The Cup and Saucer


Many things come in pairs. Sometimes these couplings are symbiotic and represent a biological/intimate connection, whereas others represent a duality or opposition. For this project you will consider the different kinds of pairing and doubling through the relationship of the cup and saucer. How can you use the already existing pair of the cup and saucer to explore other relationships found between two things?

You will create a total of 3 sets of thrown cups and saucers, totaling 6 pieces in all. Choose one relationship, doubling, or pairing as the overall theme of your cups and saucers. In each set, express your chosen theme in three separate and distinct ways. How can you approach the same relationship in three different and unique way?

Surface and Form:

A pairing that automatically comes with ceramics is surface and form. In your consideration of your pairs, you will use at least three of the surface techniques (slip inlay, sgraffito, puncturing, stenciling, layering, waxing, etc.) demonstrated in class as a way to discuss your theme found throughout your sets of cups and sauces. Consider the complexities that surface can bring to the form of your project and via versa.


In your notebook:

1. Make at least 15 sketches of how you can express your theme through your cups and saucers through form. Pay attention to the different forms each piece could take. Think of scale, proportion, shape, etc.

2. On at least 5 of your sketches on form, work on your surface treatment. Work out the colors, surfaces and imagery you may use.


Remember: Learning how to throw takes patience and diligence. Save your first few pieces. They may come in handy later. It’s always fun to see your first piece and then compare it to your last.

The Body in Motion: Project II

Body movement is essential to our biological, physiological, and psychological experience of space. A movement can be as small as an eye twitch or as dramatic as a curtsy. It’s our movement, both internal and external, that contributes to our sense of space, place, and biology.

For this project, you will isolate a body movement.

1. Identify the body movement. Some examples are: walking on a balance beam, blood cells through the body, muscle contraction, hiccups, blinking, talking, etc…
2. In your sketchbook write a list of at least 20 associative words relating to your movement. They can be adjectives describing the physical motion, the context in which the movement is made, etc.

Questions to answer about your isolated body movement:

How does the movement feel?
Is it a movement you have control over? Or is it automatic? Are you aware that it is even occurring?
When, where, why, how do you make the movement?
What purpose does it serve?
Does it involve other bodily movements?

After looking over your associative words and the answers to the questions above, consider how this movement can take a 3D physical form in clay. How could the your capture the pulsing of a migraine headache in clay? into a texture? Into color?
Is there a repeating shape that is produced by the movement?
(Example; a pitcher pitching a baseball….what track does the pitcher’s arm follow? Could that be translated into a physical form?)

Make 10 sketches in your notebook of the possible forms that convey your chosen body movement that does not use the image of the body.


After you have identified your body movement and completed your sketches, using hand building create your movement in clay without using the image of the body.

Historical Ceramics and the Self-Portrait

There are many ways of viewing the self. One of these is through the lens of history. For this project, you will select a historical ceramic piece and use its formal elements as well as its conceptual, cultural, ceremonial, or utilitarian aspects as a way to create your self-portrait in clay. The objective of this project is to draw on and appropriate a pre-existing historical vernacular as a means to express your contemporary selves.

Consider the definition of “self” in thinking of how to represent yourself through this historical lens:

Self:
1. a person or thing referred to with respect to complete individuality: one's own self.
2. a person's nature, character, etc.: his/her better self.
3. personal interest.
4. Philosophy.
a. the ego; that which knows, remembers, desires, suffers, etc., as contrasted with that known, remembered, etc.
b. the uniting principle, as a soul, underlying all subjective experience.

Remember, a self-portrait doesn’t necessarily mean portraying likeness or a perfect representation of what you look like. Think of your personality traits, your favorite food, color, time of day, your habits, and routines. How can these be used as a symbol for your “self’ or version of your “self.”

In your notebook:
From the slide lecture or from your own individual research, choose a historical piece of ceramics you will use as your source for your self-portrait. What is it about the historical ceramic piece to which you are drawn? How could you use your initial attraction to the piece as a way to portray your self?

1.Make a list of ten ways you could visually and symbolically represent of your ‘self’ that you could use as a starting point for this project.

2. After you’ve selected a historical piece, make a list of at least ten physical elements (e.g. form, color, surface) it possesses. Be as specific as possible.
Then, make a list of ten contextual/conceptual attributes (e.g. type of ceremonial use, the surface of the clay mimicking skin, culture).

3. Compare your lists. Are there any initial connections can you make between your three lists?

***After the brainstorming, you will construct your self-portrait using one or a combination of hand building techniques such as slab, coil, pinching as demonstrated in class. Your project must reflect two aspects of your chosen historical piece, be it form, surface or a tradition that revolves around it. Your piece should be no smaller than a 10” cube.

Here are some suggestions for research.

Artstor:
http://www.artstor.org/index.shtml

Visual Resource Collection (VRC): Search by Worktype: Ceramic (objects)

https://www.cu.edu/digitallibrary/
https://www.cu.edu/digitallibrary/index.html#
https://www.cu.edu/DigitalLibrary/aahvrcauthentication.html enter-
username: boulder
password: boulder

VRC side collection: RM 82 in Fleming building

Syllabus

ARTS 1875- Ceramics for Non-Majors
Spring 2009
Monday and Wednesdays: 6:00-8:50 pm
Instructor: Lauren Mayer
Email: Lauren.Mayer@colorado.edu


This course encompasses a broad introduction to clay as both material and concept. Over the duration of the course, you will be exposed to clay’s diverse and complex relationships to the contemporary world of art as well as its long historical lineage. Within this framework, we will make and discuss utilitarian, functional and sculptural ceramics. Slide presentations of historical and contemporary ceramics and in class demonstrations will aid in your exploration of clay. These slide lectures and demonstrations will provide examples of the wide range of making possibilities clay has to offer as well as the technical information needed to construct, dry, fire, and glaze your work.

The course will include 3-4 projects that will be evaluated through in class group critiques and discussions. These projects are designed to provide exposure to the many steps of the creative thinking process and the many ways in which ideas can become physical forms. These projects are also set up for you to be exposed to a variety of clay working techniques, such as hand building, wheel throwing surface decoration and firing.

You will also be required to attend one visiting artist lecture. The CU Art Department offers a fantastic opportunity to come into contact with nationally and internationally renowned artists. These lectures are usually scheduled on Tuesdays at 7pm in RM 155 in Fleming. You will have to write a one-page response paper about the artist and the lecture.

Attendance:

I require you to be punctual and attend class regularly. Your participation in demonstrations, slide talks, and critiques is imperative for your success in this course. The studio environment is a place of lively exchange and community, one that relies on your presence and participation.

After 3 absences your final grade will drop one letter grade. Arriving late or leaving class early 3 times equals one unexcused absence.

Grading Policy:

Project 1 20%
Project 2 20%
Project 3 20%
Project 4 20%

Attendance, Participation,
Response Paper, & Sketchbook 20%

100%
Critiques:

We will have in class group critiques to discuss each project as well as one-on-one critiques on in-progress work. Critiques are designed to initiate thoughtful and constructive discussions surrounding your work. This will include a dialogue of technical issues as well as the investigation of your ideas that are presented in the piece.

You must have finished work presented in a thoughtful manor at critique. Each project is to be completed at the date of the critique, unfinished work will not be considered

Studio Conduct:

The studio is a shared community space. This requires you to clean up after yourself. Clean and wipe down your work area before you leave, be it a table, a wheel, or the glazing area. Clay and many of the materials we will be working with come with inherent health risks, which you will become familiar with throughout the semester. Cleaning up after yourself is not just house keeping, but also a real health concern.

As a result of some of the hazards the studio presents, be sure to wear shoes that protect your feet as well as proper attire for physical work. No open-toed shoes please, as the bottoms of your feet are one of the most absorbent parts of your body.

You will get dirty, so please don’t wear your best clothes to class, especially on clay-making days.

Tools:

Notebook: I require that you have a notebook reserved solely for this class to take notes during demonstrations as well as draw sketches and information gathered from research. Your notebook is an indispensable tool and resource. Guard it with your life.

Feddling Knife, or kitchen knife
Exacto (optional)
Fork (not plastic)
Spoon (not plastic)
Tooth brush (trust me on this one)
Wire cutter
Rolling pin (optional)
18” ruler
plastic bags (large garbage bags)
apron or large towel (or clothes you do not mind being covered in clay)
2.5 gallon bucket
large and small sponge
large and small brushes
Wheel throwing tools: pin tool, wooden 45 degree angle tool, metal or plastic ribs,

***the UMC and McGukins carries a ceramic tool set***

Information you need to know!

If you qualify for accommodations because of a disability, please submit a letter to me from Disability Services within the first 2 weeks of class so your needs may be addressed. Disability Services determines accommodations based on documented disabilities. Contact 303.492.8671, Willard 322, and www.colorado.edu/disabilityservices

Campus policy regarding religious observances requires that faculty make every effort to reasonably and fairly deal with all students who, as a result of religious obligations, have conflicts with scheduled exams, assignments, or other required attendance, provided they notify you well in advance of the scheduled conflict. Whenever possible, students should notify faculty at least two weeks in advance of the conflict to request special accommodation. Please let me know if there are any conflicts with religious observance dates and course critiques or meeting times. Go to www.coloraod.edu/policies/fac_relig.html for further details.
Students and faculty each have responsibility for maintaining an appropriate learning environment. Students who fail to adhere to behavioral standards may be subject to discipline. Faculty have the professional responsibility to treat students with understanding, dignity and respect, to guide classroom discussion and to set reasonable limits on the manner in which students express opinions. Professional courtesy and sensitivity are especially important with respect to individuals and topics dealing with differences of race, gender variance, culture, religion, politics, and sexual orientation. See www.colorado.edu/policies/classbehavior.html and www.coloraod.edu/studentaffairs/judicialaffairs/code.html#student_code

All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include: cheating, plagiarism, aid of academic dishonesty, fabrication, lying, bribery, and threatening behavior. All incidents of academic misconduct shall be reported to the Honor Code Council (honor@colorado.edu; 303.725.2273) Students who are found in violation of the academic integrity policy will be subject to both academic sanctions from the faculty member and non-academic sanction (including but not limited to university probation, suspension, or expulsion) Other information on the Honor Code may be found at www.coloraod.edu/policies/honor.html and www.colorado.edu/academics/honorcode


Thanks and I look forward to the semester!!!




I have read, understand and will adhere to the above syllabus pertaining to ARTS 1875 taught by Lauren Mayer in the spring semester of 2009.

¬¬¬¬¬¬¬¬¬¬¬¬

Signature date



________________________________________ _____________________