The document provides information on studying sculpture, including perspectives from instructors on what sculpture is, profiles of sculptors and their experiences in art school, and tips for choosing a sculpture program and preparing an application portfolio. Sculpture is defined broadly as any three-dimensional work that requires moving around it to be fully experienced. The document recommends showcasing the process, range, and development of one's sculptural practice in a portfolio for art school applications.
The document provides information on various case studies and solutions to problems in different fields. It describes initiatives like Jelly, which aims to bring remote workers together for collaboration. It also discusses advocacy groups like Guerilla Girls Broadband and initiatives like Skillshare that organize community classes. Other solutions covered include websites like Hyperallergic that report on art and design trends, and projects like Firebelly Design's collaboration with clients on socially engaged design projects. The document presents information on these case studies in different categories like "Work Groups", "Education Groups", and "Design Advocacy".
The document discusses how art can be used as a tool for social change and highlights several arts-based social justice programs. It introduces The Memory Project, started by Ben Shumacher to provide portraits of children facing challenges. Since 2004 they have created over 130,000 portraits for children in 47 countries. It also describes Pinwheels for Peace, started by two art teachers to have students make and share paper pinwheels on International Peace Day. The document invites readers to explore these and other social justice art projects and encourages using art to take students' learning beyond the classroom.
This document discusses the origins of public sculpture in Britain. It challenges the traditional view that public sculpture did not emerge until the 17th century, after the Renaissance influence from Italy. The document provides evidence that some sculptures from the Elizabethan period could be seen from public roads and highways, and therefore counts as early forms of public sculpture. It examines the sculptures at Nonsuch Palace as an example that, while privately owned, would have been visible to the public passing by. The document argues for pushing back the origins of public sculpture in Britain earlier than traditionally thought.
Linda Stein is a sculptor who creates large armor-like sculptures of female figures out of salvaged materials from everyday life to imagine alternatives to the masculinized narratives that emerged after 9/11. Her sculptures give female forms to the role of protector and question the media's focus on male heroes in the aftermath. One sculpture features figures of Wonder Woman and Marilyn Monroe with shields, perhaps protecting them or allowing them to be appreciated for qualities beyond their typical representations.
This document summarizes a study on teachers who regularly incorporate the arts into their classroom teaching. It interviewed six New York City teachers about their motivations and challenges in using arts. Key findings were that creative attitudes, not art skills, enabled arts use. Teachers took risks to maintain creativity despite obstacles. Their main motivation was addressing diverse student needs through different learning styles. Arts professional development encouraged teacher creativity and expanding their teaching repertoire.
This document provides a research proposal for creating a public sculpture at Sekolah Menengah Kangkar Pulai in Johor, Malaysia. The proposal discusses the background of visual arts education in Malaysian schools and identifies a gap in experience with public sculpture. The objectives are to create a public sculpture to provide visual art experiences for students and examine their appreciation. A case study research design will be used involving literature review, interviews, and on-site study. Analysis methods are not described. The proposal identifies creating public sculpture as a way to enhance the school environment and student art appreciation.
This research aims to determine if experiential learning through developing public sculptures helps students understand sculpture art better. Researchers conducted interviews with open-ended questions about definitions of public sculpture, the importance of hands-on learning experiences, and how the process affects understanding. Data collection included audio/video recordings and researcher notes. The analysis categorized information by themes of public sculpture overview, learning methods used, and activities. The objectives were to see if hands-on use of real objects met learning goals and to gauge usability and functionality of public sculptures in enhancing understanding and interest in visual arts.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
The document provides information on various case studies and solutions to problems in different fields. It describes initiatives like Jelly, which aims to bring remote workers together for collaboration. It also discusses advocacy groups like Guerilla Girls Broadband and initiatives like Skillshare that organize community classes. Other solutions covered include websites like Hyperallergic that report on art and design trends, and projects like Firebelly Design's collaboration with clients on socially engaged design projects. The document presents information on these case studies in different categories like "Work Groups", "Education Groups", and "Design Advocacy".
The document discusses how art can be used as a tool for social change and highlights several arts-based social justice programs. It introduces The Memory Project, started by Ben Shumacher to provide portraits of children facing challenges. Since 2004 they have created over 130,000 portraits for children in 47 countries. It also describes Pinwheels for Peace, started by two art teachers to have students make and share paper pinwheels on International Peace Day. The document invites readers to explore these and other social justice art projects and encourages using art to take students' learning beyond the classroom.
This document discusses the origins of public sculpture in Britain. It challenges the traditional view that public sculpture did not emerge until the 17th century, after the Renaissance influence from Italy. The document provides evidence that some sculptures from the Elizabethan period could be seen from public roads and highways, and therefore counts as early forms of public sculpture. It examines the sculptures at Nonsuch Palace as an example that, while privately owned, would have been visible to the public passing by. The document argues for pushing back the origins of public sculpture in Britain earlier than traditionally thought.
Linda Stein is a sculptor who creates large armor-like sculptures of female figures out of salvaged materials from everyday life to imagine alternatives to the masculinized narratives that emerged after 9/11. Her sculptures give female forms to the role of protector and question the media's focus on male heroes in the aftermath. One sculpture features figures of Wonder Woman and Marilyn Monroe with shields, perhaps protecting them or allowing them to be appreciated for qualities beyond their typical representations.
This document summarizes a study on teachers who regularly incorporate the arts into their classroom teaching. It interviewed six New York City teachers about their motivations and challenges in using arts. Key findings were that creative attitudes, not art skills, enabled arts use. Teachers took risks to maintain creativity despite obstacles. Their main motivation was addressing diverse student needs through different learning styles. Arts professional development encouraged teacher creativity and expanding their teaching repertoire.
This document provides a research proposal for creating a public sculpture at Sekolah Menengah Kangkar Pulai in Johor, Malaysia. The proposal discusses the background of visual arts education in Malaysian schools and identifies a gap in experience with public sculpture. The objectives are to create a public sculpture to provide visual art experiences for students and examine their appreciation. A case study research design will be used involving literature review, interviews, and on-site study. Analysis methods are not described. The proposal identifies creating public sculpture as a way to enhance the school environment and student art appreciation.
This research aims to determine if experiential learning through developing public sculptures helps students understand sculpture art better. Researchers conducted interviews with open-ended questions about definitions of public sculpture, the importance of hands-on learning experiences, and how the process affects understanding. Data collection included audio/video recordings and researcher notes. The analysis categorized information by themes of public sculpture overview, learning methods used, and activities. The objectives were to see if hands-on use of real objects met learning goals and to gauge usability and functionality of public sculptures in enhancing understanding and interest in visual arts.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
The document summarizes the Jewellery Design and Silversmithing program at Sint Lucas University of Art and Design in Antwerp, Belgium. The program emphasizes experimentation, topicality in the arts, and allows room for artistic research. Students learn both contemporary jewellery design and small object design, starting with ideas and research. They receive an academic training and link theory with practice through workshops and guest lectures. The program aims to help students develop as artists and designers through an individualized learning process focused on research, craft, and presentation skills.
The document is a teacher resource packet for an exhibition at the Museum of Arts and Design titled "New Territories: Laboratories for Design, Craft and Art in Latin America." It includes introductory information about the exhibition's themes of navigating space, repurposing objects, developing new markets, cultivating experimentation, craft legacy, and experimenting with materials. The packet provides discussion topics, hands-on activities, and lessons to help students explore the key concepts and ideas from the exhibition both before and after their visit.
The document discusses conceptual art teachings in Canadian art schools. It notes that the Conceptual art movement challenged traditional notions of art by regarding art as a thinking process rather than the creation of tangible objects. Many major Conceptual artists now teach at Canadian schools, ensuring the movement's legacy continues. Students are taught skills like confronting social issues and thinking outside the box. Several art schools are profiled, showing how they incorporate Conceptual art principles and encourage experimentation. Instructors from some schools emphasize ideas over materials and engaging with interdisciplinarity.
The document provides information about Caitlin Devendorf's teaching philosophy and portfolio. Her mission is to develop students' appreciation for visual arts throughout history by fostering creative thinking in her classroom. She strives to make her classes relevant while preparing students to be visually literate and skilled critical thinkers. Her professional goals include improving the classroom environment and helping students appreciate visual arts' power locally and globally through projects. The document also lists some of her coursework, including studio art, functional art, and sculpture, and provides samples of lesson plans she has created.
The Importance of Student Artistic Production to Teaching Visual Culture.arewull88
This document discusses the importance of student artistic production in teaching visual culture. It makes three key points:
1. Student artistic production is foundational to teaching visual culture because it involves transforming curriculum content, shifting teaching methods, and rethinking how student work is assigned and assessed.
2. Student art is a form of identity formation and cultural inquiry. Through artistic production, students can explore their multiple identities and respond to influences from visual culture in constructive ways.
3. Student art should be used as a form of cultural critique. Assignments should focus on developing student ideas and allow them to comment on and influence contemporary visual conditions through their work.
Using mobilities-informed methods to support new approaches to arts evaluationjenrossity
This document discusses using mobilities-informed methods to support new approaches to arts evaluation. It focuses on evaluating the ARTIST ROOMS collection, which is made up of over 725 works of international contemporary art shared throughout the UK. The research aims to understand how mobilities approaches can enrich arts evaluation and influence current practices. It designed and piloted an artcasting platform to generate location-based responses from visitors in order to gain a richer understanding of their experiences and engagement with the artwork.
WSPA is a new-generation architectural college. We impart architectural education that is, first and foremost, rooted in the understanding of the culture and environment; but which is also technologically advanced. The course curriculum of each semester is designed around a particular context (in and outside NCR). Frequent study trips enable the student to understand how CONTEXT helps shape up architecture.
For more information visit http://worldschoolofdesign.in/school-arch.html
This document provides information about creating a contemporary artwork using available materials and appropriate techniques. It discusses relevant content and performance standards. It explains that learners will design an original contemporary artwork, present a skillfully made piece, and work independently. The document then reviews various art styles, elements, and techniques that can be used, such as collage, decollage, graffiti, land art, digital art, and mixed media. It emphasizes that artistic skill is developed through practice and experimenting with different materials and mediums. The document provides examples of techniques employed by different visual artists.
Evocative Pedagogy Bricolage Curriculum Common Coreilaeadigital
This document summarizes key points from a presentation by Olivia Gude on revising art education curriculum standards. It notes that simply focusing on elements and principles or traditional media is no longer sufficient. The field of art education must change to remain relevant and engage students. A good curriculum should support meaningful student artmaking, represent contemporary practices, and utilize skills in real contexts through investigative projects that introduce methods and create opportunities for students to make meaning.
Blair Lambert is seeking an art teaching position and has experience teaching art at various schools and camps. She has a Bachelor's degree in Art Education and Studio Art, and is completing a Master's degree in Art and Design Education. Her teaching philosophy focuses on helping students think critically about art and developing both technical and conceptual skills. She provides examples of art lessons she has taught that develop skills while exploring concepts.
Arts integration and education for the non art classroomArtfulArtsyAmy
Here is a possible arts integrated lesson plan design:
Title: Portraits of the Gold Rush
Standards:
- VAPA: 1.4, 2.2, 2.5
- Writing: 1.A, 1.B, 1.C, 1.D
- History: 4.3.3
Lesson Overview: Students will create self-portraits depicting themselves as a settler during the California Gold Rush era. They will learn about facial proportions and use accurate proportions to draw their portraits. Students will also write an opinion piece about how the Gold Rush affected their daily life from their character's perspective, supporting their opinion with facts about the effects of the Gold Rush.
The Application of Digital Technology in the Furniture Design and Education R...Siniša Prvanov
Furniture Design is devoted to harmonious development between man and nature. With the introduction of contemporary suitable scientific technology, as the "art of science", furniture design is bound to enter a new stage of development.
Nowadays, digital technology has been widely used in the world and various industries. Using the process that digital technology has boost the development of interior architecture industry as links, this presentation expounds the application object, function and basic operating software of digital technology in the furniture design courses which triggered the current situation of interior architecture education in the age of new technology and new ways of communication.
Presentation: UNESCO Mobile Learning Week 2018. Paris,France.
Siniša Prvanov PhD
Presented by Anna Bernhard at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin.
Session #4: The Teaching Turn: From Static Collections to Dynamic Learning Centers
ORGANIZER: Heather Lowe, California State University, San Bernardino
(on behalf of the VRA Emerging Professionals and Students Group)
MODERATOR: Jasmine Burns, University of Wisconsin - Milwaukee
PRESENTERS:
• Stephen Cardinale, University of Colorado, Boulder
• Anna Bernhard, Colorado State University
• Molly Schoen, University of Michigan
• Chris Strasbaugh, Vanderbilt University
Much of the business of creating and disseminating images has moved away from individual academic departments and isolated image collections toward centralized cross-discipline departments. This has left many visual resource centers looking for new ways to engage users and support the educational goals of their institutions. One way centers are meeting these new challenges is by transforming from being a storage silo for physical slide collections to being a collaborative learning space where students and faculty alike can come to work on projects and refine imaging and videography skills. As many resource centers make this move toward more teaching and learning, the physical spaces and skill sets of employees have also shifted. This session will examine case studies of visual resource centers programming that is directed to teaching imaging skills and how this new role is shifting their profile within their institutions.
Rules of Thumbs is a creative methodology that combines elements of visual art, complex systems, architecture, and performance. It is a practical, solution-based approach to problem-solving that involves conceptualizing problems, brainstorming solutions, and refining ideas through experimentation. The methodology consists of five phases - defining interests and intentions, collecting information, interpreting connections in the information, creating subjective interpretations, and evolving ideas into a final format. Workshops teach the methodology through hands-on activities, discussions, and case studies.
April DeMarco is an artist and educator with over 20 years of experience teaching art. She holds a BFA in painting/drawing/sculpture and an MS in instructional technology. She has taught art at various schools and organizations, developing technology-integrated curricula. She also runs an online art business called DeMarcoStudios, where she exhibits and sells her artwork. She has given lectures on topics like branding for artists and uses art to help others through meditation and healing.
April DeMarco is an artist and educator with over 20 years of experience teaching art. She holds a BFA in painting/drawing/sculpture and a MS in instructional technology. She has taught art at various schools and organizations and created online art classes. As an artist, she exhibits her work nationally and sells to interior designers. She is also involved with several art organizations in her community.
Visual arts experiences in schools develop students' creative abilities. Students learn to communicate through the images they make and develop pride in their work. They bring new images into existence by manipulating visual elements and basing ideas on observation and imagination. Students acquire skills in various materials and techniques, and learn to present their works effectively. The document defines art, craft, and design - art concerns concepts and ideas, craft focuses on skills, and design specifies products in advance.
Materials and Techniques of Contemporary Arts Powerpoint.pptxJerwinMojico1
The document discusses materials and techniques used in contemporary art. It begins by outlining the objectives of understanding contemporary art forms based on elements and principles. It then discusses how contemporary artists use a broad range of both traditional and innovative materials in their work, including developments in new technologies. Appropriation, performance art, space, and hybridity are some key elements and principles discussed. Technology is also highlighted as an important aspect of contemporary art through the use of mass production and virtual tools.
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The document summarizes the Jewellery Design and Silversmithing program at Sint Lucas University of Art and Design in Antwerp, Belgium. The program emphasizes experimentation, topicality in the arts, and allows room for artistic research. Students learn both contemporary jewellery design and small object design, starting with ideas and research. They receive an academic training and link theory with practice through workshops and guest lectures. The program aims to help students develop as artists and designers through an individualized learning process focused on research, craft, and presentation skills.
The document is a teacher resource packet for an exhibition at the Museum of Arts and Design titled "New Territories: Laboratories for Design, Craft and Art in Latin America." It includes introductory information about the exhibition's themes of navigating space, repurposing objects, developing new markets, cultivating experimentation, craft legacy, and experimenting with materials. The packet provides discussion topics, hands-on activities, and lessons to help students explore the key concepts and ideas from the exhibition both before and after their visit.
The document discusses conceptual art teachings in Canadian art schools. It notes that the Conceptual art movement challenged traditional notions of art by regarding art as a thinking process rather than the creation of tangible objects. Many major Conceptual artists now teach at Canadian schools, ensuring the movement's legacy continues. Students are taught skills like confronting social issues and thinking outside the box. Several art schools are profiled, showing how they incorporate Conceptual art principles and encourage experimentation. Instructors from some schools emphasize ideas over materials and engaging with interdisciplinarity.
The document provides information about Caitlin Devendorf's teaching philosophy and portfolio. Her mission is to develop students' appreciation for visual arts throughout history by fostering creative thinking in her classroom. She strives to make her classes relevant while preparing students to be visually literate and skilled critical thinkers. Her professional goals include improving the classroom environment and helping students appreciate visual arts' power locally and globally through projects. The document also lists some of her coursework, including studio art, functional art, and sculpture, and provides samples of lesson plans she has created.
The Importance of Student Artistic Production to Teaching Visual Culture.arewull88
This document discusses the importance of student artistic production in teaching visual culture. It makes three key points:
1. Student artistic production is foundational to teaching visual culture because it involves transforming curriculum content, shifting teaching methods, and rethinking how student work is assigned and assessed.
2. Student art is a form of identity formation and cultural inquiry. Through artistic production, students can explore their multiple identities and respond to influences from visual culture in constructive ways.
3. Student art should be used as a form of cultural critique. Assignments should focus on developing student ideas and allow them to comment on and influence contemporary visual conditions through their work.
Using mobilities-informed methods to support new approaches to arts evaluationjenrossity
This document discusses using mobilities-informed methods to support new approaches to arts evaluation. It focuses on evaluating the ARTIST ROOMS collection, which is made up of over 725 works of international contemporary art shared throughout the UK. The research aims to understand how mobilities approaches can enrich arts evaluation and influence current practices. It designed and piloted an artcasting platform to generate location-based responses from visitors in order to gain a richer understanding of their experiences and engagement with the artwork.
WSPA is a new-generation architectural college. We impart architectural education that is, first and foremost, rooted in the understanding of the culture and environment; but which is also technologically advanced. The course curriculum of each semester is designed around a particular context (in and outside NCR). Frequent study trips enable the student to understand how CONTEXT helps shape up architecture.
For more information visit http://worldschoolofdesign.in/school-arch.html
This document provides information about creating a contemporary artwork using available materials and appropriate techniques. It discusses relevant content and performance standards. It explains that learners will design an original contemporary artwork, present a skillfully made piece, and work independently. The document then reviews various art styles, elements, and techniques that can be used, such as collage, decollage, graffiti, land art, digital art, and mixed media. It emphasizes that artistic skill is developed through practice and experimenting with different materials and mediums. The document provides examples of techniques employed by different visual artists.
Evocative Pedagogy Bricolage Curriculum Common Coreilaeadigital
This document summarizes key points from a presentation by Olivia Gude on revising art education curriculum standards. It notes that simply focusing on elements and principles or traditional media is no longer sufficient. The field of art education must change to remain relevant and engage students. A good curriculum should support meaningful student artmaking, represent contemporary practices, and utilize skills in real contexts through investigative projects that introduce methods and create opportunities for students to make meaning.
Blair Lambert is seeking an art teaching position and has experience teaching art at various schools and camps. She has a Bachelor's degree in Art Education and Studio Art, and is completing a Master's degree in Art and Design Education. Her teaching philosophy focuses on helping students think critically about art and developing both technical and conceptual skills. She provides examples of art lessons she has taught that develop skills while exploring concepts.
Arts integration and education for the non art classroomArtfulArtsyAmy
Here is a possible arts integrated lesson plan design:
Title: Portraits of the Gold Rush
Standards:
- VAPA: 1.4, 2.2, 2.5
- Writing: 1.A, 1.B, 1.C, 1.D
- History: 4.3.3
Lesson Overview: Students will create self-portraits depicting themselves as a settler during the California Gold Rush era. They will learn about facial proportions and use accurate proportions to draw their portraits. Students will also write an opinion piece about how the Gold Rush affected their daily life from their character's perspective, supporting their opinion with facts about the effects of the Gold Rush.
The Application of Digital Technology in the Furniture Design and Education R...Siniša Prvanov
Furniture Design is devoted to harmonious development between man and nature. With the introduction of contemporary suitable scientific technology, as the "art of science", furniture design is bound to enter a new stage of development.
Nowadays, digital technology has been widely used in the world and various industries. Using the process that digital technology has boost the development of interior architecture industry as links, this presentation expounds the application object, function and basic operating software of digital technology in the furniture design courses which triggered the current situation of interior architecture education in the age of new technology and new ways of communication.
Presentation: UNESCO Mobile Learning Week 2018. Paris,France.
Siniša Prvanov PhD
Presented by Anna Bernhard at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin.
Session #4: The Teaching Turn: From Static Collections to Dynamic Learning Centers
ORGANIZER: Heather Lowe, California State University, San Bernardino
(on behalf of the VRA Emerging Professionals and Students Group)
MODERATOR: Jasmine Burns, University of Wisconsin - Milwaukee
PRESENTERS:
• Stephen Cardinale, University of Colorado, Boulder
• Anna Bernhard, Colorado State University
• Molly Schoen, University of Michigan
• Chris Strasbaugh, Vanderbilt University
Much of the business of creating and disseminating images has moved away from individual academic departments and isolated image collections toward centralized cross-discipline departments. This has left many visual resource centers looking for new ways to engage users and support the educational goals of their institutions. One way centers are meeting these new challenges is by transforming from being a storage silo for physical slide collections to being a collaborative learning space where students and faculty alike can come to work on projects and refine imaging and videography skills. As many resource centers make this move toward more teaching and learning, the physical spaces and skill sets of employees have also shifted. This session will examine case studies of visual resource centers programming that is directed to teaching imaging skills and how this new role is shifting their profile within their institutions.
Rules of Thumbs is a creative methodology that combines elements of visual art, complex systems, architecture, and performance. It is a practical, solution-based approach to problem-solving that involves conceptualizing problems, brainstorming solutions, and refining ideas through experimentation. The methodology consists of five phases - defining interests and intentions, collecting information, interpreting connections in the information, creating subjective interpretations, and evolving ideas into a final format. Workshops teach the methodology through hands-on activities, discussions, and case studies.
April DeMarco is an artist and educator with over 20 years of experience teaching art. She holds a BFA in painting/drawing/sculpture and an MS in instructional technology. She has taught art at various schools and organizations, developing technology-integrated curricula. She also runs an online art business called DeMarcoStudios, where she exhibits and sells her artwork. She has given lectures on topics like branding for artists and uses art to help others through meditation and healing.
April DeMarco is an artist and educator with over 20 years of experience teaching art. She holds a BFA in painting/drawing/sculpture and a MS in instructional technology. She has taught art at various schools and organizations and created online art classes. As an artist, she exhibits her work nationally and sells to interior designers. She is also involved with several art organizations in her community.
Visual arts experiences in schools develop students' creative abilities. Students learn to communicate through the images they make and develop pride in their work. They bring new images into existence by manipulating visual elements and basing ideas on observation and imagination. Students acquire skills in various materials and techniques, and learn to present their works effectively. The document defines art, craft, and design - art concerns concepts and ideas, craft focuses on skills, and design specifies products in advance.
Materials and Techniques of Contemporary Arts Powerpoint.pptxJerwinMojico1
The document discusses materials and techniques used in contemporary art. It begins by outlining the objectives of understanding contemporary art forms based on elements and principles. It then discusses how contemporary artists use a broad range of both traditional and innovative materials in their work, including developments in new technologies. Appropriation, performance art, space, and hybridity are some key elements and principles discussed. Technology is also highlighted as an important aspect of contemporary art through the use of mass production and virtual tools.
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Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9Cottage9 Enterprises
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
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Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
2. Table of contents
1. Art Schools: SCULPTURE........................................................................................................................... 1
03 April 2014 ii ProQuest
3. Document 1 of 1
Art Schools: SCULPTURE
Author: Anonymous
ProQuest document link
Abstract (Abstract): "I think everyone should study design and add beautiful sculptural elements to the world.
For me, design is not sculpture or art-furniture or one-liners. Design is contemporary, innovative, smart,
intelligent, beautiful, and experiential, and something that moves us forward. It is the machine of the material
world and the agent of change. That's why my best designs function both as sculpture and as functional objects.
They are sculpture to be used."
"I started out studying photography at Ryerson University, but because the school also offers film and new-
media streams, I began to play around with other media early on. For me, the movement between different
forms and materials is an important part of solving conceptual problems. Some questions can only be
addressed through sculpture or largescale installation, while others can be dealt with in a single photograph. A
good studio-arts program exposes you to a range of ideas, but also allows you to socialize with other artists. It's
often the first time you'll find yourself surrounded by people who have the same concerns and interests as you,
which is amazing. But the most important part of those four years is that they allow you to figure out what your
working process will look like as an artist. Each project helps you to hone your skills and shape your own
personal process and, by the end of that time, you'll have all the tools you need to make work independently."
"When I teach sculpture and installation, I like to think about it as a practice that addresses the way objects and
human bodies coexist in the world. When you consider it this way, the medium becomes endlessly broad, as
well as highly relevant to contemporary life. After studying sculpture, everyday actions like getting dressed in the
morning, arranging furniture in a room, shopping or making anything with your hands become sculptural
concerns, potentially loaded with social, political and historical meaning. My goal is to get students thinking
about objects of interest to them in their own lives: how they are made, with what materials, who makes them,
under what conditions and where those objects will end up in the environment. Experimenting by making things
is the best way to develop critical analysis. In a sculpture program, thinking and making go hand-in-hand."
Full text: Headnote
Studying sculpture can prepare you for a role in shaping real-world transformations. Whether your interest lies
in ceramics, textiles, installation, industrial design, architecture, or film and theatre production, an art or design
degree can hone your skills and help you set your goals.
Why Sculpture?
Pioneers
Sculpture has long been a cornerstone of artistic production, but growing interest in the practice is now helping
to redefine what sculpture can be. From the landmark "Unmonumental" exhibition at the New Museum in New
York to the publicart programs that are transforming the Canadian urban landscape, assemblage and
installation works are at the forefront of contemporary art and art-making. As practices that centre on making
and circulating objects, sculpture and design are literally all around us.
CLOCKWISE FROM TOP:
1. Students in York University's sculpture program pour bronze in the school's Odette Centre for Sculpture
2. A student in UBCs visual art program at work in the welding studio
3. Sculpture and fabrication studios at OCAD University
4. Mould-making in ACAD's sculpture studio
5. Two students from the Vancouver Film School compete in the 201 1 International Make-Up Artist Trade Show
in Los Angeles
03 April 2014 Page 1 of 6 ProQuest
4. "I think everyone should study design and add beautiful sculptural elements to the world. For me, design is not
sculpture or art-furniture or one-liners. Design is contemporary, innovative, smart, intelligent, beautiful, and
experiential, and something that moves us forward. It is the machine of the material world and the agent of
change. That's why my best designs function both as sculpture and as functional objects. They are sculpture to
be used."
THE AWARD-WINNING DESIGNER KARIM RASHID COMPLETED HIS BACHELOR'S DEGREE IN
INDUSTRIAL DESIGN AT CARLETON UNIVERSITY. HE HAS DESIGNED MORE THAN 3,000 OBJECTS
AND HIS WORK IS INCLUDED IN THE PERMANENT COLLECTIONS OF 14 MUSEUMS, INCLUDING MOMA
AND THE CENTRE POMPIDOU. HE LIVES IN NEW YORK, WHERE HE RUNS HIS OWN DESIGN FIRM.
What is sculpture?
Star instructors from coast to coast define their practices
"Sculpture is traditionally defined as a three-dimensional object, but that definition is widening and expanding all
the time."
- ADRIANA KUIPER, ASSISTANT PROFESSOR AT MOUNT ALLISON UNIVERSITY
"Sculpture is the silent key to the world we encounter every second of every day. You might say that sculpture
is what is not painting or printmaking or performance or video, what is not photography or film or cyberspace.
You might be right. But you may just as easily be wrong."
- IAN CARR-HARRIS, PROFESSOR AT OCAD UNIVERSITY
"I consider sculpture to be any proposition that doesn't have a fixed position for the viewer and that is only fully
revealed through a process of physically moving around it."
- CHRISTIAN GIROUX, PROFESSOR AT THE UNIVERSITY OF GUELPH
"Sculpture and installation art are modes of production that build relationships with the viewer and the site."
- RITA MCKEOUGH, INSTRUCTOR AT THE ALBERTA COLLEGE OF ART AND DESIGN
"In sculpture, as well as installation, everything is a possible material, and everywhere is a possible location. It's
about paying close attention, conceptualizing, improvising, problem-solving."
- VERONICA VERKLEY, INSTRUCTOR AT THE YUKON SCHOOL OF VISUAL ARTS
BRENDAN LEE SATISH TANG
"My introduction to art was at first very focused on twodimensional practices, such as painting and drawing, but
I was always attracted to the three-dimensional because it was immersive: immersive for me, as an artist, and
immersive for the viewer. I liked that the encounter with a sculptural object took place in the same space that
the viewer occupies. It seemed to have a magical, transporting power. My decision to work with ceramics was
kinesthetic - working with clay satiated me on a physical level in a way I hadn't experienced with other media.
Art school helped to expose me to a variety of media, but, most importantly, it prepared me to think about
context: what it means to make art now and in the future. A visual-arts degree is in many ways a critical-thinking
degree. It prepares you to talk about working in a visual format. "
BRENDAN LEE SATISH TANC IS A CERAMIC ARTIST WHO CURRENTLY RESIDES IN MEDICINE HAT,
ALBERTA. HIS WORK HAS BEEN EXHIBITED INTERNATIONALLY AT GALLERIES INCLUDING THE
POWER PLANT, THE MUSÉE D'ART CONTEMPORAIN DE MONTRÉAL AND THE VANCOUVER ART
GALLERY.
Pick the Right School
* Self-directed vs. structured: Many sculpture and design programs now encourage students to follow their
impulses and to experiment with a variety of media, which can be great for those who seek independence.
Structured programs, on the other hand, require you to develop a specific set of skills that might help you to
transition into a trade or crafts career.
* Staying home vs. moving away: By applying to a school that is close to home, you can can keep costs down
and make appointments to speak with faculty and current students about the program before you enroll. While it
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5. may be more expensive, going to school in a different city can expose you to new ideas and experiences that
will inform the kind of projects you make.
* Big city vs. small town: Big cities offer a wider variety of art-viewing opportunities and give you the chance to
connect with lots of people who are already working in your field. Smaller towns, on the other hand, often supply
easier access to volunteer and work placements, and can allow for quieter and more focused studio time.
* Facilities and space: Learning about sculpture and installation practices requires access to the right equipment
and materials, as well as space in which to experiment. Be sure to consider the type of facilities each school
offers - from foundries and woodworking equipment to kilns and rapid prototyping - as these resources will
determine the kinds of projects you can make.
Yukon School of Visual Arts sculpture student David Fraser improvises with found materials at the Dawson City
Landfill
Prepare a Winning Portfolio
* Show your work in the best possible light: Unlike other practices, such as painting or drawing, sculpture and
installation works need to be well documented to capture the experience of seeing them in person. Consider
renting or borrowing high-quality camera equipment in order to document your work, and be sure to highlight the
interactive or multi-sensory aspects of your practice.
* Get advanced feedback: Many schools and colleges host portfolio feedback days once or twice a year that
provide helpful advice on what admissions committees are looking for. Others take part in National Portfolio Day
events, bringing together dozens of schools in one location. Check portfolioday.net or call your regional art
college to find an event near you.
* Go for breadth and depth: Admissions committees see hundreds of portfolios each year, so it's important that
yours reflects the range and diversity of your practice. When compiling a survey of your best work, try to
highlight your process and growth as an artist by including a variety of projects and approaches. Works that are
inprogress and sketchbooks that chart your ideas are other great ways to showcase your process.
* Take pride in your work: Artists are often their own harshest critics, but when you're applying for an art
program, it's important to be confident about the strengths of your work and the contributions you can make to
your field. Emphasize what makes your approach unique and prepare a portfolio of works that you're proud of.
L'Université du Québec àMontreal's visual arts program provides students with a fully equipped wood workshop
WILL GILL
"I studied sculpture at Mount Allison University because I had grown up in Ottawa and needed to be in a new
environment. I had no idea what to expect from a BFA program, but I knew that being creative excited me. I
ended up majoring in sculpture and print-making because they were both mediums that relied heavily on
materials and processes: often it was not about what you ended up with, but how you got there that mattered
most. I liked troubleshooting and figuring out how things could be put together. The qualities of materials
fascinated me. I found that perseverance was the most important thing after graduating. Finding ways to keep
making work, and to be around other creative people, is vital as an artist."
WILL GILL IS AN AWARD-WINNING VISUAL ARTIST WHO PRODUCES WORKS IN SCULPTURE,
PAINTING, PHOTOGRAPHY AND VIDEO. HE HAS PARTICIPATED IN EXHIBITIONS AT PEAK GALLERY
AND EASTERN EDGE GALLERY AND IS PREMIERING A VIDEO AT THE SURREY ART GALLERY THIS
WINTER. HE STUDIED SCULPTURE AT MOUNT ALLISON UNIVERSITY BEFORE MOVING TO ST. JOHN'S,
NEWFOUNDLAND, WHERE HE LIVES.
Think Laterally
* Make friends: Your class- and studio-mates can be a valuable resource, both as school friends and as your
future colleagues. Take the time to have studio visits with other students and faculty members and try to take
classes with visiting artists who might introduce you to a new way of working or an interesting job opportunity.
* Work across disciplines: Some of the most successful graduates of sculpture and design programs made a
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6. point of not only putting time into their studio work, but also spending time in disciplines outside of the visual arts
- by taking courses in dance, film studies, engineering and even biology. Explorations in these other fields can
introduce you to new audiences for your art and to cutting-edge technologies that can transform the way you
make work.
* Get involved in your field: Instructors say that students who come to school with a positive attitude and a
passion for learning about their field are more likely to be successful after they graduate. Read magazines that
will expose you to contemporary-art practices and the latest developments in your medium, and take advantage
of the public lectures, exhibitions and sculpture biennials that are taking place in your area.
* Be open to new possibilities: For many sculpture and design grads, there is no set career path when you
complete your studies. Chart your own work trajectory by being open to new experiences and possibilities,
including working in areas and media you are unfamiliar with.
Kathleen Curwin and Melinda Poss observe Concordia (2011), an interactive installation created by the
University of Waterloo engineering and sculpture students Joe Wang, Katarina Veljovlc and Michael Jeong
Sculpture studio at the University of Waterloo
ANNIE MACDONELL
"I started out studying photography at Ryerson University, but because the school also offers film and new-
media streams, I began to play around with other media early on. For me, the movement between different
forms and materials is an important part of solving conceptual problems. Some questions can only be
addressed through sculpture or largescale installation, while others can be dealt with in a single photograph. A
good studio-arts program exposes you to a range of ideas, but also allows you to socialize with other artists. It's
often the first time you'll find yourself surrounded by people who have the same concerns and interests as you,
which is amazing. But the most important part of those four years is that they allow you to figure out what your
working process will look like as an artist. Each project helps you to hone your skills and shape your own
personal process and, by the end of that time, you'll have all the tools you need to make work independently."
ANNIE MACDONELL IS A TORONTO-BASED VISUAL ARTIST WHOSE PRACTICE INCLUDES FILM,
PHOTOGRAPHY, SCULPTURE, INSTALLATION AND SOUND. SHE SERVES ON THE BOARD OF
GALLERY TPW AND TEACHES IN THE PHOTOGRAPHY DEPARTMENT AT RYERSON UNIVERSITY. HER
WORK HAS BEEN EXHIBITED AT THE POWER PLANT AND THE ART GALLERY OF WINDSOR.
KELLY JAZVAC
"When I teach sculpture and installation, I like to think about it as a practice that addresses the way objects and
human bodies coexist in the world. When you consider it this way, the medium becomes endlessly broad, as
well as highly relevant to contemporary life. After studying sculpture, everyday actions like getting dressed in the
morning, arranging furniture in a room, shopping or making anything with your hands become sculptural
concerns, potentially loaded with social, political and historical meaning. My goal is to get students thinking
about objects of interest to them in their own lives: how they are made, with what materials, who makes them,
under what conditions and where those objects will end up in the environment. Experimenting by making things
is the best way to develop critical analysis. In a sculpture program, thinking and making go hand-in-hand."
KELLY JAZVAC WORKS IN SCULPTURE AND INSTALLATION. SHE HAS EXHIBITED NATIONALLY AND
INTERNATIONALLY, INCLUDING RECENT PROJECTS AT LOUIS B. JAMES GALLERY, MUSEUM
LONDON, NUIT BLANCHE AND DIAZ CONTEMPORARY. SHE IS BASED IN LONDON, ONTARIO, WHERE
SHE IS AN ASSISTANT PROFESSOR AT THE UNIVERSITY OF WESTERN ONTARIO.
Build a Career
* Use the tools at hand: Sculpture and installation programs will give you access to specialized equipment and
expensive manufacturing tools that might be hard to find after you graduate. Graduates from across the country
said that experimenting with new techniques and technologies was a key part of their art-school experience and
an important way to prepare for an art practice after university.
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7. * Take your work public: In many programs, students are required to exhibit their final projects at university
galleries or local artist-run centres. Graduates leave school with first-hand experience in mounting a show as
well as an important accomplishment to include on their resumes.
* Gain real-world experience: Many sculpture and design programs now offer work-study or internship
placements that allow you to gain career experience while also receiving credit for your studies. These
opportunities allow you to make new contacts and meet colleagues, and can help you find work after you
graduate.
* Be a multitasker: Use your time at art school not only to hone your sculpture and design work, but also to
practice the skills that will make you employable in the future. Being able to write project proposals, to
collaborate with others and to speak confidently about your work are important skills for any career path.
Emily Carr student Jasmine Reimer working on her graduate project Catalyst: Soft upholstered sculpture that
investigates the nature of the human body and the dynamic fullness of curves and fat (2009)
Hot Jobs
Sculpture and installation grads are finding exciting opportunities to work in a wide array of fields. From the art
world to the realms of theatre, architecture and design, here is a list of hot jobs:
Museum preparator: Since graduating with an MFA from the University of Western Ontario's visual arts
program, Steven Laurie has worked as a collections assistant for the Art Gallery of York University and now
assists with preparing and installing exhibitions as an associate project manager at the Royal Ontario Museum.
Make-up and special-effects designer: Over the course of her studies in the Vancouver Film School's Makeup
Design program, Leah Wilburn completed an internship at Masters FX Studios and worked at Breakfast
Television. After graduating, she went on to take home the top prize in the Student Competition at the
International Make-Up Artist Trade Show, and she has since been working as a freelance make-up designer.
Artist: An alumna of OCAD University's sculpture and installation program, where she won top honours for her
work in the department, Georgia Dickie has exhibited her pieces at Thrush Holmes Empire and, most recently,
in the critically acclaimed group show "Chopped &Screwed" at MKG127 in Toronto.
Art critic and curator: Jen Hutton received a BFA from the University of Guelph 's sculpture program before
pursuing work as an art critic and curator. Having organized several successful exhibitions at Susan Hobbs
Gallery, she is now pursuing an MFA in the writing program at the California Institute of the Arts.
Prop master: Jennifer Rose Sciarrino studied photography at Ryerson University's School of Image Arts before
beginning to explore sculpture and installation through her work as a prop maker for film and television
productions. Her experimentation with three-dimensional practices at her day job prompted a new series of
works that were recently exhibited at The Power Plant.
Furniture designer: A graduate of Sheridan College's crafts and design program, Amy Keeler is now applying
the skills she acquired during her studies to her work with Global Contract, a company that designs and
manufactures custom-made office furnishings for a variety of international institutions.
Prosthetic artist: Jay McClennen, who graduated from OCAD University, has built a successful career as a
prosthetic artist for major films such as the X-Men series, Truman, Nixon and many others. Now a freelance
anaplastologist, he creates realistic replacement body parts for cancer patients and assists with facial
reconstruction projects for the Ontario Coroners Office and the Ontario Provincial Police.
Design-firm owner: Shaun Moore studied furniture design in Sheridan College's crafts and design program
before going on to found Toronto's MADE design firm with partner Julie Nicholson. The firm not only represents
the work of 60 designers and artists, but also creates custom furniture, lighting and exhibition designs for clients
from around the world.
Set designer: After graduating with a BFA from York University's theatre program, Gillian Gallow launched her
career as an award-winning set and costume designer, working with renowned theatre companies such as the
Soulpepper, Canadian Stage and the Stratford Shakespeare Festival.
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