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The Sculpture Program at the New York Studio School invites students to engage with the potent language of tangible materials. To generate purpose for this language, we experience and reconsider: mass, space, material, form, process, touch, image, color, structure, organization, balance, rhythm, movement, context, and relationship.
Our rigorous program, taught by a small group of dedicated professional sculptors, provides an opportunity to bring together process, perception, research, and critical dialogue. Each student gains a conviction for sculpture and a foundation from which his or her work can evolve throughout a lifetime.
Afternoon Sculpture courses allow participants to study and create alongside our MFA and Certificate candidates. During the Spring semester of 2022, Brandt Junceau will lead a course on Monday afternoons from 2pm -6 pm and Jilaine Jones will lead a course on Wednesday afternoons from 2pm – 6pm.
The Hanako Project – with Brandt Junceau – IN-PERSON
Course Full – please email Registrar Amber Duntley email@example.com to join the waitlist.
Monday, 2pm – 6pm ET
January 31 – April 25, 2022
*No Class: February 21 and March 28
Rodin’s portrait practice followed a consistent routine, which is as yet unrecognized in the literature. In his first sittings, he made a sober, uninflected likeness, life-size, by the calipers. A mold was made of this state. From that mold, Rodin could have as many clay duplicates as he wanted. Each one was a fresh start. He need not worry about losing the original; he had the mold. He could try anything, starting over and over.
George Bernard Shaw wrote an article about his sittings for Rodin—maybe that is where the literature began to go wrong. He believed that his bust was changing style and epoch overnight. No, in fact Rodin was simply starting over and over without him, and then checking his work against Shaw himself. Rodin’s work with the Japanese actress Hanako was more radical. Rodin had watched her performance on stage, a story of jealousy, betrayal, rage and grief, which ended in her character’s suicide. In Hanako, Rodin’s sitter was a moving target; an actress, sitting in character. His 40-some busts in 8 different modes (A through H) and multiple states encompass Hanako’s whole performance. More like writing a single-character novel than a making a “piece.”
This course picks up the mold-and-multiple idea, and walks with it. Students bring an existing bust (if you are coming in from the 2021 Fall semester, that would be a terra cotta from Nia) and each student makes a mold—so you learn a bit of moldmaking. From that mold, we produce clay duplicates, and go to work. There are as many ways to advance from the original as you have time and nerve to attempt.ENROLL
Sculpture: Independent Projects in Context – with Jilaine Jones – VIRTUAL
Wednesday, 2pm – 6pm ET
February 2 – April 27, 2022
*No Class: March 30
This course will support each student in the independent development of sculpture within a context of dialogue about sculptural potentials and precedents. The course will be conducted virtually, utilizing Zoom as the virtual “meeting room”. Though their central project in this course should be sculptural, the participant need not be primarily a sculptor. The format is open: it may be singular structures/forms, or installation, or bas-relief (from the wall). The context of dialogue will be initiated by the group responding through propositional work, in a range of materials, to potentials of sculpture – presented by the Instructor – which exist in regard to space and through action. From there each student will develop their own direction which can be based on these initial exercises and/or though discussion with the Instructor. Which materials are used can be based on individual experience, or not: the Instructor can suggest as per idea, (one or a combination of the materials: cardboard, mix-media, clay, plaster, metals, wood, etc.) The sculpture will develop by immersion with, and handling of, the chosen materials: literally grappling with the ideas, as well as by the context of dialogue and feedback. Expanding the awareness of the potentials will be discussion of images of a broad spectrum of sculptural examples ranging from the Dogon in Western Africa, to the Romanesque and Renaissance in Europe, to directions of the late 20th century across continents. Participants can incorporate ideas from sculptural history to expand or even initiate their independent work. There will be remote technical support based on the range of the instructor’s experience; independent resourcefulness will be also a part of this endeavor.