* ART 1610b, Sculpture Basics  Sandra Burns

Concepts of space, form, weight, mass, and design in sculpture are explored and applied through basic techniques of construction and material, including gluing and fastening, mass/weight distribution, hanging/mounting, and surface/finishing. Hands-on application of sculptural techniques and review of sculptural ideas, from sculpture as a unified object to sculpture as a fragmentary process. The shops and classroom studio are available during days and evenings throughout the week. Enrollment limited to 12. Recommended to be taken before ART 1620–1625.  HU  RP
MW 10:30am-12:20pm

ART 1620b, Introduction to Sculpture: Wood  Staff

Introduction to wood and woodworking technology through the use of hand tools and woodworking machines. The construction of singular objects; strategies for installing those objects in order to heighten the aesthetic properties of each work. How an object works in space and how space works upon an object.  HU
W 1:30pm-5:20pm

ART 1621a, Introduction to Sculpture: Metal  Staff

Introduction to Metal emphasizes working with metal through the framework of artistic, architectural and cultural forms. This course features a comprehensive application of construction in relation to concept. We will examine the ways in which the meaning of a work derives from materials and the form those materials take. Instruction in welding and general metal fabrication techniques will be taught, facilitating the completion of artworks.  HU
M 1:30pm-5:20pm

* ART 2611a, Sculpture as Object: Documentation, Preservation, Conservation  Kameelah Rasheed

Introduction to concepts of design and form in sculpture. Exploration of the use of wood, including both modern and traditional methods of carving, lamination, assemblage, and finishing. Fundamentals of metal processes such as welding, cutting, grinding, and finishing may also be explored on a limited basis. Group discussion complements the studio work. The shops and the studio are available during days and evenings throughout the week.  HU
WF 1:30pm-3:20pm

ART 3649b, Advanced Video Installation  Ben Hagari

This is an intensive project-based class exploring the production of video installations and the intersections of such mediums as performance, kinetic sculptures, video and sound. Students enhance their skills to create complex environments and sharpen their conceptual and logistical considerations when working with space and time. Prerequisite: ART 1622, prior experience in video or installation, or permission of instructor.
Th 1:30pm-5:20pm

ART 4645a, Advanced Sculpture Studio Practice I  Sandra Burns

Self-directed work in sculpture. Group discussion of student projects, with readings, slides, and videos that address current art practices. Regular individual and group critiques. Enrollment limited to 12. Prerequisite: ART 3645 or 3646 or equivalent, or permission of instructor.  RP
W 1:30pm-5:20pm

* ART 4648b, Sculpture and Questions of Definition  Staff

What is sculpture? In addition to the conventional definition of sculpture being concerned with volume and mass in space, it seems that artwork falling out of any other category falls into sculpture. This studio seminar explores, through the work of the students in the class, how the conventional categories of sculpture, painting, graphic design, and photography as represented within the structure of the School of Art function to generate meaning. How art is responsive to its context and questions of authorship, process, and vulnerability are explored. Class time is spent in an effort to articulate students' work vis-a-vis these questions. In order to facilitate this effort, and to supplement three projects, various reading materials are discussed, and the work of other artists is considered. Open to art majors and graduate students from all areas of study with permission.
Th 1:30pm-5:20pm

ART 6295a and ART 6296b, Sculpture Thesis  Staff

The course supports the Sculpture Thesis projects. In the fall term, students develop programmatic contents through the production of a zine. This zine is published as a pdf file as the thesis exhibitions open. The class also focuses on making compelling and feasible proposals for the thesis exhibitions by closely examining spatial, logistical, and technological aspects of individual projects. In the spring term, students continue to meet as a group to prepare for installation and documentation of the exhibitions. In April, the focus shifts to professional development. Enrollment is limited to the second-year students in the Sculpture Department.  1½ Course cr per term
F 10am-1pm

ART 6310a and ART 6311b, Sculpture Studio Seminar  Staff

Limited to M.F.A. sculpture students. Critique of sculpture, time-based media, and ungainly projects. Students present their work in several venues in the sculpture building. Throughout the year a full ensemble of the sculpture faculty and students meet weekly for critiques in which each student’s work is reviewed at least once per term. During the spring term the format slightly changes to include evaluating work-in-progress, especially the thesis work of second-year students.  3 Course cr per term
T 12pm-3:30pm

ART 6336a, X-Critique  Martin Kersels and Sandra Burns

Limited to M.F.A. sculpture students. A critique course focusing on time-based and other ungainly works. Students present their work during class time and have the opportunity for an in-depth critique and discussion about their pieces. There is no singular focus in this critique, as the balance of pragmatic and conceptual considerations surrounding the work is examined and discussed in a fluid way depending on the work at hand and the intent of the artist.  3 Course cr
Th 6pm-9pm

ART 6342a and ART 6343b, Individual Criticism: Sculpture  Staff

Limited to M.F.A. sculpture students. Criticism of individual projects.  6 Course cr per term
HTBA

ART 6404b, The Word is My Fourth Dimension  Kameelah Rasheed

The course title comes from the 2012 English translation of Clarice Lispector’s Água Viva (1973). This course invites us to make work that engages with text and writing and explore the artists who push us to consider new relationships to language. Beyond the page, we explore text practices across various substrates and environments: the browser, the wall, the body, the sky, and the land. We consider legibility, translation, duration, embodiment, quantum physics, and pleasure in generating and studying text-based practices. Classes include opportunities for play, discussions, short lectures, and making. Assignments in this class include one presentation, one summative text-based work, one short essay, and active class participation. In the background of the course, we slowly read Lispector’s Água Viva as a haunt in our study of those who attempt to wrangle language.  3 Course cr
M 2pm-5pm

ART 6432b, Landscape Paradoxes  Staff

In this class we will explore nature in contemporary art and the historic world. Within and beyond the context of culture and society, we will consider paradoxes in wild and cultivated environments, and what that means for perceptual encounters. What possibilities can thrive in extreme circumstances? How do elemental forces impact behavior and attitudes? Readings, seminars, screenings and field trips will facilitate discussions around process-based and investigative projects. This course is driven by a sense of play and exploration with invisible forces to reimagine the familiar.  3 Course cr
W 3:30pm-6:30pm

ART 6478a, Doing  Aki Sasamoto

This course is a platform for collective experiential learning, and thus participatory in nature. We focus on exploring movements and objects, and we relate those with artists’ practice. Activities include but are not limited to movement exercises, workshops, field trips, guest talks, and occasional prompts. Themes this term include routines, guided walks, object handling, and more. Students organize and participate in group activities. You lead one group activity that reflects your practice. What is at the core of your work/ing? How do you introduce your practice, opposed to your production? Compose a twenty-minute activity for the class that pulls us into what you do. You can invite us to your studio or arrange a meeting site at a nearby location. Each student meets with the instructor to compose this activity prior to the workshop.  3 Course cr
W 10am-1pm