Te nsion / Second Skin Due: Tuesday, April 13th Definition: tension noun 1 the state of being stretched tight : the parachute keeps the cable under tension as it drops. • the state of having the muscles stretched tight, esp. as causing strain or discomfort : the elimination of neck tension can relieve headaches. • a strained state or condition resulting from forces acting in opposition to each other. • the degree of tightness of stitches in knitting and machine sewing. • electromotive force. 2 mental or emotional strain : a mind that is affected by stress or tension cannot think as clearly. • a strained political or social state or relationship : the coup followed months of tension between the military and the government | racial tensions. • a relationship between ideas or qualities with conflicting demands or implications : the basic tension between freedom and control. verb apply a force to (something) that tends to stretch it. “Untitled” by Lee Bontecou Welded steel, porcelain, wire mesh, canvas, wire This assignment will focus on teaching you basic MIG welding, brazing and metal fabrication techniques, as well as introduce you to hand and machine sewing, paper making and felting. Using standard 1/4” round stock or 2” flat stock, you should weld an armature over which another material (such as paper, fabric, wool, plastic bags or other found objects, latex, etc) can be stretched taught. Your final object or installation must convey the idea of tension, either formally or conceptually. Time/Dedication/Research – 20% You should choose a “skin” material you are interested in learning more about, and make several small tests to see how it performs. How far can it be stretched? Is it transparent? Can it be dyed or painted? How will you affix it to the armature? Can it be sewn or glued? Craftsmanship – 30% The main intent of this assignment is to practice and become proficient in MIG welding or brazing. Your welds should be clean and strong, and the way you handle the material visually should make sense in relation to your concept. Do the welds or rough surfaces of your armature need to be ground down or should they be left raw/sharp? Concept – 20% You can explore the idea of tension either formally or conceptually, but your job is to be very aware of the associations a viewer can make to the material you choose to use for your armature’s “skin”. Do not choose a skin material based on ease or accessibility, choose it because it could best communicate your ideas. The way it is applied or attached to the armature should be very intentional. Presentation – 20% Final projects must be installed in the Sculpture Gallery, Cell Space or Sculpture Box on the day prior to critique. You must decide if your final object or installation will be designed to rest on the floor, hang on the wall or be mounted to the ceiling. You must consider which of the three spaces would be most appropriate for your project based on its specific features. All work must be adequately lit with the track lighting available or with clamp lights. Typed (not hand written!) title cards should be hung on an adjacent wall, referring to the work’s title and materials. Documentation – 10% One to three images of your f inal project, along with a title, dimensions and material list, must be posted on the blog after the final critique. Your final documentation should be labeled both with your name and also “Tension/Secon d Skin”, so it can b e easily accessed. Introduction to Sculpture ART255- 01 M+T 1: 20-4:10 Bi nns Me rr il l SB01 Instructor: Alicia Eggert, [email protected] TA: Jonas Lindberg, [email protected] Class Blog: introtosculpture2010.blogspot.com

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Tension / Second Skin Due: Tuesday, April 13th

Definition: tension

noun1 the state of being stretched tight : the parachute keeps the cable

under tension as it drops.

• the state of having the muscles stretched tight, esp. as causing

strain or discomfort : the elimination of neck tension can relieveheadaches.

• a strained state or condition resulting from forces acting in

opposition to each other.

• the degree of tightness of stitches in knitting and machine

sewing.

• electromotive force.

2 mental or emotional strain : a mind that is affected by stress or

tension cannot think as clearly.

• a strained political or social state or relationship : the coup

followed months of tension between the military and the government |racial tensions.

• a relationship between ideas or qualities with conflicting

demands or implications : the basic tension between freedom and

control.

verbapply a force to (something) that tends to stretch it.

“Untitled” by Lee BontecouWelded steel, porcelain, wire mesh, canvas, wire

This assignment will focus on teaching you basic MIG welding, brazing and metal fabrication techniques, as well asintroduce you to hand and machine sewing, paper making and felting. Using standard 1/4” round stock or 2” flat

stock, you should weld an armature over which another material (such as paper, fabric, wool, plastic bags or otherfound objects, latex, etc) can be stretched taught. Your final object or installation must convey the idea of tension,either formally or conceptually.

Time/Dedication/Research – 20%

You should choose a “skin” material you are interested inlearning more about, and make several small tests to seehow it performs. How far can it be stretched? Is it transparent? Can it be dyed or painted? How will you affix it to the armature? Can it be sewn or glued?

Craftsmanship – 30%

The main intent of this assignment is to practice andbecome proficient in MIG welding or brazing. Your weldsshould be clean and strong, and the way you handle thematerial visually should make sense in relation to yourconcept. Do the welds or rough surfaces of your armatureneed to be ground down or should they be left raw/sharp?

Concept – 20%

You can explore the idea of tension either formally orconceptually, but your job is to be very aware of theassociations a viewer can make to the material you choose to use for your armature’s “skin”. Do not choose a skin

material based on ease or accessibility, choose it because itcould best communicate your ideas. The way it is applied orattached to the armature should be very intentional.

Presentation – 20%

Final projects must be installed in the Sculpture Gallery, CellSpace or Sculpture Box on the day prior to critique. Youmust decide if your final object or installation will bedesigned to rest on the floor, hang on the wall or be

mounted to the ceiling. You must consider which of the three spaces would be most appropriate for your projectbased on its specific features. All work must be adequatelylit with the track lighting available or with clamp lights.Typed (not hand written!) title cards should be hung on anadjacent wall, referring to the work’s title and materials.

Documentation – 10%

One to three images of your f inal project, along with a title,dimensions and material list, must be posted on the blogafter the final critique. Your final documentation should belabeled both with your name and also “Tension/SecondSkin”, so it can be easily accessed.

Introduction to Sculpture ART255-01 M+T 1:20-4:10 Binns Merrill SB01

Instructor: Alicia Eggert, [email protected]: Jonas Lindberg, [email protected]

Class Blog: introtosculpture2010.blogspot.com