PROJECT 1
THE VESSEL / RECEPTACLE PROJECT Design an object. It can be made of anything or any combination of materials. It will be semi-functional in the following way: it will hold the weight of and/or in someway encapsulate ___________. Fill in the blank by selecting a Thing you draw from a bag in class.
Examples: I draw “orange” so I create a very specific bowl made just for an orange. I select “human,” so I build a chair. I draw “air” out of the hat, I make a balloon. (I don’t recommend making bowls or chairs). Your sculpture does not need to fully cover your object, but it should in some way hold / encapsulate it and should pass a weight-bearing test … …or perhaps could in someway creatively avoid the weight- test
PICK YOUR THINGY! 5:00 min TRADE SESSION
GET TO KNOW YOUR THING What is it? What does it weigh? What is it made of? How big is it? What is its temperature? What does it feel like? What does it look like? What other material properties does it have? Take into consideration what your selected item is, what it does, what it weighs, what material it is made of, what its scale is, what its inherent properties are, and from there determine the properties of your receptacle/vessel for it. Your piece shouldn't really “work” for anything else, but be specific to your Thing. Think about weight, scale, negative space, and function. Think about your Thing. What form does it take? What does it look like? What is it used for or how to people relate to it? What is its relationship to an object that would hold it or in some way sit beneath it?
What about functional properties? What does it do? What is it for? How do people relate to it? How do you want people to relate to it? How could it relate to the world? How could you change it? What sort of relationship to it do you want to have? What relationship do you want your audience / users to have?
TONIGHT / TOMORROW: GO GET YOUR THING! DUE WEDS: DRAW PLANS FOR PROJECT Hand drawings, photoshop, illustrator, Maya, up to you, the more the better! Should include multiple drawings for more than one idea / outcome Multiple perspectives, measurements, material properties, cost, description PROJECT DUE: OCT. 18 Stage your final installation with both your piece and Thing How has this thing been newly activated by the vessel / receptacle? Has it been enhanced, enlivened, hidden, made useless? What qualities have you drawn out? What is the relationship between the vessel and the thing? Does this change the relationship the audience / user has to the thing? How does your piece change the thing it has been made for? Draw them by hand, or in photoshop or illustrator, up to you Plans for Project I should include multiple drawings for possibly more than one idea / outcome, also drawings of possible objects to build / make from more than one perspective. More drawings are better than good drawings! Plans should also include measurements / properties of your Thing and the proposal for your object, a list of possible materials and cost of those materials, list of themes, and if possible, a description / title. Stage your final installation with both your piece and the Thing. (If you can make alterations to the Thing in some way that is possible that enhances your installation, you can do that — as long as a person could still call the Thing that Thing). How has your Thing been newly activated, enhanced? What qualities of it have you drawn out? How does your piece change the Thing it has been made for?
Iranian vessel, 3000–2000 B.C. “first animation” Example from design books - chair, cup, bowl
Arare Teapot - 1700s to present
1830
1924 -
Mouthwash
URNS, CASKETS, BEDS, CHAIRS
George Brecht - 1960s George brecht Water Yam cards for fluxus happenings Event scores - early history of programming & game art Boxes for games
George Brecht - Repository - 1961
George Brecht - 1960s
George Brecht - 1960s
Duchamp Bicycle Wheel - 1913 Fountain - 1917 Duchamp Readymade - found object
Eva Hesse - 1960s Eva hesse - Fiberglass, polyester resin Eva Hesse, holocaust survivor , German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. She is one of the artists who ushered in the postminimal art movement in the 1960s Hesse’s interest in latex as a medium for sculptural forms had to do with immediacy. Keats states, "immediacy may be one of the prime reasons Hesse was attracted to latex".[30] Hesse’s first two works using latex, Schema and Sequel (1967–68) use latex in a way never imagined by the manufacturer. "Industrial latex was meant for casting. Hesse handled it like house paint, brushing layer upon layer to build up a surface that was smooth yet irregular, ragged at the edges like deckled paper." [30] Hesse's work often employs multiple forms of similar shape organized together in grid structures or clusters. Retaining some of the defining forms of minimalism, modularity, and unconventional materials, she created eccentric work that was repetitive and labor-intensive
Eva Hesse
Eva Hesse
Eva Hesse
Rachel Whiteread 1996 Untitled (Orange Bath) Rubber & Polystyrene Untitled (Orange Bath) 1996 Rubber and polystyrene
Rachel Whiteread 2005 “Study” plaster & wood Rachel Whiteread
Rachel Whiteread 2001 Monument on Trafalgar Square's fourth plinth, 2001
Rachel Whiteread Drawings / plans
JESSICA STOCKHOLDER Jessica Stockholder Aestheticizing everyday objects into fantastical non-functional systems
JESSICA STOCKHOLDER
JESSICA STOCKHOLDER
JESSICA STOCKHOLDER
JESSICA STOCKHOLDER
Simon Starling Cactus House 2002 Simon Starling Simon Starling’s works deal with natural and cultural transformation processes. the climate as a necessary precondition for the existence of natural and consequently also artificial systems. A cactus is brought to the Berlin winter and a motor vehicle is converted to provide heating The installation Kakteenhaus (Cactus House) (2002) simulates a greenhouse environment for a cactus which Starling took out of its original ecosystem in Spain and brought to Northern Europe by car. The car is parked outside the Kunsthalle, with its engine removed and set up inside. Extended conduits and cables connect the two elements in such a way that the heat produced by the running engine provides an adequate climate for the cactus. While the inherent contradiction of presenting exotic plants in unsuitable climates is thus made obvious in a grotesquely exaggerated way, the interweaving of material objects and the stories related to their origin create the constructions situated between documentation and fiction.
Rachel Harrison Rachel Harrison Pedestal as aestheticized container / vessel for everyday objects Techniques are non technological - using hardware store materials
Rachel Harrison
Rachel Harrison
Rachel Harrison
Roman Signer Boot Fountain Roman Signer
Roman Signer
Roman Signer
Haas Brothers 2017 Haas brothers Design objects - more traditional fabrication technology Making new forms for ceramic vessel holders, candle holders, lamps Influenced by biological and organic forms and bodily aesthetics
Haas Brothers 2017
Haas Brothers 2017
Haas Brothers 2017 Haas brothers
Haas Brothers 2017 Candle sticks
Haas Brothers 2017 Lamps
Haas Brothers 2017 Furniture
Haas Brothers 2017
GOLF BAG, CAMERA BAG
MOST CONTEMP - COMPUTER SLEEVES, HARDDRIVE CASES
http://thingsfittingperfectlyintothings.tumblr.com/ THINGS THAT FIT INTO OTHER THINGS WEBSITE
https://www.youtube.com/watch?v=1_iZBmkQ0fg Nathan For You - Chili Man Suit (2017) NATHAN FOR YOU CHILI WEARABLE
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