Independent Project

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 15^th 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.