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Sculpture Marathon with Jilaine Jones and Guests
Summer Session I
SCULPTURE as FIELD
This Marathon will explore sculptures without boundaries. Rather than an isolated statue or object, sculpture can be about what is felt and seen around us. Examples span time, from the ancient Egyptian tombs; to Futurism: Umberto Boccioni; Earthworks: Mary Miss; Minimalism: Carl Andre; to current Installation: Sarah Sze; here we will combine a perceptual approach with the ongoing reconsideration of sculpture as field. Participants will make sculptures by forming, constructing and working from observation of and experience with specific sites. The facts, topographical and optical, of the site (its levels, distances, volumes, elements and interruptions through a space) will be the subject of these works, as will be how the site is affecting the artist/participant physically and psychologically. Varying processes to instigate a range of alternative considerations by conceptual approach, materials, formats, and scale will evolve the two week project. We will discuss with images and in field trips (the Metropolitan Museum and Dia Beacon) how and why this approach came to be significant in the 20th century.
Week one: We will begin by responding to a large scale set up in the sculpture studio. Materials including clay, wood, wire, mixed media, and found elements, will make a series of studies within 4’ sq. in the first part of the week to working through a larger space, at least 8’ sq. We will make a half day field trip to the Metropolitan Museum.
Week two: The second week will begin by taking notes from an outdoor site in the city, nearby the school, to initiate a group of studies in the studio which are more visionary and independent of this source. By the end of second week participants will experiment with and develop an installation based on the perceptual work and dialogue about the possibilities and precedents of this approach to sculpture. This week will include a field trip to Dia in Beacon NY.
Participants, beginners and advanced, will have the opportunity to delve into how and why sculpture has come to function as a field as often as not. Proactively bringing to this orientation a perceptual practice should dynamically expand its ingredients and idea base. Participants will extract and organize what they experience as tangible and vital in an environment. While handling the challenge of reinterpreting a complex, prosaic, functional built world into a new built thing it should encourage a consciousness about how material qualities and structures can communicate intrinsic ideas as opposed to serving a function. The participant will manifest an understanding of, and establish a personal response to, the power of spatial narrative.