Sculpture I​ ​Syllabus +++++++++++++++

ΩΩΩΩΩΩΩΩΩΩΩΩ
Jon Rajkovich
Spring 2018
Office hours after class or by appointment
www.jonrajkovich.com

Objectives

Sculpture I is an elemental introduction to the skills required to make 3D sculptural

objects. Through building, design, techniques, basic contemporary sculpture
history and theory, and studio assignments that introduce new concepts and
materials, this class examines the historic position of sculpture and builds a
working, personalized knowledge of how it exists today as a 21st century art
practice. Together our aim is:

To broaden our perceptions within nature, our built environment, and with
each other so that we may be fully attentive when experiencing one
another’s work.

To understand how sculpture has evolved through civilization into its

position within today’s contemporary culture.

To carefully consider how an object, the materials of which it is made, how

it is crafted, and the context within which it exists affect our understanding
and experience.

To locate meaning within the formation of work, understanding that the

making process can be used as a means to generate ideas.

To examine the value of ambiguity in visual design in relation to the

familiar and functional.

To experience the physical and psychological possibilities of scale in

sculpture: the intimate which can physically relate to the hand, but also
head as a conceptual model; the bodily scale to which we physically relate,
and the architectural in which the body fits.

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Safety
Safety is a primary concern. Every assignment will have a related safety demonstrations on how
to work with tools and materials. It is very important to attend these demonstrations. The studio
is shared by several classes and it is normal for things to need occasional repair. If you feel
something isn’t working properly, if something breaks, or you need extra instruction before
using a tool or machine, that’s OK. Please see me, the studio supervisor or TA and we can get
things repaired, refreshed, and running again.

Readings
Assignments are accompanied by related readings/ research, followed by peer–to–peer group
discussions in class. There may be a quiz. The readings have been especially selected because
they are important to understanding, in depth, your current evolution within the place of
sculpture; and they are quite enjoyable to read. When you are invested in the subject, have done
the reading, and are thoroughly involved, it will make for exciting and memorable classroom
discussion.

Sketchbook
Use your sketchbooks and fill them with all kinds of thoughts, writings, pictures, lists, and loose
ideas. They are an index of engagement through your journey as a human being and an artist
from which you may continuously draw. Your sketchbook(s) should be with you in class. When
discussing ideas for new work, we will need to see drawings of the forms taking shape.
Bring your sketchbook, pencil, and working materials to class every day and be ready to work at
the beginning of class.

Critique
A critique is the group discussion and assessment that takes place as a group when your projects
are finished and are shown to the class. Similar to an exam, it is absolutely integral to the
creative process and counts as an important part of your semester grade. To get full credit for
your project, you must:

• Have your finished project ready to present by the ​beginning of class​ on the day we will be
critiquing it

• Be prepared to talk about your own project in an intelligent and thoughtful manner and

• Be prepared to talk about everyone else's project in an intelligent and thoughtful manner.

If you or your project is not present at the critique, your project immediately drops a letter grade.
Every project will culminate in a critique. In this course there are no tests; just critiques.

Participation
Open discussion is very important to the course and expected. Students are always encouraged to
voice their opinion, even if it might seem unrelated.
In this class, you must confer the ability to speak up in public and to debate rationally. We work
to create a safe environment in which each student practices the vital skill of arguing a point in
front of a group of semi-strangers. It isn’t enough to have done the work. Some of you may be
used to talking and advocating your point of view, defending your ideas and expressing
yourselves. Others may have learned to sit quietly at the margins and let others run the show.
Why is this? We are here to address the safe practice of not only new projects and skills, but new
behaviors as well. Experimenting is safe. School is a laboratory in which we experiment with
ideas. We learn to debate rationally and respectfully, without losing our tempers, looking for
common ground on which to build.

Attendance/ Presence
Each absence will affect your grade. A student’s final grade will be lowered when absent for
more than two sessions and each time afterward. An absence on a critique day will automatically
lower your grade by one grade mark for the semester. Students are expected to be in class on
time, ready to work. Frequent lateness will count as an absence.

Your presence is mandatory during critique, lecture, and discussion. Use the restroom, text your
lover, etc. before class. We always take a break halfway through.

I teach this course at the assigned times and will not relay the missed information to an
unexcused student. Therefore if you miss class or come to class late, you will need to get the
information you missed from one of your classmates. Take a moment and exchange contacts
with two new colleagues.

Phones and Computers

Phone use, specifically during lectures, demonstrations, or discussion, will irritate your teacher
and fellow classmates and result in a lower grade. Silence them completely including their
vibration. There are breaks during class for your phone and restroom needs. While this
technology during studio time can be helpful, make sure it’s use is focused directly to your
research such as looking up artists and designers, researching materials and techniques, etc.

Grading
Grading is based on the quality of work produced and upon the quality of the process the student
has undergone in making that work. The working process will affect grades. A good studio
practice demands regular work habits, i.e., not consistently last minute work. An A for example
would mean that all the work is completed, it is consistently of excellent quality, that the student
participated in critical discussions of artworks and readings, and engaged in an exemplary work
process. This is to say that the student would take charge of their own work process, be
passionately involved in it, respond to criticism, and maintain a high level of discourse with
others.

A Outstanding: Consistently exceptional work that raises the standards for one’s entire
peer group. No tardiness or absences. Expresses and advocates opinions
thoughtfully and rationally. Head is always in the game. Craft is appropriate. Projects,
working process, and discussion are always at, or very close to full professional
 potential.
B Above Average: Exceeding the requirements/expectations of the class. No tardiness
or absences. Head is mostly in the game. Good projects and ideas, but could be even
better
C Average: Meeting all class requirements. No tardiness or absences. Succumbs to
occasional cell phone addiction. Work is complete, but not to its fullest potential.
D Below Average: Completion of most, but not all, course requirements including
absences and/or a pattern of tardiness.
F Fail: Failure to meet the requirements of the course.

Materials
The following YOU MUST HAVE for this class (additional Materials per assignment.)

safety glasses or goggles

break-off retractable razor knife EVERY DAY

pencils and erasers EVERY DAY

Sketchbook

Clay tools

Field Trip
Together we will determine a group outing to experience important events and exhibitions in the
DC area.

Organize and Clean Up

We work in a studio shared by other classes, students, and faculty. To help each out, please clean
up all workspaces and dispose of any scraps/debris you may have produced while working. If
you are leaving any materials or works-in-progress in the classroom, they must be clearly labeled
and stored out of the way of the other students who share the room. It is true that one person’s
trash is another person’s treasure, but the converse is doubly true in an art school. If you don’t
want to lose your work, make sure you keep track of it. There is a mandatory cleanup day at the
end of the semester. This day will be

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This Syllabus is subject to change!

LECTURE AND RESEARCH CALENDAR

Timeline of projects working in materials such as clay, plaster, wood, steel, 3D printing, the found object, and more
will vary and be announced accordingly. The reading/lecture schedule is as follows and may include recent reviews/
articles not listed below.

Week 1 Introduction, Syllabus, Project 1 introduced, clay demo

Work in studio
Homework for next Tuesday: Read ​Passages in Modern Sculpture​, Rosalind Krauss, Introduction
Research Laoccoon and His Sons, Michelangelo Buonarroti
Consider these questions for discussion: Why do you think Michelangelo’s work seen as the
culmination of the Renaissance and western art in general?

Week 2 Lecture: The Figurative Roots of Sculpture, The Emerging Kouros, Renaissance Humanism,
perspective and the representation of nature.
Work in Studio

Work in studio-
Homework: Research Baroque sculpture, Francois Rude​’s La Marseillaise, Rodin
For discussion next class, be able to point out an observation and consider this question: ​Rodin
often left tool marks, finger impressions, and evidence of the making process as part of his
sculptures. Why is this important?

Week 3 Lecture: Baroque, Rodin and contemporary artists who embody the body
Work in studio

Work in studio
Homework: Read “Forms of Readymade: Duchamp and Brancusi” in Rosalind Krauss ​Passages in
Modern Sculpture​. Outline chapter according to ​http://www.albany.edu/eas/170/outline.htm​.
Hardcopy outline due beginning of next class. And read
Hank Willis Thomas: Why does America's great protest artists think things are better under
Trump?​ ​by Tim Jonze, the Guardian, October 10, 2017

Week 4 Lecture: Duchamp, Brancusi, and the Found Object Today

Homework: Bring in materials to work next class.

Work in studio
Homework: Read ​The shape We’re In: The timely Sculpture of Rachel Harrison​, Peter Schjeldahl,
New Yorker, Dec 22 & 29, 2014
Make observations and be able to answer from lecture, What have these artists borrowed from
Rodin? Brancusi? Duchamp?

Week 5 Lecture: The Figure, the Object, the Figurative Object and discussion
Work in Studio
Critique of clay work in progress.

Work in Studio. Last day to work on clay assignment.

Homework: Read ​The Founding and Manifesto of Futurism​ by Filippo Marinetti, pp 49-53, in
Futurism: An Anthology, Yale, 2009.
Coco Fusco and Planet of the Apes​ and the video. Elia Alba, Art21 Magazine, Aug 2, 2014.
And ​Juliana Huxtable ​http://www.dailykos.com/story/2015/9/4/1418478/-Juliana-Huxtable
Make observations and be able to answer questions:
 Let's say Dr. Zira studies Marinetti partying with his fellow futurist friends. What would her
findings be?
Given what we've learned thus far in class regarding humanism and futurism, how do you see
Juliana Huxtable and her sculptural likeness as significant?

Week 6 Lecture: Futurism: Is the Future as Good as It Used to Be?

Project 2 announced. Plaster demo.

Work in studio
Homework: locate materials for project and bring them in.

Week 7 Work in Studio

Work in Studio
Homework: Read Louise Bourgeois Interview with Donald Kuspit
Jim Shaw’s subconscious runs amok at Mass MoCA​, Sebastian Smee, Boston Globe,
April 16, 2015.
Research Surrealism, Joseph Cornell, Yayoi Kusama
Why is it important to connect contemporary artistic practices with those of the past?

Week 8 Lecture: Surrealism and the Contemporary Subconscious, discussion

Films: Rose Hobart by Joseph Cornell, The Hole by Jim Shaw, Western Song by Marnie Weber
Work in studio

Work in studio
Homework: Read "David Smith Makes a Sculpture" by David Smith, "Noah Purifoy" by
Christopher Knight, Los Angeles Times, June 8, 2015. For discussion next week: How would
you describe the making process within their work? The forms within the works of these artists
can be ambiguous. What is the value of ambiguity in these works and art in general?

Week 9 Lecture and discussion: Deciphering Process and Ambiguous Forms

Work in Studio

Work in studio
Homework: finish projects

Week 10 Critique of project two

Homework: please bring safety glasses and closed-toe shoes for next class

Continue crit. Project three announced. Woodshop demo (as time allows)
Homework: locate materials. Work in sketchbook.

Week 11 Wood demo (cont.)

Work in studio
Homework: Read “Wheatfield– A Confrontation” by Agnes Denis, Michael Heizer’s Big Work
and Long View, Michael Kimmelman, New York Times, May 13, 2015, and “A Tour of the
Monuments of Passaic, New Jersey” by Robert Smithson, Art Forum, Dec, 1967. What do you see
as important regarding the land/ landscape as a Virginian, the place you are from or have lived that
you find important? What are some feelings you have about being in nature?

Week 12 Lecture: Land Art

Work in Studio
 Work in studio
Homework: read ​Three Artists Who Think Outside the Box: How Theaster Gates, Mark Bradford
and Rick Lowe are Changing What Art Can and Should Do for the​ ​World​, ​and ​Timely Lessons
from a Rebel, Who Often Created By Destroying​, by Nicolai Ouroussoff, March 3, 2007. By Nikil
Saval, New York Times Magazine, Dec 3, 2015. For discussion: What is the role of the sculptural
object and how has it evolved regarding the work of these artists? What is the value of community
involvement in the arts? What might be some potential problems?

Week 13 Lecture: Art of the City and Social Engagement

Work in studio

Homework: Read ​Notorious Possession: Occupying Foreclosed Homes With Art​, about Olga
Koumoundorous, Artbound, KCET, Dec 2, 2012;​ The focus is the same as last week. Recall
earlier this semester, we covered Duchamp. What is the relationship between past issues
surrounding the found object and how is the found object understood today regarding the work of
these artists? What is the value of community involvement in the arts? What may be potential
problems?

Week 14 Lecture: Civic art. Christo, Olga Koumoundorous, Andrea Bowers, Adam Frelin, Ben Ashworth’s
Finding a line

Work in studio

Week 15 Work in studio

Work in studio

Final Final critique

Jon Rajkovich Sculpture I

Assignment 1
The Reliquary

This project focuses one of the most ancient materials of sculpture and builds upon our bodily
perceptions beginning with touch.

Part 1​: Make four tiles 4 inches square (exactly) using these methods:

1. a “press mold” taken from a textured surface.

2. the “additive” method in which you create texture by adding more
clay to the surface. The clay must stay on the surface for full credit.
3. the “subtractive” method creating texture by removing material and carving
into the clay form.
4. Combination tile using all of the above methods.

Begin by making several sketches of what your tiles may look like. Be inventive.
DO NOT use imagery with which you are already familiar.

Part 2​: Research reliquaries. Create several thumbnail sketches of your own reliquary. These
sketches must contain more than one idea. Move beyond the most obvious, simple solution into
something less traditional. Then create your reliquary out of clay that will later be fired in the
kiln. With your project there will be one major difference– the object of which you are creating
the reliquary for must remain secret. The form of your sculpture should create a relationship with
the secret object you choose.

Parameters
● Scale should be the size of a your head or larger
● No long, protruding forms.
● Limit loose pieces (there may be a detachable lid or door)
● Creative use of balance, negative space, texture, and surface design
● Your sculpture should be “in the round”

You will be graded on

● Dynamic use of design, moving beyond comfortable, familiar imagery
● Craft– Tiles are exactly 4” square, projects should not crack and surfaces must be
resolved and free of crumbs, bits, particles; your demonstration that you learned clay
● Creativity of idea– project is not overly conventional and does not fall into cliche
Jon Rajkovich Sculpture I

Assignment 2
Geometric/ Organic Transformation

For this project we will be creating a ​negative space​ out of cardboard that will be filled with plaster.
When your cardboard forms are filled, the wet plaster will soften the cardboard and the forms will expand
outward.

You will use glue guns and tape to create your cardboard forms. Think of these forms as somewhat
box-like, but also funky, elaborate, architectural, etc. Your forms can be as complex as you want, but they
must contain the following:

1. Three or more chambers of different shapes, connected with tunnels for the plaster to fill. The
tunnels should be thick enough to allow the plaster to flow through.

2. Creative use of ​negative space​, surface ​textures​, and ​balance​ (cantilevered, asymmetry, how
your work meets (or doesn’t meet) the ground, floor, or whatever surface you choose to
present these works).

3. The sculpture must be ​in the round​, meaning viewable from all angles, rather than having a
front and back or relief.

4. Keep in mind the weight of liquid plaster. The bottom portion of your work will be under a lot
of pressure so it is important that the seams not burst open. Long protruding forms will also
break.

Consider all of the ​design principles​ and how these considerations can help you create extraordinary
compositions. While narrative and psychological experience may play a role in your work, you will be
graded on your making process, ambition, design, and balance–
Home Writing Assignment/Oral Presentation:​ Read Pablo Neruda’s “Ode to Common Things.” Write
a one page ode to your sculpture. You can be purely descriptive or you can use poetic language. Your ode
should clearly express the nature of the object you created, how it relates to your body, and how these
experiments could be of value in real life. For project 2 critique, we will read our odes while presenting
our sculptures for discussion and thoughtful feedback.
Student Field Trip, National Gallery

Jon Rajkovich Sculpture I

Assignment 3

“Hardware Fun!”
Wood & Hardware

This project is an introduction to woodworking and associated tools and machinery. Students
will learn the basics of wood and how to cut, glue, sand, fasten, and paint safely,
Using wood as primary material, create a form that emphasizes hardware fastener usage. Since
a lot of hardware will be used in the projects, the function of the hardware may fall out of its
traditional uses. Thanks ok. The goal here is to discover hardware as a fun design character
that plays a role in your woodworking compositions.

Materials​:
Wood (untreated), wood related composites, any kind of hardware (fastening, modular), any
additional material

Parameters​:
At least 5 different pieces of wood
At least 5 different kinds of hardware
A section of your project must be able to come apart and be put back together
Design must suggest volume and negative space
Work must weigh 8 pounds
No pressure treated lumber

Grading​:
Craft 33 (hairy edges sanded, hardware attached appropriately, no distracting errors)
Ambition 33
Uniqueness of hardware use 33

Due:

Jon Rajkovich Sculpture I

Turn Your Interest Into Art

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I Want To...

Art is a very accepting discipline that allows its participants to

incorporate activities from other fields into creative outcomes.
Equally, art can be used as an excuse to do things, go places, meet
people, or learn skills that you can use in your own art projects. Artist Janine Antoni wanted to
learn how to tightrope walk so she came up with a project that required her to learn this skill,
resulting in her performance art piece, ​Touch​. Theaster Gates wanted to collaborate with his
father, a retired roofer, so they used his old roofing equipment and tar to create a series of
paintings and sculptures. Photographer Taryn Simon wanted to have a reason to travel to
restricted areas throughout the country, so she created ​An American Index of the Hidden and
Unfamiliar​, a series of photographs, which compile an inventory of what lies hidden and
out-of-view within the borders of the United States.

For this project, you will come up with a list of places, people, and/or activities with which you
would like to have the opportunity to somehow be involved. From there, you will direct your
interest toward the most applicable creative outcome. For critique, write a statement about how
you came up with your project and why, the formal and conceptual concerns, and how your
current understanding of sculpture is located within your work.

(Rubén Ortiz Torres, Theaster Gates, Janine Antoni, Taryn Simon, Gillian Wearing, Chris
Burden, Pierre Huyghe…)

Class 1
Work on drawings/ research and plan your project for presentation next class. Use the Ways of
making list as a helpful reference.

Class 2
Each student presents to class their lists of possible interests places activities, etc you began with,
and the proposed project you have you have then decided upon to the class. Presentation must
include visual aids such as drawing, internet/ library research, maps, slideshow on thumb drive,
etc. Class will provide feedback. Presentation is considered part of the project and will be part of
final grade.

(1) MASON CORE CLASSES:

This class fulfills a Mason Core requirement for Arts. Arts goal: Courses aim to achieve a
majority of the following learning outcomes: students will be able to identify and analyze the
formal elements of a particular art form using vocabulary appropriate to that form; demonstrate
an understanding of the relationship between artistic technique and the expression of a work’s
underlying concept; analyze cultural productions using standards appropriate to the form and
cultural context; analyze and interpret material or performance culture in its social, historical,
and personal contexts; and engage in the artistic process, including conception, creation, and
ongoing critical analysis.

Important University Dates:

Martin Luther King Day (no classes) Mon Jan 15

First day of classes​; last day to submit Domicile Reclassification Application;

Mon Jan 22
Payment Due Date; full semester waitlists removed

Last day to add classes​—all individualized section forms due

Mon Jan 29
Last day to drop with no tuition penalty

Last day to drop with a 33% tuition penalty Mon Feb 12

Final Drop Deadline (67% tuition penalty) Fri Feb 23

Immunization Record Deadline Thu Mar 1

Midterm progress reporting period (100-200 level classes)—grades available Mon Feb 19
via Patriot Web – Fri Mar 23

Mon Feb 26
Selective Withdrawal Period (undergraduate students only)
– Fri Mar 30

Mon Mar 12
Spring Break – Sun Mar
18

Incomplete work from Fall 2017 due to Instructor Fri Mar 23

Incomplete grade changes from Fall 2017 due to Registrar Fri Mar 30

Dissertation/Thesis Deadline Fri May 4

Last day of classes Sat May 5

Reading Days
Reading days provide students with additional study time for final Mon May 7
examinations. Faculty may schedule optional study sessions, but regular classes – Tue May 8
or exams may not be held.

Wed May 9
Exam Period ​(beginning at 7:30 a.m.) – Wed May
16

Commencement Fri May 18

Degree Conferral Date Sat May 19

ArtsBus Credit and Policies: You are responsible for knowing and following Artsbus policies
and rules. Please go to the ArtsBus website: http://artsbus.gmu.edu "Student Information" for
important information regarding ArtsBus policy. For credit to appear on your transcript you must
enroll in AVT 300. This also applies to anyone who intends to travel to New York
independently, or do the DC Alternate Assignment. * If you plan/need to go on multiple ArtsBus
trips during a semester and need them towards your total requirement, you must enroll in
multiple sections of AVT 300* Non-AVT majors taking art classes do not need Artsbus credit
BUT may need to go on the Artsbus for a class assignment. You can either sign up for AVT 300
or buy a ticket for the bus trip at the Center of the Arts. Alternate trips must be approved by the
instructor of the course that is requiring an ArtsBus trip.
ArtsBus - Dates for Spring 2018:
February 24
March 24
April 14

Visual Voices Lecture Series Spring 2018: Visual Voices is a year-long series of lectures by
artists, art historians and others about contemporary art and art practice. Visual Voices lectures
are held on Thursday evenings from 7:20- 9:00 p.m. in Harris Theater:
http://soa.gmu.edu/visualvoices/
January 24 – Brian Noyes
February 1 – Teresa Jaynes
February 22 – Sharif Bey
March 1 – Juliet Bellow
March 8 – John Henry

Students with Disabilities and Learning Differences If you have a diagnosed disability or
learning difference and you need academic accommodations, please inform me at the beginning
of the semester and contact the Disabilities Resource Center (SUB I room 234, 703-993-2474).
You must provide your instructor with a faculty contact sheet from that office outlining the
accommodations needed for your disability or learning difference. All academic
accommodations must be arranged in advance through the DRC.

Cell Phones: School of Art Policies in accordance with George Mason University policy, turn off
all beepers, cellular telephones and other wireless communication devices at the start of class.
The instructor of the class will keep his/her cell phone active to assure receipt of any Mason
Alerts in a timely fashion; or in the event that the instructor does not have a cell phone, he/she
will designate one student to keep a cell phone active to receive such alerts.
Commitment to Diversity: This class will be conducted as an intentionally inclusive community
that celebrates diversity and welcomes the participation in the life of the university of faculty,
staff and students who reflect the diversity of our plural society. All may feel free to speak and to
be heard without fear that the content of the opinions they express will bias the evaluation of
their academic performance or hinder their opportunities for participation in class activities. In
turn, all are expected to be respectful of each other without regard to race, class, linguistic
background, religion, political beliefs, gender identity, sex, sexual orientation, ethnicity, age,
veteran’s status, or physical ability.

Statement on Ethics in Teaching and Practicing Art and Design: As professionals responsible for
the education of undergraduate and graduate art and design students, the faculty of the School of
Art adheres to the ethical standards and practices incorporated in the professional Code of Ethics
of our national accreditation organization, The National Association of Schools of Art and
Design (NASAD).

Open Studio Hours: SOA teaching studios are open to students for extended periods of time
mornings, evenings and weekends whenever classes are not in progress. Policies, procedures and
schedules for studio use are established by the SOA studio faculty and are posted in the studios.

Official Communications via GMU E-Mail Mason uses electronic mail to provide official
information to students. Examples include communications from course instructors, notices from
the library, notices about academic standing, financial aid information, class materials,
assignments, questions, and instructor feedback. Students are responsible for the content of
university communication sent to their Mason e-mail account, and are required to activate that
account and check it regularly.
Attendance Policies Students are expected to attend the class periods of the courses for which
they register. In-class participation is important not only to the individual student, but also to the
class as a whole. Because class participation may be a factor in grading, instructors may use
absence, tardiness, or early departure as de facto evidence of nonparticipation. Students who
miss an exam with an acceptable excuse may be penalized according to the individual instructor's
grading policy, as stated in the course syllabus.
Honor Code Students in this class are bound by the Honor Code, and are responsible knowing
the rules, as stated on the George Mason University website’ Academic Integrity page
(http://oai.gmu.edu/the-mason-honor-code-2/). “To promote a stronger sense of mutual
responsibility, trust, and fairness among all members of the Mason community, and with the
desire for greater academic and personal achievement, we, the student members of the university
community, have set forth this honor code:
Student members of the George Mason University community pledge not to cheat, plagiarize,
steal, or lie in matters related to academic work.
Mason’s Commitment: To create an environment that is innovative, diverse, entrepreneurial, and
accessible-helping you avoid accidental or intentional violations of the Honor Code.”
Writing Center Students who are in need of intensive help with grammar, structure or mechanics
in their writing should make use of the services of Writing Center, located in Robinson A116
(703-993-1200). The services of the Writing Center are available by appointment, online and,
occasionally, on a walk-in basis. The Collaborative Learning Hub Located in Johnson Center
311 (703-993-3141), the lab offers in-person one-on-one support for the Adobe Creative Suite,
Microsoft Office, Blackboard, and a variety of other software. Dual monitor PCs make the lab
ideal for collaborating on group projects, Macs are also available; as well as a digital recording
space, collaborative tables, and a SMART Board. Free workshops are also available (Adobe and
Microsoft) through Training and Certification; visit ittraining.gmu.edu to see the schedule of
workshops and to sign up.