Matt Wedel, Flower Tree
Helen Molesworth & Simone Leigh
June 24 — July 5 I
Clay Sculpture:
large-scale systems II
2
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Michael Lorsung, Carnival Games, After the Fall
RKSHO
July 1 & 2, 9AM — 12:30PM O July 1 — 5
What Does Art Do? Kinetic Foundations
Matt Wedel Helen Molesworth &
Simone Leigh Michael Lorsung
CONCEPT CONCEPT CONCEPT
Students get a hands-on working
environment to pursue their creative practice
using clay as a sculptural material. Traditional
coil techniques are discussed and utilized
during the workshop. These methods provide
fundamental knowledge of clay that can apply
to a variety of scales and methodologies.
Demonstrations and discussions occur that
explore ceramics as a medium in contemporary
art practice and the challenges both technical
and conceptual that can interrupt this way
of working.
MEDIA
& TECHNIQUES Technical
demonstrations focus on hand building and
coil building techniques that pertain to large-
scale applications in clay. Medium-high fire
paper clay is used during the workshop.
Students discuss glazing and firing strategies
and practice techniques that can be used later
for large-scale work, while making work that
fits kilns at Anderson Ranch. Students focus on
ideas, rather than on finished or fired work.
ACTIVITIES
There is hands-on work time.
Ongoing discussions take place with the
intention of pushing each artist’s work to a new
level. Demonstrations and slide talks address
the conceptual, technical and engineering
challenges presented by each other’s work.
FACULTY
Matt Wedel is a ceramic sculptor
working in Athens, OH. He earned his
BFA from The School of the Art Institute of
Chicago followed by an MFA from
California State University, Long Beach.
He is represented by L.A. Louver gallery.
www.mattwedel.com
For centuries, art served the
needs of ritual, the church and the state. In the
West, this tradition was broken by the rise of the
avant-garde and artists who wanted to make “art
for art’s sake”. It’s interesting to now ask “what
does art do?” This program examines objects
and discusses them in formal, art historical,
political and personal terms, unpacking what art
does to us and what we in turn learn from art.
How can we change as a result of our encounters
with art? Helen reads from a chapter of her
forthcoming book, What Does Art Do?, focusing
on works of art that deal with love and freedom.
She is joined in conversation with artist Simone
Leigh, about whom she has written.
FACULTY
Helen Molesworth was the Chief Curator
at The Museum of Contemporary Art, Los
Angeles from 2014 - 2018. While at MOCA, she
organized the group show One Day at a Time:
Manny Farber and Termite Art and the critically
acclaimed Kerry James Marshall and Anna Maria
Maiolino exhibitions. Her writing has appeared
in publications such as Artforum, Art Journal,
Documents, and October.
Simone Leigh examines ideas of the female
body, race, beauty and community. Exhibitions
include: “Trigger: Gender as a Tool and as
a Weapon”, New Museum of Contemporary
Art, New York; “Psychic Friends Network”, Tate
Exchange, Tate Modern, London; “The Waiting
Room”, New Museum of Contemporary Art,
New York; “The Free People’s Medical Clinic”,
commissioned by Creative Time; inHarlem, The
Studio Museum in Harlem at Marcus Garvey
Park, New York; and the Hammer Museum, Los
Angeles.
O
Adding motion to objects can
activate them in ways that change their meaning
and impact. By exploring the possibilities of
movement in work through the use of fabricated
and improvised mechanisms, students expand
the possibilities of their current studio practice.
Students also gain building blocks upon which
future explorations of movement and motion
can occur.
MEDIA & TECHNIQUES Participants work
with a combination of found, manufactured
and fabricated objects. With this in mind,
students should bring a selection of objects
that is compelling and that lend themselves to
integration into a kinetic sculpture. Students
construct and animate their own creation using
wood, metal, assorted hardware and off-the-
shelf parts.
ACTIVITIES
There
are
technical
demonstrations in creating movement using
fabricated and pre-existing assemblies. Daily
discussions and individual meetings allow for
exploration and collaboration with classmates.
FACULTY
Michael Lorsung is a transmedia
artist and the Studio Coordinator of Sculpture at
Anderson Ranch Arts Center. He holds degrees
in glass and ceramics, and has a background in
metalwork, the trades and general tinkering.
www.justanassembler.com
www.simoneleigh.com
TUITION $1,195 TUITION $350 TUITION $975 TUITION + STUDIO SUPPORT DONATION $1,595 TUITION + STUDIO SUPPORT DONATION $450 TUITION + STUDIO SUPPORT DONATION $1,175
REGISTRATION FEE $45 | STUDIO FEE $175 NATIONAL COUNCIL MEMBERS $250 REGISTRATION FEE $45 | STUDIO FEE $175
CODE C0409-19 ENROLLMENT LIMIT 14 CODE A0501-19 CODE S0505-19 ENROLLMENT LIMIT 10
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ENROLLMENT LIMIT 30
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sculpture
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