Gravity and Buoyancy Fall 2014 University of Florida Erin Curry 1 of 3

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positives/negatives/casts

Critique & Due date:
October 27nd
I ntr oducti on:
Creating the same object multiple times for an
artwork is something that has taken place in art for
centuries. Seeing the same form repeated using
different materials can enhance our understanding
of that form and also put it into different contexts,
while changing its physical and thus visual
properties. While continuing to develop the formal
strategies previously discussed, this project will be
more focused on how the perception of one form
can be changed by the type of materials used. How
does color, material, surface texture inform the
meaning of the work? Many artists use molds as an
important part of their working/construction
process. They can be very useful, especially when
making more than one of the same object for a
project. The process of creating a multiple-piece
plaster mold will be introduced as part of this
project.
4 Part Project:
1. research (record in sketchbook)
2. readings with response
3. Mold-making Exercise
4. Proposal
5. Sculpture

In this project you will be asked to
consider the role of multiples in
artwork and learn to make simple plaster
molds. You will end the project with a
sculptural project that utilizes the
process of moldmaking to incorporate
multiples.
Part I

RESEARCH
For
Sketchbook
Look up how to cast possible materials. Record in Sketchbook.
Artist List: Anthony Gormley, Rachel Whiteread, Magdalena Abakanowicz,
Louise Bourgeois, Eva Hesse, Robert Gober, Kiki Smith, Constantin
Brancusi, Bruce Nauman, Etsuko Tashima, Donald Judd, Allan McCollum,
Frank Gehry, Anish Kapoor, Sandy Skoglund, Andy Warhol, Spencer Tunick,
Charles and Ray Eames, Faberge, Duane Hanson, Eric McGeheart, Do Ho Suh
Key ideas:
o Material choice
o Repetition
o Variations on a theme (altering single form)
o Casting (as a tool and a concept)
Rachel Whiteread Stairs

Gravity and Buoyancy Fall 2014 University of Florida Erin Curry 2 of 3
Read al l the readings. Choose one and wri te a 1-1 ! page response. Summarize
the article, including the materials and methods of the artist, and then interpret the work
in your own words. You must r el ate the article or articles to your current or intended
approach to materials or concepts within your art practice.
Ful l House: Rachel Whi teread s Post domesti c Casts. Warped Space : Art,
Architecture, and Anxiety in Modern Culture. Vidler, Anthony. 2000
143-149. (see class site for .pdf or go through Art and Arch Library Site for ebook)
Magdal ena Abakanowi cz: St atements from, 257 260, Theories and documents
of contemporary art: a sourcebook of artists' writings, Kristine Stiles, Peter Howard Selz.
Search Magdalena Abakanowicz: Statements at http://books.google.com/
Kari n Sander: Hybri d Encounters, Sculpture, December 1999 - Vol.18 No. 10.
http://www.sculpture.org/documents/scmag99/dec99/sander/sander.shtml

A Conver sati on wi th Al l an McCol l um: Mass-Pr oduci ng I ndi vi dual Works
http://www.sculpture.org/documents/scmag13/mar_13/fullfeature.shtml
_______________________________________________________________________________

Part II

READING
RESPONSE

due:
W 10.13


&

Part III
Mold
Making
Exercise

objects:
due
M 10.13

3 Molds &
Two Cast
Objects
&
Proposals


due:
W 10.15
Pl aster Mol d Exer ci se: The project will begin with an exercise to learn about making
simple plaster molds. Bring to class three small and simple objects (approx 2x6x2) that
you can use as a form for a plaster mold. We will discuss the types of objects you
should/should not be looking for in class. Part of the purpose of this exercise is to learn
about undercuts and how they can be avoided. We will use the objects in class to create
a simple mold.
You will make a reusable 2 or 3 part plaster mold from which you will cast two sculptures.
The first cast sculpture will be made of wax and the second of a material of your
choosing. When considering materials to use, think about the qualities of that material
and what those will lend to the perception of the objects sense of gravity and visual
weight. Some types of castable materials are, but not limited to: plaster, paper, clay,
resins, rubbers, wax, soap, etc. Consider: material, texture, surface, density, opacity,
transparency, thickness, thinness, reflectivity, solidity, softness/hardness, brightness,
color, hue, etc. What can you do to each form to make them different from each other,
having different physical qualities and thus different relationships between properties
stated above?
Each student will make two cast sculptures of the same form out of two different
materials, investigating how different materials can yield different properties and
determine the viewers perception of the form. Due Monday 10.15: 3 Plaster molds and 2
cast objects of different materials and typed proposals.
Do Ho Suh, Floor

Gravity and Buoyancy Fall 2014 University of Florida Erin Curry 3 of 3

Pr oj ect : Based on what you have learned from your sketches, research and your own
studies, utilize the process of mold-making to construct a final sculpture that incorporates
multiples. You may make multiples of a single object as a work of art or take those multiples
and incorporate them in a single object. You may also alter objects once they are cast.
There must be at least three cast objects in your final work. Challenge yourself to make
work that is an appropriate size for the critique space. Can your work move off the pedestal
and engage the space in a compelling way? Will your multiples comprise the entire work
(think Anthony Gormleys sea of small clay figures), or will they be incorporated into a larger
sculpture? Consider the placement of the cast objects as part of a cohesive whole that may
include other materials, structures, or compositional elements. Do you need to construct a
pedestal, wall mount, or other display device? Be creative: your installation strategy should
support your concept and the overall resolution of your work.
You must complete a typed, double-spaced artist statement for each project that is no
more than a page in length. Guidance and class time will be provided to help you get your
statement in order if need be. The statement should address the central concepts and
themes of your work and briefly explain how you have fulfilled the goals and objectives of
the project. You should also mention research that influenced your project and explain its
significance. The research is meant to allow you the opportunity to learn more about things
that interest you. Consider your statement as another opportunity to captivate your viewer.
Statements should be well-written, fluid, and concise.
Part V

Project
&
Artist
Statement

due:
10.27


Remember:
Document
your work
Evaluation:
o Evolution from proposal to finished work
o Craftsmanship - Is the work well crafted? Is it presented professionally?
Are details attended to?
o Aesthetic Concerns - Is the work coherent, are you using effective forms of
visual communication?
o Conceptual Rigor - Are you making active, thoughtful choices in material,
form, and ideas?
o Inventiveness
Developing your ability to solve problems and devise new approaches will help
you to achieve not only the course objectives, but also personal goals. New
and unusual approaches often lead to discovery in your work. Demonstrate your
willingness to move beyond basic requirements and boundaries. Did you take
RISKS? Is your voice present in the work?
o Personal Investment- Did you invest time and mental effort? Did you learn
and use new skills?
o Successful resolution of the assigned problem Did you resolve the
assignment in an interesting way?
o Experimentation within the parameters of the project guidelines. Did your
maquettes show diversity and depth? Are the lessons you learned apparent in
the final work?