ARST 233 Sculpture and Bodily Autonomy

Meets: Tuesday & Thursday 01:30 PM – 4:30 PM
Location: Sculpture Classroom 063, Venturi Art Building
Instructor: Kasia Ozga
Email: kozga@oberlin.edu
Office Hours: M/T/W 8 AM – 9 AM or by appointment
Office Location: Ward Art Building, Office 111

This course engages with conversations around issues of reproductive choice, bodily integrity/modification/extension, performance, maintenance art, and potentially surveillance, activism, and abject art. Technical content includes 3D mixed media fabrication techniques such as mold-making, wearable/soft sculpture, installation art, and prop-activation performance! Students will explore contemporary art that addresses bodily autonomy from a variety of perspectives, emphasizing links between an artwork’s form and its content.

Through individual and collective projects, we will develop sculptural and soft sculpture skills in a variety of media, while learning about contemporary artists that address a variety of social, cultural, and political issues. We will explore production techniques AND various hanging/installation methods, specifically suited to the medium(s) at hand. All assignments are informed by contemporary art history and are supplemented through lectures, multimedia content and field trips.

This intermediate class is appropriate for students with basic sculpture experience who wish to study three-dimensional construction with both hard and flexible materials, as an extension of our physical relation to space. Students will focus on developing technical skills (casting, armature construction, sewing), while being encouraged to imagine sculpture as a dynamic, interactive, end performative artistic medium. Demonstrations and instruction in assembly/joinery techniques (grommets, rivets, benders and bending tools, cable ties, adhesives, fusible tape), production techniques, and working with different materials (textiles, plaster, found objects) will be included.

Bodily Autonomy is the right to self-governance over one’s own body and how it is used and portrayed. It is not merely about sexual choices and reproduction, but rather encompasses a person’s whole self, their aspirations and potential in life. Each week, we will discuss how contemporary sculptures engage with issues of embodiment, presence, consent, and representation through a variety of conceptual and material strategies. Readings will discuss sensory perception, phenomenology, bodily integrity, physical and social reproduction (including issues such as abortion, birth, child development, care), and bodily extensions (in athletics, in injury / with prosthesis, through controlled substances/ altered states).

During class, I will lecture on the logistics of creating, displaying, and conserving sculptures. Discussions will center on the meaning of work and on the need for a holistic approach that includes structural thinking, even in the case of ephemeral projects. Together, we will explore how contemporary artists produce work in relation to craft, form, space, site, presentation, and context (including social, cultural, and gender issues). Students are encouraged to continue their research beyond what is required for class.

Art-making is a creative process that can enable communication between people. In the spirit of social practice, my goal is to inspire students to create art objects that engage the viewer in dialogue synthesizing technical and conceptual issues. To this end, we will spend some focused time in class discussing and critiquing students’ work in a dynamic, constructive atmosphere.

Course Objectives:

Students will learn to use decision-making processes and applied skills needed to develop ideas into works of art. Upon completion of this course, you should be able to:

– Demonstrate various skills and techniques introduced during the course

– Effectively manipulate different kinds of casting and soft sculpture materials (emphasis on craftsmanship)

– Be able to explain the relationship between the forms you create and the concepts informing your work

– Speak critically about personal work and that of others.

– Create personal, interesting and unique solutions to course assignments

Expectations:

Students are required to use studio time both during and outside of class in order to improve their technical abilities while forming a personal response to the themes discussed. Finished works should address conceptual considerations and apply the skills demonstrated in class. Students must come to class on time prepared to work on assignments and utilize scheduled studio time in an efficient manner during studio classes. Assignments will be completed on assigned dates. The level and quality of participation in both class discussion and critiques impacts the final grade. Any readings, presentations, or written assignments are to be completed on assigned dates. Attendance is stressed as the class is composed of demonstrations and studio practice. 3 late appearances count as an absence, 3 absences result in a reduced letter grade. Cell phones must be turned off before class begins.

Methods:

Each class session will include demos, work time, and presentations or discussions of body-based sculpture in the context of contemporary art. At first, work-time will consist primarily of sculpture based on a live model and thus cannot be “made up” at home. As the course progresses, a series of assignments/problems will be given to address specific aspects of the body in sculpture. Lectures, demonstrations and individual and group critiques are scheduled on a regular basis to expose students to different approaches to the body in sculpture. All students are required to attend critiques, where work in analyzed and students receive feedback from the professor and from their peers. Any late work will result in a lower grade, unless delays are cleared in advance in discussions with the professor. 

Evaluations:

Your studio projects will be assessed and critiqued through Individual meetings while work is being executed, through group critiques with professors, teaching assistants, fellow peers, and invited artists, and through a final critique where you will present work that responds to initial feedback. Grades reflect understanding and creative responses to problems and assignments as demonstrated by student work. Criteria for grading and percentages are as follows:

3 Sculpture assignments (innovation, craft, concept, technical proficiency, documentation)           40%

1 Final Project 30%

Writing and speaking (includes critique and group discussion)         10%

Formal presentation and exhibition   10%

Class participation and attendance    10%

Materials:

Students should bring a medium sized drawing pad and pencil or pens to the first day of class. Each week, students will witness technical demonstrations and some materials will be provided for experimentation during that day’s class. Materials will be introduced a week in advance so that students will have the opportunity to purchase appropriate tools (certain communal tools will be available for shared use)

There is no text for the class, however on some weeks, I may require students to read articles in preparation for in class discussions (PDF’s will be provided via Moodle or available on Google Drive). I can also recommend books to students on artists and areas of sculpture that would provide useful departures, on a case-by-case basis.

Storage of Work:

Storage options are limited and students will not be allowed to house projects outside of designated and assigned areas. Please see me if you require special arrangements for a limited period of time.

Safety and Clean Facilities Policy:

The Art Department requires students to maintain a safe working environment for themselves, their fellow classmates, as well as for others using art facilities. No food or drinks in the sculpture studios, no casting with hazardous materials outside of designated areas. No sawing of Styrofoam in a non ventilated area. Please wear work appropriate clothing including closed toed shoes. Wear clothes that you can get dirty/ “ruin” without harm.

Schedule:

The class meets 2 days/week. Each class session lasts for 3 hours and requires 3-6 hours of work outside of class.

Spring semester:

1st Class: Sculpture and Bodily autonomy Discussion
How do contemporary artists depict and interact with human bodies? How can sculptures challenge or confirm existing attitudes towards different kinds of bodies? What can sculptures say about the radical openness and vulnerability of bodies and about attempts to tame and discipline bodies to follow certain norms and behaviors?

What meanings do we attach to different kinds of materials and how do sculptures mobilize materials and forms to communicate ideas?

Semester Themes:

  1. anatomy lessons, sculptures that address sexuality and reproduction (mechanics, communication, emotional intimacy)
  2. bodily integrity/ the body in parts, mobilizing the senses and emotion (sensory play, olfactory art, abject art)
  3. modifying/extending/inhibiting the body
  4. social reproduction: performance, maintenance, gender dynamics
  5. bodies and the state: biopolitics, surveillance, activism

February:
Body casting demonstrations with plaster and string, Alginate

March:
Sensory experiments with nontraditional materials/textures/smells.
April:
Bodily modifications, sewing and soft sculpture skills.

Early May:

Representing social reproduction, performance

Late May:

Biopolitics and bodily autonomy, Final critiques

Course Dates:

01/30, Introduction, Discussion and written brainstorming HW: casting object selection, 02/01: Alginate casting demo (gloved and plastic wrapped hands / student supplied objects)

02/06: Alginate casting exercise with body parts, and objects evoking sexuality and reproduction (i.e. mannequins, dolls, medical gloves, latex prophylactics, feminine hygiene products, found objects…), 02/08 Retouching and painting/patination of casts.

02/13: Library Research Skills session with Barb Prior– sensory artwork project brainstorm exercise (required session / *KO Absent)), 02/15 Crit. for Project #1 – Anatomy Lessons

02/20 Plaster gauze body casting (negative molds + positive forms), 02/22 Olfactory Art Discussion, Abject Art (Museum? TBD *KO Absent

02/27 Combine Body casts with another element (material, scent, texture, projection) to engage with the attraction/repulsion dichotomy/spectrum., Material Tests and research., 03/01 Finalize & retouch Project # 2.

03/06, Crit #2 – Sensory experiments, 03/08 Sewing Demo, Loom Room

03/13, Sewing pattern creation with pattern paper and masking tape HW: Bring textiles to class for use on Body Extension project, 03/15 Sewing

03/27, Sewing/weaving, 03/29 Sewing

04/03, Crit # 3 – Body Extensions, 04/05 Social Reproduction performance video screening & analysis

04/10, Readings and discussions on social reproduction, 04/12 2+ person artwork development. Produce temporary props for performance or interactive “user activated” artwork in salvaged wood, cardboard, or textiles.

04/17, Woodshop Visit, armature assembly guidelines, 04/19 Test pieces for controlling movements in wood & rebar

04/24, Continue testing & assembling wood or rebar, 04/26 Link textile elements to wood/rebar

05/01 Final Project Crit.: performance or “user activated” artworks related to the themes of social reproduction, physical structures, and bodily control., 05/03 Final Project Crit. # 2.

Areas of Study:

Basic Plaster Casting

Students will learn basic casting techniques involving alginate, plaster gauze, and latex. Whereas techniques will be demonstrated during class, students will be expected to work on the mold making and casting of individual projects outside of class.

Various topics will be discussed including planning for larger projects, the technical division of a large mold into smaller sections, and surface preparation techniques. Students may choose to work individually or in pairs on a larger casting for their final project.

Sewing Basics

Students will create individual projects based on hand sewing and machine-sewing techniques (seams, various stitches including serger). Different display options will be discussed (banner, flag, integrated frame, magnets). Sewing machines in 062 will also be available on a limited basis and outside of class.

Soft sculpture

Students will create individual projects for interactive or standalone soft sculptures (with/without hidden armatures, with grommets, rivets, benders and bending tools, cable ties, adhesives, fusible tape).

Armature preparation

An armature is both a three-dimensional sketch and a load-bearing construction. Students will manufacture armatures with wood and steel components + metal/aluminum wire to support various forms. The following tools may be used at this stage: drills, saws, clamps, cable cutters, pliers, chisels, hammers, clamps etc.

Skill Sets:

– The correct handling of tools and materials in relation to desired forms

– The relationship between material choices and the internal structure of a sculpture.

– Basic techniques: how to construct a soft sculpture that can support its’ own weight or how to take advantage of external support options.

– Ability to put basic sculptural ideas into action/ Understand the link between an idea and its representation, the importance of aesthetic values, gesture, time, the end product.

Selected Artists:

Students will see slide presentations on contemporary artists that use the human figure in sculpture and/or make work that explicitly involves the human body. Students may be asked to create short slide presentations on the work of the following artists:

Magdalena Abakanowicz, Alberto Giacometti, Do Ho Suh, Rebecca Horn, Lygia Clark, Hélio Oiticica, Ana Mendieta, Marc Quinn, Annette Messager, Marianne Jorgensen, Subodh Gupta, Janine Antoni, Sheila Pepe, Kiki Smith, Louise Bourgeois, Teresa Murak, Dario Robleto, Janet Echelman, David Altmed, Anthony Gormley, Lynda Benglis, Richard Serra, Pawel Althamer, Ron Mueck, Chiharu Shiota, Kara Walker, Nicole Seisler/ A-B Projects, Florence Bruyas, Lidia Kostanek, Elsa Sahal, Adel Abdessemed, Rachel Labastie, Jessica Stoller, Anne Wenzel, Mary Kelly, Orlan, Maria Pinińska-Bereś, Helen Chadwick, Valie Export, Sarah Lucas, Mika Rottenberg, Sylvie Ungauer, Paul McCarthy, Robert Gober, Carolee Schneemann, Judy Chicago, Alicja Zebrowska, Barbara Kruger, Doreen Garner, Lynda Benglis, Danh Vo, Kara Walker, Louise Bourgeois, Katy Itter, Kiyan Williams, Hannah Levy, Catalina Ouyang, Laurie Simmons, Tracy Emin, Charles Ray, Alina Szapocznikow, Candice Davis, Ruben Ulises Rodriguez Montoya, Joana Vasconcelos, Mierle Lederman Ukeles, Hannah Wilke, Teresa Margolles, Abigail Deville, Raymonde Arcier, Spencer Tunick, Karen Finley

References:

The professor will put a selection of relevant books on reserve for students at the library. In advance of certain class sessions, students will be asked to complete short readings about relevant topics (exhibition reviews, papers in academic journals, artist interviews) that will be discussed in a collective manner.

Texts may include:
Rosalyn Krauss, Passages in Modern Sculpture
Walter Benjamin, Art in the Age of Mechanical Reproduction
Phaidon Press, Vitamin 3D: New Perspectives in Sculpture and Installation
Peter Rubino, Sculpting the Figure in Clay
Anna Moszynska, Sculpture Now
Linda Nochlin, The Body in Pieces
Maurice Merleau-Ponty, Phenomenology of Perception
Roberto Esposito, Bios: Biopolitics and Philosophy (Volume 4)
Hannah Arendt, The Human Condition
Sylvia Federici, Caliban and the Witch
Archives of Women Artists Research & Exhibitions (AWARE)

Sample projects:

Anatomy lessons. By casting found objects and life casting, create a work of art that addresses the theme of sexuality and reproduction (human or otherwise). Students are encouraged to research metaphors for sexuality in historical, literary, and visual traditions and to incorporate these into their works. Pay attention to scale and how you would like the works to be presented, displayed, and handled.

Bodily integrity. Create a mold of a body part and produce multiple casts using the mold to be shown together. The works should engage with the emotions of attraction and repulsion/disgust by summoning our senses (smell, sound, touch, etc.) in some way.

Body Modifications. Create a wearable sculpture that modifies/extends or inhibits the body in some way.

Social reproduction. Work together with at least one other person in the class to produce props for a performance that addresses the issue of social reproduction in some way. Perform with your objects or invite your classmates to activate them.

Structures & Body Control. Armatures are usually hidden support structures within a sculpture, enabling forms to protrude into space and providing stability and protection from accidental destruction. For this final assignment, integrate and foreground an armature (in metal or wood) into a sculpture that addresses relationships between bodily autonomy and political decision-making. The non-armature part of your artwork may be either cast (in plaster or non-traditional materials) or sewn/fabricated (textiles, flags, soft sculptures).

Final projects:

In addition to weekly studies/progress check-ins/finished class assignments, each student will create a final project that engages with the subject of bodily autonomy (Structures & Bodily Control). Students are encouraged to consult individually with the instructor regarding project ideas during class or during office hours. Finished pieces may be temporary or permanent individual works. The final project may build on or depart from previous assignments. Students will be expected to document their work during the phases of project development and upon completion. Final PDF documents may include work summaries/descriptions and images of finished pieces.

Research Resources

Library Search Tools: Main Library and Clarence Ward Art Library

Articles & Artists Consulted during Class (with the whole group and individual students):

Anatomical Art – Flesh and Bones: The Art of Anatomy Exhibition February 22–July 10, 2022, GETTY CENTER, Dissection as spectacle article, Harnessing the Power of the Criminal Corpse, Écorché sculptures, Gunther von Hagens / Plastination, Angélique Marguerite Le Boursier du Coudray (La Machine), Chidiebere Ibe, 3D-printed clitoris (sexual Education in France), Search for “anatomy” on https://openartimages.com/

Casting + anatomy : Charles Ray, Patricia Piccinini, Louise Bourgeois, Robert Gober (artwork discussed in class), Marc Quinn, Cynthia Plaster Caster, Doreen Garner, Juliana Cerqueira Leite, Orlan (Body modification art), Maria Pinińska-Bereś, Cock and Cunt Play in Womanhouse written by Judy Chicago and performed by Faith Wilding and Jan Lester, Heji Shin (“Baby” series, 2016), Valie Export, Lynda Benglis (Artforum advertisement, 1974), Act Up (Place de la Concorde, Paris ’93), Paul McCarthy (Tree, 2015), Cassils (Becoming an Image), Allen Ginsberg: ‘The Ballad of the Skeletons’ (Poem, Video)

Histories of Sexual Education: Guttmacher Institute, Les Infemmes (Clitnotes Zine), the impact of AIDS, Sex Ed Books throughout the Ages, Learning Sex Ed Through Art in Nunavut

Sensory/olfactory/multi-sensory sculpture/art: Félix González-Torres, Zoe Leonard (Strange Fruit), Jana Sterbak, Sue Webster (The Folly Acres Cookbook), Otobong Nkanga (Anamnesis), Ann Hamilton (The event of a thread), Carsten Höller (Two Roaming Beds), Kaia’tanoron Bush and Jill Price, Viviane Le Courtois, Jacqueline Kiyomi Gork, Valie Export
Texts: Sensory experiences in art education for disabled visitors, Carolyn Korsmeyer, TASTE AND OTHER SENSES, Francesca Bacci and David Melcher, Art and the Senses, Can Touch This: A Multi-Sensory Exhibition, Portland
Student artwork selections: Like a Good Armchair show at the Allen Museum, Soft Toaster, Sarah Lucas, Alina Szapocznikov, Jenny Holzer Truisms (on benches)

Body Extensions and Inhibitions: Rebecca Horn (2), Loie Fuller, Hyunkoo Lee, Oskar Schlemmer’s Ballet of Geometry / Stick Dance, Same Height Party, Stelarc, Toco the Human Dog, Abraham Poincheval, Tehching Hsieh’s Time Clock Piece, Krzysztof Wodiczko, Jennifer Crupi, Hélio Oiticica’s Parangolés, Marina De Caro (4 Ojos), The Alternative Limb Project, Relevant Pinterest Boards (1,2)
Body Extensions and Art/Fashion Intersections: Yinka Shonibare, Iris Van Herpen (1,2), Gareth Pugh (1,2), Beo Beyond, Hussein Chalayan (1,2), Nanna Van Blaaderen, Louise Bourgeois (1,2,3), Phil Toledano (American Fear), Nick Cave

Social reproduction: performance, maintenance, gender dynamics: Silvia Federici, Mierle Ukeles (Video 1, Manifesto for Maintenance Art, Queens Museum), Mary Kelley, Emma, Anne Bothuon

Bodies and the state: biopolitics, surveillance, activism: Louise Bourgeois cages, Panopticon, References from our research session in the art library. Harun Farocki’s I thought I was Seeing Convicts, John Carpenter’s They Live, Exhibiting cultures and Coco Fusco and Guillermo Gómez-Peña’s The Year of the White Bear, Carolee Schneemann, Class discussion on Ruha Benjamin’s Captivating Technology

Additional Readings: Gertrude Stein, Many Many Women, 1910 + Film Screening, Eve Fowler’s with it which it as it if it is to be, Part I in class. Manual Labours Website & Manuals, Stakemeier, Kerstin and Vishmidt, Marina. 2016. Reproducing Autonomy: Work, Money, Crisis and Conte , Emma Dowling, The Care Crisis.
Relevant Artist & academic videos reviewed in class: