independent project 2013
cluster 7 & 8
OVERVIEW
As you begin developing this project, it is
suggested that you stay as open as possible to how you might work with your
ideas. The more time you spend developing your concept, the more successful
your project will be. This project is a continuation of a conceptual
investigation you have already begun or one that you have discovered through
previous work, this year. The project is also an experiment in bringing more
than one “studio” process together to realize your conceptual inquiry.
An important part of this project is the
opportunity to review what you have learned/experienced during your freshman
year. As you are choosing your objectives, consider the projects you’ve
completed throughout core. Which ideas or methodologies (ways of working) have
been personally significant to you? How have you taken these projects and made
them your own? How might you revisit something you have previously tackled? Some
things you might reconsider are:
the
relationship between subject matter and meaning
the
relationship between concept and materials/process
an
idea you have worked with that might benefit from a new approach
a
combination of processes that has suggested a particular concept
an
unlikely juxtaposition between ideas and/or processes
GOALS
define a specific question that will inform
your project
write an effective project
proposal/statement
develop and stick to project calendar
revisit and push further an
idea/technique/process/methodology
bring together concept,
craft and formal design in a meaningful way
gather input from the Cornish community
research and critical thinking throughout
process
documentation of work and working process
take risks in service of a great project
COMPONENTS
cluster 7
IDEATION: This project begins with an open
mind. Several ways of generating ideas will be introduced. The expectation is
that you will explore several possibilities before settling on a course of
inquiry.
PROCESS/SKETCH BOOK: this is the place you
will both work through ideas to discover what you want to work with and develop
your chosen idea. You may want to keep a separate drawing book to keep track of
your project.
PLANNING: Discuss ideas frequently and
critically with instructor, using your sketches and notations as the basis for
the discussions. This is a visual project, and the more examples/samples you
provide (as a framework for your concept) the more effective our communication
will be towards the project development. Individual discussions are scheduled
at regular intervals--most likely during each studio sessions. Instructors will
also available for conferences by appointment.
RESEARCH: Projects always require research.
It is important to look at other artists’ works which can provide a foundation
for your own investigations. Often technical/material research is required. In
addition, ideas and concepts are enriched by the deeper knowledge and
understanding gained by research. This research should be documented in process
book/ blog.
READING AND WRITING: Specific
reading/writing assignments will be given. In addition, you will be giving
yourself personalized reading/writing assignments as part of your research and
project development.
PRESENTATION: includes presentation board
and concept drawing or maquette.
CONCEPT DRAWING/MAQUETTE: taking cues from
the work of Jon Gerlich and other presented artists, create a “finished”
conceptual drawing or maquette to prepare for your project. See vocabulary list
below.
PRESENTATION BOARD – 16” x 20” board must include
the following:
relevant
construction samples and/or drawings
inspiration photos
paragraph detailing research
paragraph detailing concept
bibliography of source material (both web
and library)
COMPONENTS
cluster 8
INPUT: You will schedule at least one
meeting with another faculty member to discuss your project (this will require
your making an appointment). There will also be opportunities for peer input.
STUDIO WORK: Work in the studio for every
full class and on your own time. Again, the studio is a collective experience,
and even if we are not meeting in a formalized way, it is vital that you are
present and active in your practice. If your work takes you out of the studio,
please make prior arrangements with your instructor. Be open to changes in your
initial concept. Allow the materials and processes that you are using to speak
with their own voices in your work, developing a conversation. During the
project, it is expected that your work will go through changes--some perhaps
very dramatic. This may come about because of conceptual development, technical
concerns, or logistics, but if you have a steady work schedule set in place,
and are committed to your process, change may be a very positive
experience. To change because you can’t
find something to stick to will set you back to the beginning every time. Commitment to a program and an allowance of
change go hand in hand.
DISPLAY: An exhibition of your work to be shown in the Cornish Gallery
week of April 15th with a soft opening on Saturday April 13th. The
exhibition will be curated, designed and promoted by the Gallery Curator, Faculty
& Studio Supervisor and installed by you.
VOCABULARY
cartoon (from Italian cartone and Dutch karton)
full sized drawing made on sturdy paper as a study for a 2 dimensional work.
concept art – illustration with the main goal of
conveying a visual representation of a design, idea, and/or mood for use in
film, animation, video art, comic books, etc.
maquette (French) – small scale model or rough draft
for an architectural or sculptural work
modello (Italian) –preparatory study or model,
usually smaller scale, for work of art or architecture
sketch (from Greek schedios) - a rapidly executed freehand drawing that is not usually
intended as a finished work, one purpose
being to develop ideas for later use.
