G2 study plan
New students may find it interesting to see another person's study plan. I have posted 4 on this blog, My overall study plan , My G1 study plan, My G2 study plan and my practicum study plan. PLEASE NOTE: your study plan may be very different. I am not an academic writer so my study plans are in plain English.
Guidelines: The study plan for one semester describes, specifically and in detail, what you will accomplish this semester. Refer to your STUDY PLAN AS A WHOLE as well as the MFAIA Degree Criteria, and as thoroughly and concretely as possible elaborate on this semester's plan of study activity.
Areas of Inquiry that provide the academic and artistic context of your studies.
sculpture
writing
technology
1. What are your overall learning goals for the semester? Describe the areas of inquiry, central themes, concerns and/or questions that your learning activities will address. How do you envision your creative and intellectual work evolving? How do you anticipate this work will move your practice forward?
There continues to be two areas of focus in this study plan. The first is bridging the gap between digital and traditional sculpture, where I further explore the incorporation of digital technology into my own creative process. The second area is writing, both creative writing, exploring other styles of writers, and an inner exploration of self and nonfiction writing.
Part 1. Digital/Traditional Sculpting
This semester in many ways is a continuation of last semester as the research and the digital processes are much more extensive than I expected and need further exploration. I will be focusing on the process of what I call tra-digi art, a mixture of traditional and digital practices as well as the technology that is incorporated in creating tra-digi art. I feel it is necessary to continue the research that began in last semester and compile information about the process. This will help me to utilize this technology in the future in my own work. I will however, be taking one of my own pieces of art working through the process of digital scanning, molding in the computer and output and I will be documenting that process. As I put my own work through this technology I will be able to know exactly what to expect from the new mediums and the difficulties and pitfalls that come with this technology. It is essential for me to document this process to be able to define it for myself and to help other artists know how to affectively integrate these technologies into their own art. I look forward to sharing this through my nonfiction writing and descriptive and evaluation essay.
The study also consists of becoming familiar with the contemporary artists and researchers who are also investigating this new technology. I would like to do this through personal one on one interviews. I will also be interviewing the resources, vendors, and university research laboratories that provide this type of technology. This research helps to move my work forward because as I gather this information for my own process, I would like to write instructional essays on how other artists can use it. A collaboration with Ed Tacket of Saddleback College, Rapditech National Center for Rapid Technologies will be proofreading this essay to be sure that the technology is correct and to help me anticipate and interpret what other information is necessary to smoothly incorporate these techniques into my own practice.
Part 2. Writing
As a writer passing on information and knowledge is as important to me as creating and learning the process myself. This is one of the reasons why I love nonfiction writing. Besides the nonfiction writing I’m also interested in continuing a personal dialogue with my creative writing. After the loss of my mother last semester I have found that reflective writing is helping me to both process her death and work through my own creative process. I will also be exploring the work of other writers who are writing memoir or narrative essays.
2. What creative projects will you undertake and what products do you envision emerging from your creative work this semester? Describe how this work will be documented and how it may contribute to the development and rigorous exploration of your interdisciplinary practice.
Part 1. Digital/Traditional Sculpting
Most of this semester I will be continuing my research. I am very excited about not just researching papers, but actually meeting and talking to those who are using the technology, as well as those universities, professors and individuals who are working on the advancements.
I will be doing this through podcast interviews - Art and Technology. As I started, with this research last semester I was thrilled to find that many of those who I have spoken with were delighted with my goal of bridging the gap between technology and the traditional studio. This exploration helped me to become known in the fields of rapid prototyping, additive and subtractive manufacturing and laser scanning research. That notoriety assisted in the research itself. The element of putting my name out there with others who are doing the same research is essential because much of the technology is cutting edge, and the researchers encourage open source and sharing. They pass on my name to others or other new technology on to me. Also, with some of the steps that I have been trying to take in using this process there have been technological obstacles. It has been important to push past these obstacles and find further resources to make this tra-digi art a realization. Having my hand on the pulse of the technology and pulling other resources to add to my process have done this. I must consider approaches that may not fit within traditional definitions of art. Much of this work is not only interdisciplinary it is cross-disciplinary moving into manufacturing, engineering, architecture and math and science. As a traditional artist I am trying to not just bridge the gap between the traditional and digital studio but anticipate the problems, by examining my own resistance, both psychological and technological that keep me from realizing the final creation. My goal is to process the information, find the best way to utilize it or how others are utilizing it, and then disseminate it. If the semester and interviews lend themselves to the topics I may also reference some of the difficulties with the technology, from copyright infingement to the psychological aspect of the artists and their transition to the digital processes.
Part 2. Reading other people’s work, and regular writing- whether fiction or nonfiction helps me to become a better writer. Researching writing styles and absorbing those styles trying to make them a part of my own writing style is a goal. I loved doing this with Ann Lamotte and Donald Miller last year, I just kept reading their work until it morphed into my own. There was freedom in exploring an alternative Christian writer. I look forward to reading others works and further exploring narrative essays through my creative writing.
3. What critical discourses and theoretical concepts will you engage with this semester? Identify the artists; theorists; movements; fields of study; cultural, social and political frameworks; or other areas of knowledge that you plan to explore and describe how you see this work in conversation with your creative projects and/or contributing to your overall creative development. How will you document this activity; what written or other products-such as critical writing, essays, annotations, etc.-will emerge?
Part 1. Digital/Traditional Sculpting
The discourse incorporated will be essay writing and interview. Seeking out artists who are using technology in creating fine art as well as those utilizing data, science or math to create 3d artwork. The first semester at Goddard has been rewarding and fulfilling. It stretched my own personal interaction with contemporary art and techniques that I would not normally consider in my own practice. This interaction and dissemination of my own research will continue on that journey.
My questions for interviews are based on my own questions that I have asked myself. As I interview others I am sure more questions will arise.
1. How has digital technology and sculpture changed in the last 10 years?
2. Is it the work or the process that excites those interested in this technology?
3. Can digital sculpture be accepted as a fine art medium?
4. Will these digital process take over the traditional process of the lost wax method of bronze casting? If so, what is needed for that to happen and what are the advances in this technology.
5. Who are some artists, vendors, or universities that are using the technology or contributing to their advancements?
6. What are the limitations of the process? How can these either be worked through or used to the artist’s advantage?
7. For artists - How has this technology changed the way that you create?
8. For service providers - What are things that artists need to know to help them get the best end product in their creations?
4. What specific resources do you plan to use? Include a Bibliography, as well as other resources you plan to use. In addition, please describe how you envision co-learning with peers this semester.
5. If you are planning a practicum for this semester, include the complete Practicum Proposal (as outlined in the MFAIA Handbook Addendum) here, describing the project's aim in relationship to your learning goals and how you plan to document it.
Though a practicum does not apply for this semester I have spoken with Jackie Hayes about creating a semester of art and writing that is totally reflective and somehow connected- art to writing. I envision this study as having the component of total solitary creation. This is a stretch for me because with my sculpture work I only work in collaborations- myself with the client, to complete a commission of a child, husband, wife etc. This practicum is different as it is working in the studio to create without having any outside influence or direction. I know that sounds strange to some artists as many do this all of the time, but for me I do not. I always create with the goal of serving a client in mind. I weave my own creativity into it but I’m guided by a clients needs. It will be interesting to see how I approach this process and perhaps even that journal of the approach of doing art for art’s sake. Creating Portraits- or images of others is important to me, as is exploration of the deep emotion. However instead of creating figurative detailed sculpture I will instead stretch once again to create either art nouveau or sculpture of found objects, abstracts- a portrait of the person or feeling without actually a portrait of the person.
6. How will the work you are planning for this semester advance you toward fulfillment of the MFAIA degree criteria?
Ability to Conduct Rigorous Exploration within the Context of an Art Practice
Sculpture
• The exploration of the artists and process along with the technology is extremely rigorous. My interview and investigation of the technology and its possibilities and well as the boundaries, and of the artist that are using this technology helps me to explore creative possibilities that I might not have ever considered in my work.
• Being able to disseminate this knowledge opens up a possible future rapport between myself vendors, artists, and research universities and will transform my own work.
Understanding of the Nature of Art and Articulation of a Personal Theory of Art. Ability to Develop a Critical Discourse on One own and Other’s Practices. Understnading of the Cultural, social an Political Context of One’s Art.
Sculpture
Understanding of the Concept of Interdisciplinary Art
Keep in mind, as you plan your study, the ways in which you will move towards meeting the MFA in Interdisciplinary Arts Program's Degree Criteria. Please refer to these criteria.
At the end of the semester you will write an evaluation report. Then you will need to look at this plan and ask yourself how well you followed it. The more specific it is now, the easier to compare it with what you actually do during the semester. The clearer your goals, your plans for learning activities and resources, the schedule you laid out for yourself, and your description of the products you hoped to make, the easier it should be for you to assign values to or find value in ('evaluation') these aspects of your ongoing study.
Guidelines: The study plan for one semester describes, specifically and in detail, what you will accomplish this semester. Refer to your STUDY PLAN AS A WHOLE as well as the MFAIA Degree Criteria, and as thoroughly and concretely as possible elaborate on this semester's plan of study activity.
Areas of Inquiry that provide the academic and artistic context of your studies.
sculpture
writing
technology
1. What are your overall learning goals for the semester? Describe the areas of inquiry, central themes, concerns and/or questions that your learning activities will address. How do you envision your creative and intellectual work evolving? How do you anticipate this work will move your practice forward?
There continues to be two areas of focus in this study plan. The first is bridging the gap between digital and traditional sculpture, where I further explore the incorporation of digital technology into my own creative process. The second area is writing, both creative writing, exploring other styles of writers, and an inner exploration of self and nonfiction writing.
Part 1. Digital/Traditional Sculpting
This semester in many ways is a continuation of last semester as the research and the digital processes are much more extensive than I expected and need further exploration. I will be focusing on the process of what I call tra-digi art, a mixture of traditional and digital practices as well as the technology that is incorporated in creating tra-digi art. I feel it is necessary to continue the research that began in last semester and compile information about the process. This will help me to utilize this technology in the future in my own work. I will however, be taking one of my own pieces of art working through the process of digital scanning, molding in the computer and output and I will be documenting that process. As I put my own work through this technology I will be able to know exactly what to expect from the new mediums and the difficulties and pitfalls that come with this technology. It is essential for me to document this process to be able to define it for myself and to help other artists know how to affectively integrate these technologies into their own art. I look forward to sharing this through my nonfiction writing and descriptive and evaluation essay.
The study also consists of becoming familiar with the contemporary artists and researchers who are also investigating this new technology. I would like to do this through personal one on one interviews. I will also be interviewing the resources, vendors, and university research laboratories that provide this type of technology. This research helps to move my work forward because as I gather this information for my own process, I would like to write instructional essays on how other artists can use it. A collaboration with Ed Tacket of Saddleback College, Rapditech National Center for Rapid Technologies will be proofreading this essay to be sure that the technology is correct and to help me anticipate and interpret what other information is necessary to smoothly incorporate these techniques into my own practice.
Part 2. Writing
As a writer passing on information and knowledge is as important to me as creating and learning the process myself. This is one of the reasons why I love nonfiction writing. Besides the nonfiction writing I’m also interested in continuing a personal dialogue with my creative writing. After the loss of my mother last semester I have found that reflective writing is helping me to both process her death and work through my own creative process. I will also be exploring the work of other writers who are writing memoir or narrative essays.
2. What creative projects will you undertake and what products do you envision emerging from your creative work this semester? Describe how this work will be documented and how it may contribute to the development and rigorous exploration of your interdisciplinary practice.
Part 1. Digital/Traditional Sculpting
Most of this semester I will be continuing my research. I am very excited about not just researching papers, but actually meeting and talking to those who are using the technology, as well as those universities, professors and individuals who are working on the advancements.
I will be doing this through podcast interviews - Art and Technology. As I started, with this research last semester I was thrilled to find that many of those who I have spoken with were delighted with my goal of bridging the gap between technology and the traditional studio. This exploration helped me to become known in the fields of rapid prototyping, additive and subtractive manufacturing and laser scanning research. That notoriety assisted in the research itself. The element of putting my name out there with others who are doing the same research is essential because much of the technology is cutting edge, and the researchers encourage open source and sharing. They pass on my name to others or other new technology on to me. Also, with some of the steps that I have been trying to take in using this process there have been technological obstacles. It has been important to push past these obstacles and find further resources to make this tra-digi art a realization. Having my hand on the pulse of the technology and pulling other resources to add to my process have done this. I must consider approaches that may not fit within traditional definitions of art. Much of this work is not only interdisciplinary it is cross-disciplinary moving into manufacturing, engineering, architecture and math and science. As a traditional artist I am trying to not just bridge the gap between the traditional and digital studio but anticipate the problems, by examining my own resistance, both psychological and technological that keep me from realizing the final creation. My goal is to process the information, find the best way to utilize it or how others are utilizing it, and then disseminate it. If the semester and interviews lend themselves to the topics I may also reference some of the difficulties with the technology, from copyright infingement to the psychological aspect of the artists and their transition to the digital processes.
Part 2. Reading other people’s work, and regular writing- whether fiction or nonfiction helps me to become a better writer. Researching writing styles and absorbing those styles trying to make them a part of my own writing style is a goal. I loved doing this with Ann Lamotte and Donald Miller last year, I just kept reading their work until it morphed into my own. There was freedom in exploring an alternative Christian writer. I look forward to reading others works and further exploring narrative essays through my creative writing.
3. What critical discourses and theoretical concepts will you engage with this semester? Identify the artists; theorists; movements; fields of study; cultural, social and political frameworks; or other areas of knowledge that you plan to explore and describe how you see this work in conversation with your creative projects and/or contributing to your overall creative development. How will you document this activity; what written or other products-such as critical writing, essays, annotations, etc.-will emerge?
Part 1. Digital/Traditional Sculpting
The discourse incorporated will be essay writing and interview. Seeking out artists who are using technology in creating fine art as well as those utilizing data, science or math to create 3d artwork. The first semester at Goddard has been rewarding and fulfilling. It stretched my own personal interaction with contemporary art and techniques that I would not normally consider in my own practice. This interaction and dissemination of my own research will continue on that journey.
My questions for interviews are based on my own questions that I have asked myself. As I interview others I am sure more questions will arise.
1. How has digital technology and sculpture changed in the last 10 years?
2. Is it the work or the process that excites those interested in this technology?
3. Can digital sculpture be accepted as a fine art medium?
4. Will these digital process take over the traditional process of the lost wax method of bronze casting? If so, what is needed for that to happen and what are the advances in this technology.
5. Who are some artists, vendors, or universities that are using the technology or contributing to their advancements?
6. What are the limitations of the process? How can these either be worked through or used to the artist’s advantage?
7. For artists - How has this technology changed the way that you create?
8. For service providers - What are things that artists need to know to help them get the best end product in their creations?
4. What specific resources do you plan to use? Include a Bibliography, as well as other resources you plan to use. In addition, please describe how you envision co-learning with peers this semester.
My resources for my first semester were extensive covering 12 lectures and workshops, 13 gallery shows, museums or designs exhibits and relying heavily on online research incorporating 47 sources, along with reading 13 books.
I would like to continue to depend on the online resources of which I cannot identify in this bibliography as many of the discoveries in research are cutting edge technology and are being made or happening from moment to moment. The bib will grow with the research. Also I have found that one paper and question builds upon the next.
The resources will also build as I conduct the interviews.
As part of this semester I do plan on creating an open dialogue with those who are creating and researching this new technology. This dialogue itself will lead to further resources. Many of those that I want to interview are people that I found from my previous research and who are listed in last semesters bibliography. A sample of those possible interviews are:
Sculptor - Barry X Ball
Vendor - Ex one digital printing and those using this resource
Research University - Solhiem Rapid Manufacturing Laboratory University of Washington
Vendor- Next Engine and those using this resource
Sculptor - Robert Lazarrini
Weaver - Nathalie Miebach
Research University - Ron Beal, UC Berkeley concerning printing in porcelain
History of 3d printing and fine art- Robert Michael Smith NY IT Fine art
Research University - Keith Brown Manchester Professor of Sculpture and Digital Technologies Manchester Metropolitan Museum
Curator of Design and the Elastic Mind MOMA Paola Antonelli
Part 2. For the personal reflective writing in this semester I will be focusing on reading memoirs, or literature that can inspire me in the direction of reflective essays, and narratives.
Potential Bib for Writing
Claxton, Eve. “The world's best memoir writing: the literature of life from St. Augustine to Gandhi, and from Pablo Picasso to Nelson Mandela / edited by Eve Claxton.” Napperville, Ill.: 2007.
Couser, Thomas. Vulnerable Subject Ethics and Life Writing. Ithaca, NY: Cornell University Press, 2004. Print.
Hayes, Bill. Five Quarts : A Personal and natural history of blood. Ny: Balentine Books, 2005.
Hayes, Bill. Sleep Demons : An insomniac's memoir / Bill Hayes. New York: Washington Square Press/Pocket Books, 2001.
Hayes, Bill. The Anatomist : a true story of Gray's anatomy. New York. Ballantine Books: 2008.
Kvale, Steinar, and Svend Brinkmann. InterViews. Sage Publications, Inc, 2008.
Welch, Dennis. Rich People Shop Here. Intermedia Publishing Group, 2009.
5. If you are planning a practicum for this semester, include the complete Practicum Proposal (as outlined in the MFAIA Handbook Addendum) here, describing the project's aim in relationship to your learning goals and how you plan to document it.
Though a practicum does not apply for this semester I have spoken with Jackie Hayes about creating a semester of art and writing that is totally reflective and somehow connected- art to writing. I envision this study as having the component of total solitary creation. This is a stretch for me because with my sculpture work I only work in collaborations- myself with the client, to complete a commission of a child, husband, wife etc. This practicum is different as it is working in the studio to create without having any outside influence or direction. I know that sounds strange to some artists as many do this all of the time, but for me I do not. I always create with the goal of serving a client in mind. I weave my own creativity into it but I’m guided by a clients needs. It will be interesting to see how I approach this process and perhaps even that journal of the approach of doing art for art’s sake. Creating Portraits- or images of others is important to me, as is exploration of the deep emotion. However instead of creating figurative detailed sculpture I will instead stretch once again to create either art nouveau or sculpture of found objects, abstracts- a portrait of the person or feeling without actually a portrait of the person.
6. How will the work you are planning for this semester advance you toward fulfillment of the MFAIA degree criteria?
Ability to Conduct Rigorous Exploration within the Context of an Art Practice
Sculpture
• The exploration of the artists and process along with the technology is extremely rigorous. My interview and investigation of the technology and its possibilities and well as the boundaries, and of the artist that are using this technology helps me to explore creative possibilities that I might not have ever considered in my work.
• Being able to disseminate this knowledge opens up a possible future rapport between myself vendors, artists, and research universities and will transform my own work.
Understanding of the Nature of Art and Articulation of a Personal Theory of Art. Ability to Develop a Critical Discourse on One own and Other’s Practices. Understnading of the Cultural, social an Political Context of One’s Art.
Sculpture
- Exploring the nuances of incorporating tra-digi art, the history of it and how artist are taking these processes that were originally created for manufacturing or industry and pushing the boundaries of that technology to create what is not an object but becomes art, helps me to develop my own art philosophies.
- Conducting interview with other artists who are interested in the same research and art as I am assists in helping to develop a critical dicourse.
- The factual precision and exploration of the interview, journalism, essay of creative nonfiction, and the intellectual rigor of academic discourse that I inititate with those who are studying these works of art are perspectives from which I can critique and rethink the conventional boundaries of each form of writing and creation of art. I will also work to gain a new perspective on my experiences with language.
- Through the listening of other artist’s voices and through essay I will be developing a critical discourse. I have found Social issues within the context of rapid prototyping and additive and subtractive manufacturing, both in the possibilities that they hold and the problems with the waste that they can generate. It is my deep desire to find alternative methods to the lost wax method of bronze casting that has been around for thousands of years and in itself has waste material.
- I am also very intrigued with the idea of how we can now see data as art. It is already being shown that this is having huge implications in the areas of science, which in turn affects our world as a whole. I’m drawn to the idea of incorporating that data/art/science into my own work. In hopes of creating work that can enlightening on more than just a creative standpoint but might reveal some hidden secret to affect the world on a broader scale. I will continue to evaluate and develop discourse on this both in an inner dialogue and within interview and essay.
Understanding of the Concept of Interdisciplinary Art
- This semester as was last semester is not only interdisciplinary working with different forms of art and writing, but also is cross disciplinary as the exploration of art in additive and subtractive manufacturing also brings me into such areas as architecture, manufacturing science and math.
Keep in mind, as you plan your study, the ways in which you will move towards meeting the MFA in Interdisciplinary Arts Program's Degree Criteria. Please refer to these criteria.
At the end of the semester you will write an evaluation report. Then you will need to look at this plan and ask yourself how well you followed it. The more specific it is now, the easier to compare it with what you actually do during the semester. The clearer your goals, your plans for learning activities and resources, the schedule you laid out for yourself, and your description of the products you hoped to make, the easier it should be for you to assign values to or find value in ('evaluation') these aspects of your ongoing study.
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