Class 19 - Homework - March 26th

Reminder: Logbooks are due next Tuesday, April 2nd
REVISION Logbooks are due Tuesday, April 9th

Notice of Future Assignment

Installation Project Phase One - Model

Overview

So far this semester you have been asked to consider your core concepts on the flat plane (2D) and in the round (3D). Regardless of the dimensional configuration of the assignments, most often, your solutions have come in the form of discreet objects. For this assignment we want you to investigate your ideas in a format that utilizes the space surrounding forms and other compositional elements you create. Installation is a three dimensional format that considers an object or composition of objects in relationship to the space that surrounds or permeates them. Installation is more than just discreet form(s) in space; it is the object and the environment all at once. Spatial context is key to the development of any installation work. We have already talked about how your choice of materials and symbols create a context for your artwork. Now we want you to consider how location, environment, and audience interaction create and affect context in your work. At its core, installation art is a perfect marriage of object(s) and the area surrounding them. For this project, choices concerning space, environment, location, and audience engagement will be integral to building conceptual and formal strength. Start your process by brainstorming potentially successful locations or spatial contexts then consider what you might make or place in specific locations.

For this project, try to insert content into every part of the work so that you end up with a multitude of layers. Begin layering by making compositional choices one at a time in a considered and methodical manner. These carefully made choices all should refer back to your concept and direction. In your attempt to reference your ideas, consider the following elements:

Location, Material, Technique, Color, Texture, Light, Proximity, Repetition,

Gravity, Balance, Scale, Proportion, Contrast, Mass, Volume, Space, Boundaries,

Connections, Transitions, Tempo, Chronology.

Each time you make a considered choice that refers back to your concept in some way you create a layer of content and meaning. The more layers you create the richer your artwork will be. Take this opportunity to harness all of your research and experience from this semester to create a powerful, communicative installation. This project does not have to have your serial form object or other aspects of the last project.

Goals:

• Pick a real or imagined location or space that will become part of your installation. If you plan to eventually create your installation in real space at full scale, it will have to be installed on campus or in three minutes walking distance on the grounds of campus.
• Full scale installations will require that you get permission to use the space from administrators and faculty of the school. There will be forms for you to fill out once we pass through the model stage.
• If your space is at school, scale your model to represent that space as closely as possible.
• Create an installation or refined 3D model of the installation you are proposing.
• Investigate installation as a mode for communicating the ideas you have been developing all semester.
• Create content, meaning, and potency through a process of layering references

Requirements to consider for Real Space Installations:

• All work must be located on or adjacent to the college campus and its immediate grounds (3 minute walking distance max. Time it if you are unsure).
• All work must be set up by and cleaned up on the day of your critique within 30 minutes of the end of class. Students may begin the evening before critique after classes have finished, so long as their installation doesn’t impede normal college function (remember our students need wheelchair access).
• Absolutely no work can be installed without explicit written permission from your professors (and Ms. Yelvington). In addition, please review the following:

Limitations:

1. No hanging from ceilings.
2. The upper gallery, lower gallery, no exit gallery, and sleaze and slime gallery areas are off limits.
3. No artwork should impede the normal functioning of the college and its community.
4. No artwork should jeopardize the safety of the college or the community including the student body, staff, faculty, and administration.
5. You may not permanently damage school or public property in any way. Failure to do so could result in hefty monetary fines and failure of the project.
6. No paint on walls or floors
7. No nails piercing walls or floors; walls may be an exception, but each student must formally ask permission.
8. No tape on windows especially in Studio 1, 2, and 3.
9. You must leave the space you use as clean or cleaner than you found it.

WARNING!

* Students who ignore the listed stipulations and/or fail to return school spaces to their original condition within the times allotted will fail [F] the Installation Project.

Note to students planning to eventually install their work outdoors in real space:

Be aware that outdoor projects must be installed despite weather conditions. Therefore, anticipate possible weather issues so the integrity of your installation remains intact regardless of rain, cold, heat, wind, etc. What materials might be appropriate that can withstand environmental adversity?

Assignment 1 - Installation and Material Research

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Due: Thursday, April 4th

Format: Completed and indexed in your logbook by the beginning of class, 1:00pm

Find no less than three artists that do installation work. Find photo examples of their installations and written examples of their ideas (a printed interview or artist statement will do). Paste these into your logbook and let us know in writing what you think about each sample and how these examples are helping you think about your installation. Additionally, form an opinion as to whether or not you think the work is successful and why. Look to Art in America or Sculpture magazines if your Google search comes up without results. Don't forget that a lot of museum sites are also great artist information resources.

Additionally, research materials that relate to your topic and direction. Photographic evidence of these materials will suffice as proof of your efforts. If you are installing outside, remember that your search should include materials that can withstand a multitude of weather conditions. Photos of materials left outside as experiment to how they will hold up could be excellent demonstrations of the planning segment of the sequential creative process. Consider at a minimum 3 new materials.

Assignment 2 - Installation Model

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Due: Thursday, April 4th

Format: Three-Dimensional installation representation (model) that is physically present at the beginning of class, 1:00pm.

Make a small-scale model that recreates the space you propose to use for your installation project. This model should have the proportions of the space it represents as well as the colors and textures of that space as much as reasonably possible so that we can see your vision clearly. This is an opportunity for you to test your ideas about your choice of space and what you choose to do to (or do with or do in) said space. All of the details in your proposal should be apparent in the maquette (model) you bring to class.

Assignment 3 - Installation Statement Outline

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Due: Thursday, April 4th

Format: Typed in Outline form and printed

Make an outline that details what you intend your installation to communicate to viewers. This statement should include:

• Generally describe your topic or idea in such a way that is discernible to a broad audience. Be brief

• Write a brief statement that includes your opinion. In this statement, specifically and concisely define the way you think about or characterize a particular aspect of your topic that you are trying to communicate to an audience for this work.

• List in detail the series of events via research as well as the ways in which these discoveries unfolded that led you to the opinion in the statement above. This list should include things you read, experienced, and/or saw in the order that led you to form the opinion stated above.

• List how your work delivers the statement/opinion above. Beginnging with materials and juxtapositions and how they function visually and end with compositional elements.

• Briefly explain how the space surrounding your composition effects the materials within and delivers meaning that relates to your topic

• Briefly explain how viewers/audience are meant to interact, engage with, or become part of the installation. Give details as to how viewers will experience and navigate through the composition.

Assignment 4 - Installation Title and Questions

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Due:Thursday, April 4th

Format: Turned in on an index card

Create a title for your installation project. Give serious and careful thought to how this title should be worded as it certainly will add to the layers of meaning in your final presentation. Try to stay away from being too obvious, in other words, your title doesn't need to re-tell what your installation communicates. Untitled will not be an acceptable title for your work.

In an effort to get as much from your critique peers as possible, come up with at least three questions regarding your model that will help guide discussion commentary in the direction of your choice.