The Sculptor at Work
In Dutch art academies, nowadays, the education of sculptors is mainly orientated to develop their conceptual skills and abilities. Technical education, and questions concerning sculptural material use (even in a historic sense) is seen as a practical nuisance, rather than the everyday reality with which a sculptor copes. On the other hand, the importance of a sculpture in academic art history is most always formulated in terms of meaning, and not (or maybe occasionally) in terms of material virtuosity. Therefore, it would follow that the concept and meaning is much more important than sculptural techniques and coarse stone, concrete, metal or clay. Of course, the prime function of art is to see and criticize visual culture, to adapt and challenge art history, and to speak to the contemporary audience. Or isn’t it? How do sculptors develop their ideas? How do they see their relevance for contemporary society? How do they try to mix authenticity with the boundaries of a commission situation? How is technical ability an influence in the development of sculpture? Is technical ability always connected to materials, or do sculptors need to be project managers in their own sculptural production?
In this course, all students develop case studies, addressing these kinds of questions.
Literature study is combined with lectures by sculptors (Thom Pucky, Auke de Vries, Hans van Houwelingen); students should expect to present their case in class (Pecha Kucha presentation); to prepare a lecture discussion in connection with visiting artists; to write some text and to discuss each other’s work. A prepared visit to an exhibition or an artist’s studio is included in the course. The focus is on modern sculpture, with occasional older examples.
to know developments, in contemporary examples as well as historical examples, in the use of materials connected with the meaning of a sculpture;
to know the sculptor’s views on material and meaning;
to know the sculptor’s role as an autonomous artist;
to know the sculptor’s role as an artist working on a commissioned monumental / public work;
to know the tension between authenticity, concept, material, technique, which translates in a sculpture and its form.
to present your case, or part of your case in a pecha kucha presentation;
to present your case in a traditional presentation, or discussion, in class;
to present your case standing next to the actual object (exhibition, museum Beelden aan Zee);
to prepare questions and a discussion in class, and to do the actual discussion itself with a visiting sculptor;
to write decent critical or historical texts;
Meetings, Fridays 11-13 in museum Beelden aan Zee (Library Sculptuur Instituut)
18-9 (introduction), 25-9 (artist meeting), 2-10 (artist meeting), 9-10 (artist meeting / hand in literature paper), 16-10 (artist meeting), 6-11 (discussion meeting literature paper / hand in history paper), 13-11 (museum or studio visit), 20-11 (Pecha Kucha artist), 27-11 (Discussion history paper / hand in artist paper) and 4-12 (discussion artist paper).
Mode of instruction
Individual meeting if necessary
Attendance is compulsory. We expect a real commitment from attending students to follow and participate in the classes.
5 ects (140 hrs)
Ten meetings x 2 hrs 20 hrs
Contact hours 10 hrs
Reading 50 hrs
Writing 50 hrs
Preparing- discussion, presenting, museum visit 10 hrs
Three papers, 1000 words each:
Literature paper 20%
History paper 20%
Contemporary artist paper 20%
Presentation and discussion 10%
Pecha kucha 20%
Discussion and active involvement 10%
Blackboard is used for this course.
H. W. Janson, 19th century Sculpture, London 1985, Introduction (focus on plaster and Neo-Classicism).
R. Wittkower, Sculpture, London 1977. (Chapter 5 Michelangelo; Chapter 10 Falconet, Winckelmann, Canova, Schadow; Chapter 11 The Nineteenth Century Rodin, Hildebrand; Chapter 12 The Twentieth Century.)
P. Curtis, Sculpture 1900-1940, Oxford 1999. Chapter 3. Direct expression through the Material, Chapter 7. The figurative ideal.
A. Causey, Sculpture since 1945, Oxford 1998. Chapter 4. Modernism and minimalism, Chapter 5. Anti-Form, Chapter 6. Natural Materials Chapter 8. Objects and figures.
M. Wagner, Das Material der Kunst, München 2001. IV Das Gedächtnis des Materials; VI Vom Ewigen zum Flüchtigen – arme Materialien and flexibele Stoffe.
Registration Studeren à la carte and Contractonderwijs
Informatie voor belangstellenden die deze cursus in het kader van Studeren à la carte willen volgen (zonder tentamen), oa. over kosten, inschrijving en voorwaarden.
Informatie voor belangstellenden die deze cursus in het kader vanContractonderwijs willen volgen (met tentamen), oa. over kosten, inschrijving en voorwaarden.
A maximum of ten students will be allowed for this course. Attendance is compulsory. We expect a real commitment from attending students to follow (and participate in) the classes.
Discussion of the compulsory literature, in 1000 words, on one of these three subjects:
- The development of polishing to a rough sculptural skin in Michelangelo’s work, and its difference in meaning;
- The development of use and meaning in nineteenth century plaster;
- The development and use of stone in modern sculpture, and its meaning.
Choose one of these ten subjects, and write 1000 words on:
- Bernini as a clay sculptor;
- Neo-Classicism and Canova, and Winckelmann, and their love of white marble;
- Rodin’s impressionism and his use of clay;
- Objets trouvées as materials, and a 20th century development.
- Welding, Gonzalez & Picasso;
- Henry Moore and his materials;
- Sculpture made of food;
- Claes Oldenburghs use of soft materials;
- Tony Cragg and his conceptual use of materials;
- Bertozzi & Casoni and sculptural ceramics;
Contemporary Artist Paper
One of the visiting artists
Or another artist, please discuss with prof. Teeuwisse