Due in class on Wednesday January, 11th
Consider touch as the primary experience of the world. Spend time in the next two days paying extra attention to the tactile qualities of things you encounter. How does touch connect to your emotional and intellectual world? What textures do you find revolting, pleasurable, unique, gross, curious? Bring two objects to class, one you respond to positively, and one you respond to negatively. We will spend time in class touching and discussing our objects and thinking about how touch connects to the life of forms and meaning making.
Read "This is your Brain on Metaphors” which will will discuss alongside our objects.
How can a sculpture, painting, video, or piece of design express an idea? Why use art and not other forms of expression like language and writing? What is lost or gained by making art and design that is tightly bound to a particular idea? Beyond this, how does meaning attach itself to visual art in the first place?
You are to explore these ideas using the medium of sculpture. You are to come up with an idea—political, personal, social, philosophical—and create a sculpture from found objects that comes out of that idea. Spend time in the next week collecting items of interest in the world that you can use for your sculpture. You will bring what you found to class on the 18th and we will work in class assembling your sculptures and talking individually about your ideas. We will also look at examples of found-object sculpture from the history of art. We will have a class critique on Monday January 23rd to discuss your pieces and your ideas.
In this assignment we will look at performance as a way to extend form into space, time, and ephemerality. There three steps of this assignment:
- Create a "score" similar to those we saw in the work of Fluxus, Lawrence Weiner, and Clifford Owens. Your score must be titled, and written on a 3" x 5" index card. You can be as literal (do x, y, z) or abstract ("put in place") as you like.
- Once the score is written, give it to someone else and photograph their response or performance of the prompt. If possible you should take a video as well, but a still photo is necessary.
- After your score has been performed, consider closely your experience of seeing the work enacted. Now write, on one side of another 3" x 5" card, about your experience.
- Finally, scan or photograph your index cards. Use Illustrator, InDesign, Photoshop, etc. to compose your documentation and index card photos into an image to be uploaded to your cargo collective portfolio in class on Wednesday. You are free to compose the images as you like, just keep in mind that the text on the cards must be legible.
To get acquainted with 3D modeling you will need to create a sculpture that can only exist in the computer. Take advantage of the lack of gravity, endless space, and cost-free materiality to create forms that aren't possible in the physical world.
When your model is complete create a rendering and add it to the cargo gallery.
Motion is an central way we understand the world, however it is difficult to think of how movement and form are related outside of functional and engineering contexts. For this assignment, you will create one of the oldest forms of moving sculpture, the mobile. When discussing Calder's mobiles a crit once said "He makes a mockery of the old fashioned frozen-stone school of sculpture." That is our starting point.
Begin by research and doing sketches of your mobile. Pay attention to how the pieces fit together and how you will fabricate those connections, think also about what material you want to use to attach the elements together.
Next you will model the element of your mobile in Fusion and prepare the model for fabrication. For this assignment you must use the laser cutter for at least some aspect of your work. Start by cutting a small element and test it for weight, balance, etc. You may need to do a few iterations to get the right effect.
Bring a 3D model and your final sketches to class on Wednesday February, 15th so we can prep them for laser cutting.
Once your elements are cut and assembled, you can use paint or any other surface treatment to modify the form made on the computer.
You can find the examples we looked at in class here.
The final project is due and ready for critique at the beginning of class on Wednesday February, 22nd.
As always, you must post photo or video documentation of the final piece and post to the cargo site. The shootroom will be reserved and you can sign up for a time to use the space to get high-quality photographs.
The creation and use of masks is an ancient and global human practice. Masks are worn for ritual, protection, concealment, sports, and expression. Not all masks are designed to be worn, some are purely ceremonial intended to conjure or memorialize. When behind a mask, you have the chance to see without being seen, to become someone or something else—a god, creature, or character, or to express an aspect of your identity that is otherwise hidden. In this way the mask represents a double move; masks allow a presencing through concealment.
For our final assignment you are to make a mask for yourself. It can be worn—with straps, as a helmet, or held on a stick, mounted on the wall, or freestanding. Position your mask as one of celebration, concealment, protection, expression, or ritual. Think closely about what your relationship to your mask is, what does it do for you? Who or what does it let you become?
Begin by using the photogrammetry techniques discussed in class. You and a partner will work to take pictures, submit them to remake, and generate a mesh of your face. You can use this 3D model as a starting surface for designing your mask. Next, spend time researching masks and making and sketches of your design. Move your sketches into 3D and create renderings based on your ideas. Use the freedom of material, space, and lack-of-physical-constraint to make your renderings as fantastic as possible. Finally, fabricate the mask using any of the techniques and tools talked about in class. You can make use of the laser cutter for the bulk of the project, use it for simple support structures alongside manual techniques, or use other sculptural means to create your mask.
We will exhibit and discuss your work in-class on Wednesday March 15th.
Make sure to upload photographs of your final piece along with your renderings to cargo by Friday March 31st.
Using Meshmixer and Fusion 360 to Clean up 3D Scans