure. Use adequate
water and sponge area clean never use a broom. Gloves and protective eyewear
must also be worn when working with the kilns. Protective eyewear for kilns
must be approved to protect your eyes from the intense rays that emit from the
kiln.
NUMBER 2 RULE
REMOVE
ALL Jewelry, TIE HAIR BACK AND NEVER WEAR LOOSE CLOTHING AROUND ANY POWER TOOL
(hand held or stationary). Things that turn can catch lose hanging items and
pull you into the tool or rip out your hair. This also applies when working
around any open fire or kiln. Also never wear nylon or any polyester when
working with any kiln or open flame. Cotton and Leather are the best materials
around the kilns.
NUMBER 3 RULE
THIS ONE MAY SEEM LIKE
COMMON SENSE; NEVER OPERATE ANY POWER TOOL WHILE UNDER THE INFLUENCE OF ANY
PRESCRIPTION OR NON-PRESCRIPTION DRUG THAT IMPAIRS YOUR ALERTNESS!
NUMBER 4 RULE
Never eat or drink in
the studio and always wash your hands after working with materials, especially
before smoking, eating or drinking breaks. Also use protective gloves and goggles when working with
materials in a solution or in their dust form; they may be either caustic or
soluble.
NUMBER 5 RULE
DO
NOT USE EQUIPMENT UNTIL YOU HAVE BEEN CHECKED OUT ON IT!!!!!!!
NUMBER 6 RULE
Lifting heavy objects such as clay bags and kiln
shelves need evaluation and you should seek help when
appropriate. Remember to always bend with the legs and not the back and always
ask for help when lifting any object beyond your capacity.
It is your
responsibility to talk to your professor if you feel that you cannot perform
any task that may be asked of you during the course of this semester.
Calendar for 365A
Week 1
|
Wednesday
Jan 1st
|
|
Assignment
1
10 Folded Forms Due
Jan. 18th Crit on the 23rd
Research
Journal Assignment 1
|
||
What is visually intriguing or conceptually
fascinating to you?
|
Week 2
|
Monday
Jan 9
|
Wednesday
Jan 11
|
Week 3
|
Monday
Jan 16
|
Wednesday
Jan 18
|
MLK day
|
Assignment 2, 3 Vertical Feet, Due Feb. 1st
Research
Journal Assignment 2
|
|
Week 4
|
Monday
Jan 23
|
Wednesday
Jan 25
|
Crit on
Assignment 1
|
||
Week 5
|
Monday
Jan 30
|
Wednesday
Feb 1
|
Crit on
Assignment 2
|
||
Week 6
|
Monday
Feb 6
|
Wednesday
Feb 8
|
Assignment
3
Super Duper Play Dough Pumper Puzzle
Critique on Feb. 22nd
Research
Journal Assignment 3
|
||
Week 7
|
Monday
Feb 13
|
Wednesday
Feb 15
|
Week 8
|
Monday
Feb 20th
|
Wednesday
Feb 22
|
Presidents Day
No class
But try to WORK Last Piece due on Wed.
|
WET CLAY
IS
Over TODAY
This
means trimming and slip work too.
Last
Bisques Loaded
|
|
Week 9
|
Monday
March 5
|
Wednesday
March 7
|
Last
glaze firings Loaded on Mon and Wed of Week 9
This week is
Glazing, Loading, Cleaning and….
FIRING FIRING FIRING
FIRING
|
||
Finals
|
Wednesday
March 13th
|
|
Break Fast Potluck and Photo Shoot!? Final from
8:00-10:00
|
||
8-10 AM
|
||
No comments:
Post a Comment