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3-D Foundations Projects

Performative Object:

For this project, you will create an object/installation that somehow extends beyond itself. How can the object become a performer, an actor. This can be achieved in many different approaches: your performance with the object, body-extension, interaction with viewers, installation that effects a space, or even kinetics. This is an open prompt with the hopes of letting you choose the direction you intend your work to go. We've developed a variety of techniques for construction in this class and I'd like for you to engage those processes further. The only material constraint is that you must use wood somewhere/somehow in the project. 



Dynamic Still Life:

This project is about combining and arranging materials and objects. You will first create or imagine a still life through research, then create the components through a series of different processes. Through additive and subtractive ways of making the work, the materials must fit together in one work. You have the option of surfacing the materials or leaving them raw depending.

Cardboard Enlargement:

Combining the drawing techniques from the wire exercise and the material skills gained from the polyhedron exercises, we will be creating cardboard sculptures. The scale of the work needs to be at least larger than 3 feet in at least one direction. Pay attention to 3-D techniques that you use to deploy description and style in the work. Utilize scale, pattern, volume, texture to craft a compelling work.


Video Art 1

Compilation of student work in 30 second segments:

Below are assignment descriptions:

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Seeing Light

The point of this assignment is to get you to think about some fundamental issues (duration & content) in video. You should also be thinking about the frame both the composition that the frame creates and the relationship between on screen and off screen space. Additionally, you need to think about the technical and aesthetic dimensions of using the camera (demonstrating control of exposure, focus, white balance, etc.).


Using different shooting and editing strategies we have learned so far and (very likely) strategies that you will have to seek out, your task is to capture/create video images beyond recognition. This open project is intended to get you further involved with editing and shooting techniques in order to experiment and find new ways of working in video that is specific to your interests. Execution of this is wide open, and I hope you will take this opportunity to be very experimental.

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Make a sound work that is representational of a place, situation or thing. You can do this either in conjunction with a video image (which is what I’d recommend—exploring sound-image relationships is almost as important as focusing on sound) or as just an assemblage of sounds with black video. Think about things like mic placement—how much ambience do you want, how much do you want to isolate individual sounds? There are lots of possible strategies—layered flowing sound or choppy collage. They can be dense or thin, aggressive or subtle. They can be vernacular or narrative.

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Performing with/for the camera:

With the camera being the subject or object, this video sketch asks you to perform with or for the camera. It could be you that performs, or it could be you recording others performing. The main goal is to experiment with the sending/receiving format of video technology. The main prompt is for you as a video maker to experiment with the object of the camera and its role in recording. This work should be 1 minute in length but if the work requires more we can chat about that.


Wordless Narratives or Narrative Words

For your video work that can be 2-3 minutes in length, create a narrative without any dialog, text or narration. No words in the sound or visuals. How detailed, deep, personal, or imaginative of a story can you tell without and words?


Attempt to pair back the imagery of your video so that the focus can turn to the words whether they are text on screen, voice-over narration or dialog. How can the visuals cater to the words? How can you give the text an appropriate framework?

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We will be looking at a vast number of examples of "post-production" work. This project shifts the focus of content to the editing process. This prompt is to take up the editing process as the conceptual framework. This could include mixing/removing content, glitching, keying or any number of editing techniques. The process used should be conceptually aware in the content of the video.

Beginning Drawing

Digital Imaging


Glitch Project (still images of videos provided):

Glitches are the malfunctions or hiccups in technology that make us aware of the technology's presence. They point us to the precariousness of our dependency on technology. Working with glitches gives us the opportunity to address photoshop or illustrator and make them the material of the work. As an artist, your choices of "what to glitch" are unrestricted. You may choose to glitch an idea, yourself, a political or historical issue, a material, a space, or even a fictional topic of your own devices. Remember, the purpose is to create art. Note: We are not making work that looks glitched, but making work through the process of glitching. This project is all about chance and the opportunity for the work to surprise you by what it is. It may take a lot of trial and error.