Graduate Certificate In Visual Art
Overview
The Graduate Certificate in Visual Art allows students to extend their theoretical and practical skills in the visual arts, and further specialise in two of the elective subjects on offer.
Description
This course is designed for students who have completed a degree and wish to further develop interests and skills in the visual arts. It will also serve as a refresher course for some professionals (eg. teachers) and improve the competitiveness of those seeking entry to the Postgraduate Diploma in Visual Art. The course will provide appropriate practical and theoretical coursework elements through studio workshops and studies in art history and theory.
This course can be undertaken part time over 1 or 2 years and comprises 4 compulsory subjects plus 2 selected subjects.
Compulsory subjects are as follows:
Contemporary Art Practice A, credit points 12.5
Contemporary Art Practice B, credit points 12.5
Critical and Theoretical Studies 1, credit points 6.25
Critical and Theoretical Studies 2, credit points 6.25
Two selected subjects are drawn from the following options (subject to availability). All subjects below are worth 6.25 credit points each. Information about these additional subjects can be viewed by selecting 'Subjects' (above).
Related Studies (Drawing) 1
*Related Studies (Drawing) 2
Related Studies (Painting) 1
*Related Studies (Painting) 2
Related Studies (Photography) 1
*Related Studies (Photography) 2
Related Studies (Printmaking) 1
*Related Studies (Printmaking) 2
Related Studies (Sculpture) 1
*Related Studies (Sculpture) 2
Artist in the World - Part 1
*Artist in the World - Part 2
*Critical and Theoretical Studies 3
*Critical and Theoretical Studies 4
Drawing Elective
Painting Elective
Photography Elective
Printmaking Elective
Sculpture Elective
The World in the Artist 2A
The World in the Artist 2B
* pre-requisites apply.
Subjects are shown by year (below) however students may vary the year in which a subject is undertaken according to semester availability.
Objectives
The objectives of this course are to:
-
provide students with an opportunity to extend their critical interest and technical skills in the disciplines of visual art;
-
develop student facility with their selected visual art materials and methods appropriate to postgraduate entry level through studio workshops and supervised studio practice;
-
develop awareness of professional studio and critical practices that comprise the contemporary art profession;
-
demonstrate through critical writing and discussion the capacity to articulate judgements and opinions that reflect an understanding of the field.
Prerequisites
Completion of a three year degree or equivalent in any discipline area, or at least 5 years equivalent documented relevant professional practice.
Generic Skills
At the completion of the course or subject students should be able to:
-
demonstrate capacities for artistic imagination, creativity, transformation and interpretation;
-
demonstrate a flexible and innovative approach to the national and international challenges for the professional visual artist in the 21st century, and
-
demonstrate an open, independent and inquiring attitude towards contemporary cultural developments and new ideas.
Student Commitment
The Graduate Certificate in Visual Art is undertaken over one year part time.
Course Progression Guidelines
The maximum time permitted for completion of the course is four years. The progress of a student will be deemed to be unsatisfactory if the student:
a) fails to pass 50% of the total credit points in any semester;
c) obtains two successive fails in any one subject.
Qualification for Award
The award of the Graduate Certificate in Visual Art requires the successful completion of the prescribed subjects and the gaining of a total score of 50 points.
Subjects by Year
Year 1
- 754-101 - The Artist in the World - Part 1
- 754-130 - The Artist in the World - Part 2
- 754-202 & 203 - The World in the Artist 2A & 2B
- 755-170 - Critical and Theoretical Studies 1
- 755-171 - Critical and Theoretical Studies 2
- 755-177 - Related Studies (Drawing) 1
- 755-179 - Related Studies (Drawing) 2
- 755-181 - Related Studies (Painting) 1
- 755-183 - Related Studies (Painting) 2
- 755-185 - Related Studies (Photography) 1
- 755-187 - Related Studies (Photography) 2
- 755-189 - Related Studies (Printmaking) 1
- 755-191 - Related Studies (Printmaking) 2
- 755-193 - Related Studies (Sculpture) 1
- 755-195 - Related Studies (Sculpture) 2
- 755-268 - Critical and Theoretical Studies 3
- 755-270 - Critical and Theoretical Studies 4
- 755-276 - Drawing Elective
- 755-280 - Painting Elective
- 755-284 - Photography Elective
- 755-288 - Printmaking Elective
- 755-292 - Sculpture Elective
- 755-817 - Contemporary Art Practice A
- 755-818 - Contemporary Art Practice B
Subjects
Year 1
| Credit Points: | 6.25 |
|---|---|
| Contact hours: | 2 hours per week |
| Supervised Studio hours: | 5 hours per week including class preparation |
| Semester: | Semester 1 |
Subject description:
Part 1: Ideas and Interpretations
This subject is to be taken in conjunction with 754-130—The Artist in the World (Part 2) in Semester 2.
The subject will introduce students to the key themes and ideas central to all performing and visual arts as interpreted by artists, philosophers and theorists.
This subject is offered as a weekly lecture and tutorial program.
We will proceed by looking at how these various themes inform processes and practices within and across art forms. Starting with Ideas and Interpretations which form points of intersection between the visual and performing arts we will explore pedagogical practices currently employed at the Faculty, as well as analyse some of the technical, aesthetic and conceptual frameworks applied in the development of creative works. We will investigate the influences of various historical and contemporary contexts on the application and interpretation of these themes. In addition we will examine the possibilities for research in and through the arts leading to new modes of representation and the creation of new knowledge.
A range of international and local visual artists, musicians, writers, directors, designers, composers, choreographers, performers, and filmmakers will present lectures about their own work that may coincide with the week’s tutorial topic.
The weekly tutorial readings provide a theoretical context for analysing selected themes found in contemporary practice. During tutorial discussions, students will be encouraged to speculate and reflect upon the relationship between ideas encountered in the lectures, tutorials and readings, and their own studio practice.
Semester 1, 2009
Lecture program
Wednesdays, 9.30 -10.30 am Federation Hall
18 February Welcome and Introduction to the Artist in the World
25 February Rodney Hall (novelist and playwright)
4 March Kristy Edmunds (Head of the School of Performing Arts)
11 March Mike Daisy (collaborative commons and on-line networks)
18 March Master Liu ( martial arts, movement and meditation)
25 March Joanne and Stuart Favilla (musical instrument makers)
1 April Paul Cox (filmmaker)
8 April Daniel Cramer (Berlin based visual artist)
15 April Easter Break (no lecture)
22 April Leisa Shelton (performance and theatre making)
29 April Barbara Campbell (visual artist)
6 May Clem Martini (Head of Drama, Calgary University) tbc
13 May Film festival
Objectives:
On completion of the Artist in The World subject students should be able to:
-
identify key issues in contemporary cultural practice;
-
acquire a critical vocabulary and refine written and verbal communication skills;
-
develop an appreciation of the social and historical context of creative work;
-
develop the ability to critically analyse and evaluate discourses and performances in contemporary arts practice; and
-
develop a more reflective approach towards their practice and across disciplines.
Assessment:
Students must satisfactorily complete written work of 2,000 words or its equivalent and undertake active participation in tutorials to successfully complete the subject. Intellectual journal - 15 pages (45%); theoretical investigation - 800 words (30%); tutorial participation (25%). Hurdle requirement - 80% attendance.
Time Commitment:
5 hours per week including class preparation
Prescribed Texts:
Artist in the World Reader - Ideas and Interpretations (purchase from Student and Academic Services Unit)
| Credit Points: | 6.25 |
|---|---|
| Mode of Delivery: | weekly 1 hour lecture and weekly 1 hour tutorial |
| Contact hours: | 2 hours per week |
| Supervised Studio hours: | 5 hours per week incl preparation assessment tasks |
| Semester: | Semester 2 |
Subject description:
The Artist in the World, part 2: Keywords in the Arts and Society, introduces students to a number of keywords which appear in contemporary debates on art and society. These debates make use of concepts drawn from within the arts but also from other disciplines including psychoanalysis, philosophy, anthropology, visual design, law, cultural theory and the sciences. Students are encouraged to gain awareness of the variety of ways in which words are used, and ideas and values constructed in these disciplines.
Lecture Program
Semester 2, 2009
July 15 – Martin Ng – Cardiologist, genetic researcher and turntable improviser
July 22 – Phillip Adams – Choreographer and director Ballet Lab
July 29 – Danius Kesminas – Visual artist and musician and all around crazed genius
August 5 – J.Hillis Miller – Theorist and critic
August 12 – Robin Fox – Electronic Musician and laser artist – Robin will perform a piece for computer and lasers
August 19 – Marco Fusinato – Visual artist and sound installation artist
August 26 – Maureen Gardner – Head of the School of Production at VCAM
September 2 – Kevin Murray – Curator and writer, ex director of Craft Victoria and current director of the South Project
September 9 – Deborah Cheetham – Indigenous opera singer, actor, author and program manger of the Willin Centre VCAM
Break: September 14
September 23 – Greg Burgess – Architect
September 30 – The Film Festival – curated by the CFI tutors
October 7 – Student presentations
Objectives:
On completion of the Artist in The World subject students should be able to:
- identify key issues in contemporary cultural practice;
- acquire a critical vocabulary and refine written and verbal communication skills;
- develop an appreciation of the social and historical context of creative work;
- develop the ability to critically analyse and evaluate discourses and performances in contemporary arts practice;and,
- develop a more reflective approach towards their practice and across disciplines.
Assessment:
Students must satisfactorily complete assessment to pass part 2 of the subject. Students are required to complete written work of 2,000 words or its equivalent and undertake active participation in tutorials for each component to successfully complete the subject. Intellectual journal – 15 pages (45%); critical investigation - 800 words (30%); tutorial participation (25%). Hurdle requirement - 80% attendance.
Time Commitment:
5 hours per week incl preparation assessment tasks
Prescribed Texts:
Artist in the World Reader from the Student and Academic Service Unit
Also you can download the subject handout here
| Credit Points: | 6.25 |
|---|---|
| Prerequisites: | These seminars are offered at second year level. Second year students attend one x 2 hour seminar per week each semester from an available pool of approximately 12 seminar subjects. Seminars are held once a week and most seminars from semester one are repeated in second semester. |
| Mode of Delivery: | weekly seminar |
| Contact hours: | 2 hour seminar per week in each semester |
| Semester: | Both Semesters |
Subject description:
WORLD IN THE ARTIST 2B
SEMESTER TWO, 2009
Please check your University email for information on how to enrol in one of the seminars listed below for semester two.
CLASSES BEGIN EITHER THURSDAY 16 JULY OR FRIDAY 17 JULY - PLEASE CHECK THE DAY AND TIME OF THE SEMINAR THAT YOU HAVE ENROLLED IN.
EAST/ WEST: PART 1
David Shea
Fridays: 2.00pm-4.00pm
Subject/Seminar Description:
This seminar is an in-depth look at the traditional divide between the cultures, philosophies, perceptions and approaches to the body in Eastern and Western models. Themes explored include scientific and spiritual cosmologies, eastern and western medicine, evolutionary ideas and creation stories, eastern and western architecture, rationality and meditation, martial arts and body enhancement, anatomical and holistic bodies, and mysticism.
There will be a strong concentration on current research in fields relating to the communication between traditional opposites such as quantum physics and its relation to spiritual views of time and space, art, music and literature, as well as medical research into meditation
and martial arts.
Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
SUBVERSIVE FILM IN ART
Oren Ambarchi
Thursdays 4pm-6pm
Subject/Seminar Description:
This seminar will introduce how aesthetic, sexual, and ideological subversives have used one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions.
This subversion of form is illuminated by a detailed examination of films from Oren's collection including many rarely seen, or never released works. Avant-garde, underground, independent and exceptional commercial films will be viewed in their entire duration on a weekly basis followed by a group discussion and analysis.
*Please not that it not necessary to have attended this subject in the first semester. Additionally, none of the films screened in the first will be repeated in 2nd semester.
Assignment/Assessment:
Students will be required to submit a 1500 word written research assignment investigating one of the films viewed in the course or a film of their choice that relates to the ideas and topics discussed in the seminar.
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
THE HIDDEN LINKS OF THE AVANT-GARDE & POPULAR CULTURE
Oren Ambarchi
Fridays 11am-1pm
Subject/Seminar Description:
Pop and the avant-garde represent the cultural contradiction of late capitalism, the contradiction that has no dialectic. Pop music for example, has a mass audience, but its domination by the commodity form usually fosters "stupidity in listening". The avant-garde has the imagination to challenge passivity and stupidity, but usually addresses itself only to the art world. Is it possible to overcome the contradiction between the mass-market pop world and the avant-garde?
This course endeavours to explore the parallel worlds of pop and the avant garde and reveal how these contradictory cultural worlds have borrowed from each other and transgressed the rigid boundaries separating "high" and "low" culture to form secret and friendly alliances.
Assignment/Assessment:
Students are required to do a project researching a historical work, artist or movement that has ties to both the avant-garde and pop culture. This project has 2 requirements:
1. Each student will give a presentation of their project to the class
2. Each student will submit a written assignment of 1500 words reflecting their investigation
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
BODIES OF WAR IN ART AND PERFORMANCE
Adam Broinowski
Fridays 11am-1pm
Subject/Seminar Description:
This seminar provides views from the body in war through key samples of 20th century political performance and art. Artists have long recorded, reflected and reacted to the terror, cruelty, and pathos of war. But since the First World War, shocked out of their preconception that civilization had advanced beyond barbarity, influential artists opposed war by rupturing the way it was represented.
In providing a surface to touch to become critically aware of the burning lava of fear, joy and pride in war, artists over this century (Dix/Grosz/Hoch/Heartfield, Artaud/Brecht, Lanzmann/Ibuse, Hijikata/ Schneeman/The Living Theatre/Oshima, La Fura dels Baus/Dead Kennedys/Godard, Morris/Fairey/Banksy to name a few!) have often been uncomfortably out of place, exiles in their own societies while addressing the theme of war. What does the study of this violence and conflict through philosophy, art, performance and war documentary reveal? Is war ‘natural’?
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
DIALOGUE WRITING
Raimondo Cortese
Fridays 2pm-4pm
Subject/Seminar Description:
The seminar focuses on writing dialogue and scenes for theatre, film or TV. The work involves a direct and intensive exploration of the written material. The focus is on action, on what words do (to the performer speaking and being spoken to).
Dramatic dialogue is dynamic – it inspires change. Students are encouraged to treat their dialogues as verbal creations, to be spoken out then written, without censoring or judging what happens. A series of simple exercises are used to allow the students to focus on action.
The aim is to not ‘interpret’ or ‘shut down’ the dialogue, but to instead focus on the complex reality of what is actually happening between people rather than what is literally happening. From there we discover where rewriting is required. We will also be exploring dialogues from theatre and film classics.
Assignment/Assessment:
By the end of the seminar participants will be required to hand in their written material. This can be a short play, film or TV script or a series of dialogues that defy strict categorisation.
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
PROTEST AND SURVIVE: OR DO PROTEST SONGS DREAM OF iTUNE SALES?
Elliot Howard
Fridays 2pm - 4pm
Subject/Seminar Description:
In this seminar we will investigate both historical and contemporary forms of protest and pose the question – what place does protesting have in contemporary artistic and political practices? We will explore a range of material and disciplines including current Melbourne based protest movements and actions, popular music, film, art, current affairs, economics, climate change and theoretical perspectives.
We will look at recent G8, Mayday and anti war protests, the films of Jean-Luc Godard, the Situationist movement, the events of May 68, the Hornsey School of Art and Byam Shaw School of Art sit-ins (1968 and 2009), the Baader-Meinhoff group, the Gorilla Girls and graffiti on Melbourne’s streets and laneways. We will place protest in the context of Generation Y’s first recession, the Global Financial Crisis and impending climate catastrophe.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
MASHIT: SOUND AND VIDEO ART
Bruce Mowson
Fridays 11am-1pm
Noise, mash-ups, soundscapes, video art, music-videos, electronic music, minimalisms, sound art: these and many more are sub-genre’s that can be produced using analogue and digital sound and video. In this seminar, we will be working in the computer lab to create any and or all of the above. In class, a range of topics and techniques will be introduced, including audio-visual theory, soundtrack creation, video installation, collage and appropriation, critical listening and looking.
Ultimately, we will be working toward a screening, performance or presentation at the end of the semester. Submission requirements will include a short written assignment and sound and/or video works.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
SENSORAMA: MULTI-DISCIPLINARY INSTALLATION AND PERFORMANCE
Bruce Mowson
Fridays 2pm-4pm
Subject/Seminar Description:
In the first semester, we explored the way we use our senses in our art, and thought about distinctions between perception, thought and memory. In this semester we extend these explorations, and look at new material from Film, psychoanalysis, Media art, Installation Art and Happenings. We will continue exploring the senses through exercises such as the blind walk, and will actively explore possibilities for cross-disciplinary collaboration.
We will be working toward an installation/performance event and catalogue, coordinated by students, at the end of semester. Submission requirements will include a short written assignment and an artwork.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
ZEN PAINTING AND POETRY
Professor Richard Perry
Fridays 11am-1pm
Subject/Seminar Description:
This course will introduce students to major painters and poets within the Chinese and Japanese traditions of Zen Buddhist art. Topics to be discussed include Buddhism vs. Zen Buddhism, form and emptiness, spontaneity and control, tradition and iconoclasm, heroes and swagmen, silence and sound, the brush as sword, and Zen in modern art.
The influence of Zen Buddhist aesthetics on ceramics and garden design will also be discussed. Students will be expected to participate freely in seminar discussions, and assessed assignments will include one haiku poem, one brief essay, and one short quiz.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
‘DO IT’
Elizabeth Presa
Fridays 2pm-4pm
Subject/Seminar Description:
‘Do it’ famously began as a discussion between artists Christian Boltanski and Bertrand Lavier, and writer and curator Hans Ulrich Obrist, in 1993 at the Café
Select in Paris. Their discussion focused on the use of written instructions to make works of art in an effort to observe the effects of translation. They were interested in how written instructions from artists could function like musical scores, which go though countless variations and interpretations each time they are performed. ‘Do it’ has been staged in over 45 museums around the world.
The Centre for Ideas ‘do it’ project is presented in collaboration with Hans Ulrich Obrist. This year ‘do it’ focuses on art and philosophy. Eminent philosophers have been invited to write ‘do it’ instructions. Participating philosophers include Jean-Luc Nancy, Julia Kristeva, Alexander Garcia Duttmann, Daniel Birnbaum
(Director of the 2009 Venice Biennale), Andrew Benjamin, Peter Singer as well as Beijing based philosophers. Students from the Central Academy of Fine Art Beijing (CAFA), China’s leading art college, will participate in the exhibition.
The outcomes of your ‘translations’ will form the 2009 ‘do it’ exhibition at the George Paton Gallery 5 – 16 October
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
EAST/WEST: Part 2
David Shea
Thursday 4pm-6pm
Subject/Seminar Description:
This seminar is an in-depth look at the traditional divide between the
cultures, philosophies, perceptions and approaches to the arts in
Eastern and Western models. Themes explored include scientific and
spiritual cosmologies, eastern and western medicine, evolutionary ideas
and creation stories, eastern and western architecture, rationality and
meditation, martial arts and body enhancement, anatomical and holistic
bodies, and mysticism.
In this second semester we will explore, in depth, aspects of subjects we covered in the first semester. We will also investigate many new areas, with a shift in focus towards presentations, both by my self and the students. My presentations, which will be the first hour of every week, will concentrate on the arts and in particular the visual arts, performance and music in traditional cultures all round the world and the religious, scientific and mythological philosophies, which form the roots of these cultures. It is not necessary to have done the first semester of East West to be a part of this seminar as we will be covering almost all new ground and re-visiting some of the first semester concepts in new contexts.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
DIALOGUES WITHIN INVISIBLE CITIES
Leisa Shelton
Fridays 2pm-4pm
Subject/Seminar Description:
Investigations into the evolving cross fertilisations within and between the languages of architecture, theatre, philosophy, the culinary arts, science and curatorial practice – to name but a few!
If Gay Bilson, William Forsyth, John Zorn, Peter Greenaway, Sophie Calle, Helene Cixous and Gordon Matta-Clarke were guests at our dinner table, what kind of conversations might emerge?
This series of seminars will introduce students to a variety of processes developed by leading practitioners, working beyond the parameters of their specific disciplines to redefine both their practice and the way we experience the world through the encounters with their work.
Assignment/Assessment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
THE ART OF DESIRE: PSYCHOANALYTIC AESTHETICS
Dr Ashley Woodward
Fridays 11am-1pm
Subject/Seminar Description:
For roughly a century now, psychoanalysis has been a major force of influence in the arts, both in practice and criticism. This subject introduces and explores a variety of different psychoanalytic perspectives on art, as well as the relations between psychoanalysis, art, and politics. It will focus on the ideas of four major theorists: the psychoanalysts Sigmund Freud and Jacques Lacan, and the philosophers Jean-François Lyotard and Slavoj Zizek.
The seminar will also consider the ways psychoanalysis has been taken up by artists (for example, in surrealism), and how it has impacted on politics and culture. It will introduce key ideas in psychoanalytic theory, such as libido; the unconscious; phantasy; the uncanny; the symbolic, the imaginary, and the real; the figural; and so on.
It will also look at the application of psychoanalytic theory to a variety of art forms, including painting, cinema, and music, and consider the politics of public space in relation to how desire circulates through advertising, stencil art, and graffiti.
Assessment/Assignment:
Contribution and participation in seminar discussion 25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance
Objectives:
On completion of World in the Artist seminar subjects students should be able to:
- demonstrate and analyse the philosophical and methodological basis of creative research activity;
- exhibit insight into the relationship between key theoretical concepts and original creative practice;
- exercise knowledge of highly specialised disciplinary practice and methodology;
- recognise the significance of research in creative work;
- develop a framework for addressing future inter-disciplinary research projects;
- demonstrate analytic skills and the ability to communicate complex concepts;
- exhibit lucid verbal and written communication skills and fluency within the student’s own practice and across other disciplines;
- develop a sense of individual perspective; and
- demonstrate familiarity with recent cultural debates and new cultural practices.
Time Commitment:
6 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Dr Caroline Miley |
| Mode of Delivery: | Seminar format with student presentations |
| Contact hours: | 12 hours of lectures, 12 hours of tutorials |
| Semester: | Semester 1 |
Subject description:
Objectives:
- comprehend the descriptive and theoretical vocabulary used in contemporary art criticism and art historical studies; and
- recognize methods and objectives of argument in art criticism and art history.
Assessment:
Time Commitment:
2 hours contact plus 2 hours non-contact per week
Prescribed Texts:
As per handouts supplied
Additional reading or references
Hughes, Robert 1991, Shock of the new: art and the century of change, BBC Books, London.
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Dr Caroline Miley |
| Prerequisites: | Critical and Theoretical Studies 1 |
| Mode of Delivery: | Lecture with accompanying tutorial |
| Contact hours: | 12 hours of lectures, 12 hours of tutorials |
| Semester: | Semester 2 |
Subject description:
Objectives:
- utilise skills of analysis, interpretation and evaluation in their own critical response to works of art; and
- critically test their own and others’ opinions and assertions about works of art.
Assessment:
As for Critical and Theoretical Studies 1
Time Commitment:
2 hours contact plus 2 hours non-contact per week
Prescribed Texts:
As provided in Class Reader
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Merrin Eirth |
| Mode of Delivery: | The subject is delivered through structured classes, supervised time in the studio, weekly group tutorials (peer group critiques) with staff; individual tutorials also with staff, and specialist works |
| Contact hours: | 3 hours per week |
| Semester: | Semester 1 |
Subject description:
Objectives:
- respond with a flexible and innovative approach to experimentation and to processing source material;
- commence independent research and begin to investigate areas of theoretical and practical relevance from a range of sources.
Assessment:
Time Commitment:
3 hours per week
Prescribed Texts:
Students may be asked to locate relevant texts and reference material independently and or in consultation with supervising lecturers who may also refer texts appropriate to individual need.
Additional reading or references
Students are encouraged to make regular visits to art galleries, art institutions, and artist run spaces, located in the immediate cultural environment. Current publicity material including information about artist talks, presentations, public lecture programs, and exhibition dates are posted regularly on the department notice board.
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Merrin Eirth |
| Prerequisites: | Related Studies (Drawing) 1 |
| Mode of Delivery: | The subject is delivered through structured classes, supervised time in the studio, and specialist workshops including field trips, where appropriate. |
| Contact hours: | 3 hours per week |
| Semester: | Semester 2 |
Subject description:
Objectives:
Assessment:
All assessable work will be graded during the assessment period at the end of each semester, on the appointed day and time for the subject and year level. See weekly outline.
Time Commitment:
3 hours per week
Prescribed Texts:
Required texts
Students may be asked to locate relevant texts and reference material independently and or in consultation with supervising lecturers who may also refer texts appropriate to individual need.
Additional reading or references
Students are encouraged to make regular visits to art galleries, art institutions, and artist run spaces, located in the immediate cultural environment. Current publicity material including information about artist talks, presentations, public lecture programs, and exhibition dates are posted regularly on the department notice board.
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Janenne Eaton |
| Mode of Delivery: | This subject is delivered through a series of set projects. Structured sessions consist of lectures, artistic practice, undertaking individual lines of research, group critique and discussion of work |
| Contact hours: | 3 hours per week for one semester |
| Semester: | Semester 1 |
Subject description:
Objectives:
- participate effectively as a team member in projects with a shared focus;
- confidently communicate opinions, ideas and observations with regard to their work and others, in a group teaching and learning situation.
Assessment:
Time Commitment:
3 hours per week
Prescribed Texts:
Appropriate references tailored to projects and individual practice. Visits to galleries, and other art related events.
Reading advice tailored for individual student requirements.
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Janenne Eaton |
| Prerequisites: | Related Studies (Painting) 1 |
| Mode of Delivery: | This subject is delivered through a series of set projects. Structured sessions consist of lectures, artistic practice, undertaking individual lines of research, group critique and discussion of work |
| Contact hours: | 3 hours per week for one semester |
| Semester: | Semester 2 |
Subject description:
Objectives:
- respond with a flexible and innovative approach to explore, investigate and test unfamiliar problems and challenges;
- apply critical discrimination to their working process and critical evaluation to their work;
- plan and organise their projects within given parameters.
Assessment:
As for Related Studies (Painting) 1
Time Commitment:
3 hours per week
Prescribed Texts:
Appropriate references tailored to projects & individual practice. Visits to galleries, and other art related events.
Reading advice tailored for individual student requirements.
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Christopher Koller |
| Mode of Delivery: | Film screening, Group tutorial/seminar |
| Contact hours: | 3 hours per week |
| Semester: | Semester 1 |
Subject description:
Objectives:
- comprehend the terminology and descriptive vocabulary used in the discussion and study of film and film theory and its broader context, both contemporary and historical;
- confidently communicate both orally and in writing, opinions, ideas and observations with regard to their work and others, in group and individual teaching and learning situations; and
- exercise an open and independent attitude to learning about contemporary cultural developments, both theoretical and practical
Assessment:
A short paper of 1,000 words (100%)
Time Commitment:
3 hours per week
Prescribed Texts:
To be advised
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Christopher Koller |
| Prerequisites: | Related Studies (Photography) 1 |
| Mode of Delivery: | Film screening, followed by group tutorial/seminar |
| Contact hours: | 3 hours per week |
| Semester: | Semester 2 |
Subject description:
see Related Studies 1 Photography
Assessment:
A major project paper of 1,500 words (100%).
Time Commitment:
3 hours per week
Prescribed Texts:
To be advised
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Neil Malone |
| Mode of Delivery: | This subject is based on observational drawing classes. It also includes group and individual tutorials. |
| Contact hours: | 3 hours per week for one semester |
| Semester: | Semester 1 |
Subject description:
Group tutorials to discuss and critique students’ work, and drawing related issues of historical and contemporary relevance are held on a regular basis.
Students are required to maintain sketchbooks and diaries.
Objectives:
- display an advanced awareness of graphic possibilities of a variety of drawing media, materials and practices;
- exhibit evidence of skill development both pictorially and technically in drawing, as a means of independent image making;
- indicate evidence of individual research in drawing; and
- display an advanced understanding of relationships between drawing and printmaking practices.
Assessment:
Assessment is based on a folio of the student’s work, submitted at the end of the semester, containing a requisite number of works completed during the semester including finished works, developmental studies, set assignments, sketches, sketchbooks, diaries and any other relevant material the student may decide to submit (100 %).
Time Commitment:
3 hours per week
Prescribed Texts:
Appropriate material as required
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Neil Malone |
| Prerequisites: | Related Studies (Printmaking) 1 |
| Mode of Delivery: | This subject is based on observational drawing classes. It also includes group and individual tutorials. |
| Contact hours: | 3 hours per week for one semester |
| Semester: | Semester 2 |
Subject description:
Group tutorials to discuss and critique students’ work, and drawing related issues of historical and contemporary relevance are held on a regular basis.
Students are required to maintain sketchbooks and diaries.
Objectives:
- Indicate evidence of individual research in drawing; and
- Display an advanced understanding of relationships between drawing and printmaking practices.
Assessment:
As for Related Studies (Printmaking) 1
Time Commitment:
3 hours per week
Prescribed Texts:
Appropriate material as required
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Associate Professor Marie Sierra |
| Mode of Delivery: | The subject is delivered through supervised time in the studio. One-on-one technical assistance is available as required, subject to technical staff availability. |
| Contact hours: | 3 hours per week for one semester |
| Semester: | Semester 1 |
Subject description:
The development of image generating abilities, observational skills and the articulation of these in a range of drawing and other media.
A series of 12 studio workshops which create circumstances where students experiment with and develop images, mainly drawings and related forms from life, still life, imagination, collage, etc.
Subject Handout:
Related Studies 1 Sculpture
Objectives:
- think laterally about initiating ideas for art practise;
- to adapt a variety of techniques, methods and materials for the development of ideas; and
- draw on a knowledge of sculpture to inform their artistic development.
Assessment:
Time Commitment:
3 hours per week
Prescribed Texts:
Edwards, Betty 1999, The new drawing on the right side of the brain, Tarcher/Putnam, New York.
(VCA Library 741.2 Edw)
Goldstein, Nathan 1981, Figure drawing: the structure, anatomy, and expressive design of human form, Prentice-Hall, Englewood Cliffs, N.J.
(VCA Library 743.4 Gol)
Nicholas, Penny, 1993, The materials of sculpture, Yale University Press, New Haven.
(Faculty of VCA and Music Library 731.028 Pen)
Simblet, Sarah 2001, Anatomy for the artist, Dorling Kindersley, London.
(Faculty of VCA and Music Library 743.49 Sim)
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Associate Professor Marie Sierra |
| Prerequisites: | Related Studies (Sculpture) 1 |
| Mode of Delivery: | The subject is delivered through supervised time in the studio. One-on-one technical assistance is available as required, subject to technical staff availability. Workshops are open for use during wee |
| Contact hours: | 3 hours per week |
| Semester: | Semester 2 |
Subject description:
A series of 12 drawing and studio sessions which expand on the concerns of semester one and place particular emphasis on drawing media skills as well as the content of the drawing in relation to major study development.
Objectives:
- extend their ability to adapt a variety of techniques, methods and materials for the development of ideas; and
- draw on a knowledge of sculpture to inform their artistic development.
Assessment:
As for Related Studies (Sculpture) 1
Time Commitment:
3 hours per week
Prescribed Texts:
Edwards, Betty 1999, The new drawing on the right side of the brain, Tarcher/Putnam, New York.
(VCA Library 741.2 Edw)
Goldstein, Nathan 1981, Figure drawing: the structure, anatomy, and expressive design of human form, Prentice-Hall, Englewood Cliffs, N.J.
(VCA Library 743.4 Gol)
Nicholas, Penny, 1993, The materials of sculpture, Yale University Press, New Haven.
(VCA Library 731.028 Pen)
Simblet, Sarah 2001, Anatomy for the artist, Dorling Kindersley, London.
(VCA Library 743.49 Sim)
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Edward Colless |
| Prerequisites: | Critical and Theoretical Studies 1 and 2 |
| Mode of Delivery: | Lecture with accompanying tutorial |
| Contact hours: | 12 hours of lectures, 12 hours of tutorials |
| Semester: | Semester 1 |
Subject description:
Objectives:
- communicate in a lucid and persuasive manner, verbally and in writing, their analysis, interpretation and evaluation of works of art.
Assessment:
Time Commitment:
2 hours contact plus 2 hours non-contact per week
Prescribed Texts:
As provided in Class Reader
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Edward Colless |
| Prerequisites: | Critical and Theoretical Studies 1 and 2 |
| Mode of Delivery: | Lecture with accompanying tutorial |
| Contact hours: | 24 hours of seminars over one semester (Semester 1 or 2) |
| Semester: | Year Long |
Subject description:
Students select a weekly seminar from a range of seminar programs offered by staff in Critical and Theoretical Studies.
Objectives:
- direct and organize their own research and investigation into topics of relevance to the development of their artistic work; and
- test the outcomes of this research and investigation.
Assessment:
As for CATS 3
Time Commitment:
2 hours contact plus 2 hours non-contact per week
Prescribed Texts:
As provided in Class Reader
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Merrin Eirth |
| Contact hours: | 3 hours per week over one semester. |
| Semester: | Semester 2 |
Subject description:
Some of the drawing electives may be conducted almost entirely around variations on perceptually based work, or the direct drawing of observed subjects such as the life model. Other approaches for example, may include an emphasis on conceptual issues. Photographic film and a diversity of other materials and surfaces will be explored where possible. In some cases these will be site specific.
Objectives:
- confidently apply new and/or complimentary skills relevant to the development of their individual studio practices; and
- respond with a flexible approach to explore, investigate and test unfamiliar problems and challenges.
Assessment:
Time Commitment:
3 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Janenne Eaton |
| Contact hours: | 3 hours per week over one semester |
| Semester: | Semester 2 |
Subject description:
Objectives:
- exhibit a basic knowledge and understanding of painting and its related activities;
- participate effectively as a team member in projects with a shared focus;
- understand and demonstrate sound health and safety practices; and
- access and synthesize conceptual, aesthetic and technical information relevant to painting.
Assessment:
Time Commitment:
3 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Christopher Koller |
| Contact hours: | 3 hours per week over one semester |
| Semester: | Semester 2 |
Subject description:
Objectives:
- exercise awareness of sound health and safety practices; and
- respond with a flexible and innovative approach to explore, investigate and test unfamiliar problems and challenges.
Assessment:
Time Commitment:
3 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Neil Malone |
| Contact hours: | 3 hours per week over one semester |
| Semester: | Semester 2 |
Subject description:
Relief printing presents the main modes of printing such as lino cut, wood cut and collagraph and the preparation for the printing of these processes. Aspects of health and safety and appropriate studio workshop procedure are discussed. After the consolidation of processes, students are taught on an individual basis.
Objectives:
- comprehend and apply the technical and procedural fundamentals of intaglio and/or relief processes in printmaking; and
- form a conceptual relationship between the methodologies, processes and techniques of printmaking and their area of specialisation.
Assessment:
Assessment is based on a folio of the student’s work, submitted at the end of the semester, containing a requisite number of works completed during the semester, including finished works, studies, proofs, working drawings and any other relevant material the student may decide to submit (100%).
Time Commitment:
6 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Associate Professor Marie Sierra |
| Contact hours: | 3 hours per week over one semester |
| Semester: | Semester 2 |
Subject description:
Objectives:
- demonstrate awareness of basic safe practices in the handling of tools and materials;
- apply diverse methods of approaches to the development of their main studio practice; and
- employ a basic understanding of the processes of sculpture for practical, conceptual and critical purposes.
Assessment:
Time Commitment:
3 hours per week
| Credit Points: | 12.5 |
|---|---|
| Coordinator: | Dr Kate Daw |
| Contact hours: | 3 hours per week (Semester 1) |
| Semester: | Semester 1 |
Subject description:
Three introductory lectures; 3 x 3 hour drawing workshops exploring traditional and contemporary approaches to image making. 6 x 3 hour studio workshops.
Students select from painting, drawing, digital technologies, printmaking or photography and work on set projects to develop their knowledge of media, techniques and process appropriate to their chosen art form.
Assessment:
Time Commitment:
3 hrs per wk + 3 hrs studio practice
| Credit Points: | 12.5 |
|---|---|
| Coordinator: | Dr Kate Daw |
| Prerequisites: | Contemporary Art Practice A |
| Contact hours: | 3 hours per week (Semester 2) |
| Semester: | Semester 2 |
Subject description:
Assessment:
Subject descriptions for Visual Art Theory and History subjects and optional subjects are provided in the Bachelor of Fine Art degree course description or from the Centre for Ideas section of this handbook.
Time Commitment:
3 hrs per wk workshop + at least 3hrs individ prac