Massachusetts College of Art and Design | Continuing Education | Summer 2008 Courses

DESCRIPTION
Figurative clay is a beginning through intermediate level investigation of the human form. It is designed to facilitate the student’s ability to work independently with the figure by developing technical and self-critical skills. Gesture, proportions and anatomy will be learned through the observation of live models in standing, sitting and reclining poses. Sculpting the figure in clay (with and without armatures), lectures, demonstrations, museum visits, slide presentations and individual critiques give the student a thorough understanding of the human form in stasis and motion. The course concludes with a life-size study of the head executed in clay followed by a two piece mold and plaster cast.

INSTRUCTOR
Artist/Sculptor Karine Kadiyska received her BFA and MFA from Boston University. Recent exhibitions include "Microcosmos," Museo dei Bozzetti 2, Pietrasanta, Italy, and "Space Oddity," The New England School of Art and Design at Suffolk University, Brookline Community Center, New England Institute of Art.

SPECIAL SCHEDULE
July 27, Sun, 1-4pm; July 28-Aug 8, Mon-Fri, 6-10pm, Aug 2 & 9, Sat, 9am-6pm

DESCRIPTION
This intermediate level figure sculpture course is designed to further explore gesture, proportions, structure and the anatomy of the human figure. One pose with a life-model will be used for the duration of the course. Students build armatures from scratch, model the figure from observation in clay (1/2 scale to lifesize) and complete a mold and a cast of the figure in plaster. Each sculpture may be a faithful representation or a point of departure for personal interpretation. The extended life-model time gives each student the opportunity to explore composition, anatomical forms and psychology of the human figure in greater depth while managing a substantial project. The course is designed to prepare each student for self direction and management in their personal work with the figure. Regular critiques, lecture and slide presentations of master-works in various styles, museum field trips and demonstrations will round out the course. Prerequisites: Figurative Clay or its equivalent or by permission of the instructor.

INSTRUCTOR
Gerry Hoag holds a BFA from MassArt and an MFA from Boston University School for the Arts. He has taught art at Boston University, New York Academy of Art, Graduate School of Figurative Art, Harvard University, and the Art Institute of Boston at Lesley University.

DESCRIPTION
This is a beginning course in mold-making, introducing materials and techniques used in the creation of rigid and flexible molds. Initial focus will be on traditional casting methods, including life casting and the use of waste molds. As the semester progresses and the student begins to understand the possibilities of the processes, alternative methods and materials will be introduced.

INSTRUCTOR
Lugh Giacomozzi taught ceramics at Mudflat Studios in Somerville for ten years before coming to MassArt, where he received his BFA in sculpture. His solo exhibitions include, "a one lugh show, A Time To Scream" at Zeitgeist Gallery in Cambridge, featuring work he referred to as "jars of screams", "Fractures," featuring a series of abstracted self-portraits. He also exhibited in "Emergence," a group show at MassArt that featured the work of non-traditional students.

DESCRIPTION
Get dirty like the masters. Comb chips of marble out of your hair like Michelangelo. Tend your blisters like Isamu Noguchi. This three week intensive session will leave students equipped to continue carving independently with a basic kit of hand tools, the skills to break rocks with impunity and a sculpture capable of lasting a thousand years or longer. Some dabbling in the 3D arts would be helpful but is not prerequisite. Students will practice project layout and construction of a clay model, some practical geology, hand and power tool use, safety considerations, focusing chi, interfacing stone with other materials and finishing. Instruction will consist of a series of group demonstrations followed by tailored instruction on an individual basis.

INSTRUCTOR
Peter Evonuk is a farm boy, door-to-door vacuum cleaner salesman, appliance delivery dude, construction worker, roofer, metalsmith, sculptor, art instructor, and social satirist from the island of Maui. Peter received his BFA in Sculpture/Metalsmithing and Jewelry from the University of Oregon (2001) and his MFA in Metalsmithing from the Cranbrook Academy of Art (2005) and presently manages the metalsmithing studio at MassArt.

DESCRIPTION
The material intent of this class is to teach skills and methods for making tools primarily using three materials: clay, twine and wood. Topics covered will include fundamentals of twine and rope work including knots, binding, seizing, lashing, netting, splicing; fire working wood for hollowing, bending and straightening, as well as basic joinery principals, whittling and carving skills; an overview of clay, hand building, decorating with burnished slips and terra sig, and pit firing. Students will also undertake a project requiring creative use of materials other than those used and demonstrated in the classroom. The philosophical intent of this class is to explore self-reliance in the context of art making, a notion fundamental to primitivism. The course operates on the belief that as an artist, fulfillment and productivity require breaking free from constraints too easily accepted, whether economic or psychological (e.g. space and facilities often taken for granted in art school are longed for after). Classroom discussion will explore concepts of primitivism in relation to economic liberation, sustainable environmentalism, re-earthing/re-wilding, and post-industrial primitivism both in the context of the arts and society in general.

INSTRUCTOR
Dave Olsen received his MFA from MassArt and BA in Philosophy from Colby College. He is a sculptor, natural builder, hobo, commercial fisherman, and environmental activist.

DESCRIPTION
This course will investigate movement in sculpture, emphasizing experimentation over finished product, and focusing on the physical and mechanical aspects of motion. The class will look into some of the history and theory behind kinetic art, as well as how movement is being used in sculpture today. Initial studio work will appropriate inexpensive, easily-procured materials to establish non-intimidating and accessible platforms for experimentation. Student work will culminate in a final project resulting from these experiments. The class emphasizes the generation of ideas rather than acquiring shop-skills, but students should be familiar with simple tools and have experience with object-building. Tool kit supply list will be mailed upon registration.

INSTRUCTOR
Anne Lilly holds a B Arch from Virginia Tech, studied engineering at Renssalaer Polytechnic Institute, and metal fabrication at MassArt, the Museum School, and Wentworth Institute. Her work has been exhibited at the DeCordova Museum, Lincoln; Arden Gallery Boston; and ArtSpace New Haven, among others. Recent commissions include a private memorial at the Mount Auburn Cemetery, Cambridge; and in 2007 she received a Browne Fund grant for a permanent outdoor work on the Boston Harbor, to be constructed in 2008. She is a member of the Sculptors’ Workshop in Allston, MA.

DESCRIPTION
This course is designed for beginners as well as more experienced students who desire a sophisticated understanding of the structure of the human figure. By analyzing the skeleton and musculature through lectures and drawing from the nude, the surface forms of the body become understandable. The student will also learn about proportion, modeling forms in light and shade and many other skills needed for successful figure drawing.

INSTRUCTOR
Janet Monafo is the recipient of numerous grants for painting. Her one person shows include the Allan Stone Gallery and Sherry French Galleries in New York. She has also exhibited at the American Academy and Institute of Arts and Letters in NY, the National Academy of Design, NY, The Fuller Museum and the DeCordova Museum. Her work is in public collections including the Allan Stone Gallery, Arkansas Art Center and the Delaware Art Museum. She holds a BA from Regis College and studied at MassArt.

DESCRIPTION
Transform gravel into bling. Learn to cut, shape and polish ordinary rocks into wearable art. This class will provide you with the skills necessary to shape and carve natural stones and minerals into cabochons and custom forms that can be set in jewelry. Safety, stone selection and basic equipment use will be covered.

INSTRUCTOR
Peter Evonuk is a farm boy, door-to-door vacuum cleaner salesman, appliance delivery dude, construction worker, roofer, metalsmith, sculptor, art instructor, and social satirist from the island of Maui. Peter received his BFA in Sculpture/Metalsmithing and Jewelry from the University of Oregon (2001) and his MFA in Metalsmithing from the Cranbrook Academy of Art (2005) and presently manages the metalsmithing studio at MassArt.

DESCRIPTION
In this introduction to the foundry process, students make bronze and aluminum castings using processes of greensand and lost wax ceramic shell casting. We will cover mold making, casting, and chasing with an emphasis on personal expression and technical proficiency. Proper use and maintenance of all tools is stressed.

INSTRUCTOR
Zachary Gabbard teaches moldmaking and foundry at Stonybrook Fine Arts in Jamaica Plain, MA and was previously studio assistant at Ross Glass Studio in Hyde Park, MA. He assisted David Phillips in the production of six bronze frogs for the Boston Common Frog Pond Playground and recently exhibited at the Mill Brook Gallery in New Hampshire. He holds a BFA in Sculpture from MassArt.

DESCRIPTION
This course provides an introduction to the construction of steel sculpture. Students will produce artworks using oxy-fuel, "stick", MIG or TIG arc welding, and learn hot forging and a wide range of fabricating processes. Although the class focuses on technical issues, students are also expected to consider the expressive potential of sculptural form.

INSTRUCTOR
Reid Drum is Studio Manager for Sculpture at MassArt where he earned his MFA. He also holds a BFA from University of North Carolina Chapel Hill.

DESCRIPTION
This course, for beginning and continuing students, emphasizes developing an understanding of the relationship between material, process and ideas. Slide presentations, demonstrations and discussions cover joinery, carving, lamination, framing, finishes and the history of wood . A full range of woodworking hand and power tools are introduced for use in specific projects. Students are encouraged to discover the unlimited potential inherent in a single material. Rigorous hands on investigation of these materials and processes combined with research will expand students’ capacity for generating significant works. Emphasis is on the simultaneous development of technical skills and ideas: Carving/Joinery, Box and Bench.

INSTRUCTOR
Ted Southwick is Woodshop Studio Manager and Visiting Lecturer at MassArt, where he earned his BFA. He holds an MFA from Boston University.