Bachelor of Fine Art
Overview
A three year undergraduate degree in Fine Art. Students undertake study in one of the Studio Programs of Drawing, Printmaking, Painting, Photography or Sculpture and Spatial Practice.
Description
The subjects offered are shown below for the Studio Studies program. Within the Studio Studies program students choose from a menu of programs that provide a focus for their initial studies, according to specific technological and materials practices, such as the Photography Program that will introduce students to the technological and methods of both analogue and digital photographic practices. Similarly a student who opts for the Sculpture and Spatial Practice Program will be provided with the necessary skill and safe uses of materials.
In addition to the major study in the studio students will be required to undertake the adjunct studies as a co-requisite including Critical and Theoretical Studies (CATS) and the courses delivered through the Common Curriculum.
Course Structure
Year 1
Studio Studies 1
Related Studies (discipline) 1
Critical and Theoretical Studies 1
The Artist in the World Part 1
Studio Studies 2
Related Studies (discipline) 2
Critical and Theoretical Studies 2
The Artist in the World Part 2
Year 2
Studio Studies 3
Critical and Theoretical Studies 3
The World in the Artist 2A
Studio Studies 4
Elective or Independent Study Program
Critical and Theoretical Studies 4
The World in the Artist 2B
Year 3
Studio Studies 5
Critical and Theoretical Studies 5
Collaborative Contract
Studio Studies 6
Critical and Theoretical Studies 6
Professional Development
Objectives
The objectives of this course are to:
-
produce professional practitioners in the contemporary visual arts;
-
enable students to learn the skills and techniques required for contemporary art production;
-
encourage the simultaneous development of students’ conceptual and technical abilities by providing a study program that is designed to relate to the practical and theoretical requirement of visual art disciplines;
-
enhance student awareness of their relationship with and responsibility to their cultural environment and society by providing opportunities for informed critical enquiry, social interaction and cultural exploration during their studies;
-
allow students, if they so desire, to move away from medium-dominated directions in their art activities;
-
enable student learning in aspects of the history and theory of the visual arts and culture in order to build up their understanding and knowledge of the past and present;
-
enable students to prepare themselves for postgraduate study;
- provide opportunities for students to work in a range of mediums of their choosing.
Prerequisites
Applicants are required to have satisfactorily completed VCE or Year 12 equivalent with study score of at least 25 in Units 3 and 4 English (any). Applicants must also attend an interview and present a folio.
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 practical skills in respect of critical analysis, problem solving, report writing, team work and oral and written communication;
- demonstrate a flexible and innovative approach to the national and international challenges for the professional visual artist in the 21st century;
- work at various levels, both as an individual and as a team member, in a wide variety of visual artistic environments;
- demonstrate an open, independent and inquiring attitude towards contemporary cultural developments and new ideas;
- understand their relationship with and responsibility to their cultural environment and society.
Student Commitment
Contact and supervised studio hours have been included in each of the major study subject descriptions to accurately reflect the mode of teaching and supervision.
Contact hours include attendance at classes, tutorials, workshops, demonstrations, other individual instruction and excursions. Supervised studio hours are the hours that students are expected to commit to working in their studios to fulfil course requirements.
Assessment
The Assessment statements in the subject descriptions should be read in conjunction with the information given in the following paragraphs.
Assessment and grading will be decided through the exercise of professional judgement, the result being arrived at through the averaging of individual results supplied by each member of a panel.
The panel may consist of the Head of the Studio Program and appropriate academic staff.
The assessment of Critical and Theoretical Studies and Independent Studies Program subjects differs from this general pattern and students should refer to the Assessment statements for these subjects for information.
The criteria for assessment are the successful completion of set subject requirements; demonstration of conceptual ability as indicated by the exploration of ideas, demonstration of critical capacity as evidenced by selection of work and level of critical process brought to bear on the project, item or program; evidence of independent work practices as demonstrated by the research for and development of work produced; technical, manipulative and perceptual skills displayed and the quality of the work submitted.
Course Progression Guidelines
The maximum time permitted for completion of the course is six 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; or
(b) obtains two successive fails in any one subject.
Qualification for Award
The award of the Bachelor of Fine Art in the Studio Programs of Drawing, Printmaking, Painting, Photography or Sculpture and Spatial Practice requires the successful completion of the prescribed subjects.
Subjects by Year
Year 1
- 754-101 - The Artist in the World - Part 1
- 754-130 - The Artist in the World - Part 2
- 755-101 - Studio Studies 1
- 755-102 - Studio Studies 2
- 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
Year 2
- 754-202 & 203 - The World in the Artist 2A & 2B
- 755-201 - Studio Studies 3
- 755-202 - Studio Studies 4
- 755-267 - Independent Studies Program 1
- 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
Year 3
- 754-301 - Collaborative Contract
- 754-302 - Professional Development
- 755-301 - Studio Studies 5
- 755-302 - Studio Studies 6
- 755-340 - Critical and Theoretical Studies 5
- 755-341 - Critical and Theoretical Studies 6
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: | 31.25 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Nil |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 7 and 12 hours per week (depending on the requirements of studio program undertaken) |
| Supervised Studio hours: | Between 11 and 16 hours per week |
| Semester: | Semester 1 |
Subject description:
The component of methods and materials introduces the students to fundamental tools, skills, techniques and working processes of their particular discipline and emphasises safe work practices.
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Studio Studies 1 Drawing
Objectives:
- comprehend and apply fundamental skills and techniques and gain knowledge and understanding of a range of methods and materials to enable confidence in exploring and experimenting with a variety of working processes;
- gain confidence to analyse and articulate concepts and ideas through the individual and group tutorials and classes offered within the studio context;
- establish foundations for a practical understanding and application of sound occupational health and safety practices.
Assessment:
Assessment is based on a substantial folio of work demonstrating the range of a student’s activities during the semester, including any group of finished works, support work, drawings, journals/sketchbooks etc and other works/material in any media the student chooses to submit. For more detailed assessment information refer to your program’s subject handouts.
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
- Course engagement
- Work development
- Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
23 hours per week
| Credit Points: | 31.25 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Studio Studies 1 |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 6 and 10 hours per week (depending on the requirements of studio program undertaken). |
| Supervised Studio hours: | Between 15 and 19 hours per week |
| Semester: | Semester 2 |
Subject description:
At this level there is an emphasis on broader investigative and experimental working processes. Students are expected to develop a greater awareness of national and international art practice via individual and group discussion.
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Objectives:
- begin to develop regular work practices through application of effective time management strategies;
- begin to establish the foundations for ongoing development of experimental work practices and research methods;
- begin to develop an understanding of the relationship between individual work practices/processes and the working space of the studio;
- begin to develop a visual aesthetic sensibility;
- continue to establish foundations for a practical understanding and application of sound occupational health and safety practices.
Assessment:
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
- Course engagement
- Work development
- Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
23 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)
Year 2
| 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: | 31.25 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Studio Studies 2 |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 4 and 8 hours per week (depending on the requirements of studio program undertaken). |
| Supervised Studio hours: | Between 17 and 21 hours per week. |
| Semester: | Semester 1 |
Subject description:
At this level sustained exploration and experimentation with materials, procedures and methodologies of practice is expected. Students are also expected to be increasingly familiar and conversant with the historical and contemporary influences that inform their work. The introduction of the professional practice component begins to prepare students for the realities of independent professional artistic activity.
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Objectives:
- continue development and consolidation of studio based artistic practice;
- continue development of sustained work practice through application of effective time management strategies;
- establish the foundations for ongoing development of experimental work practices and research methods;
- extend their conceptual skills, and gain a deeper understanding of their chosen area of study;
- extend their ability to critically analyse and evaluate their own artistic processes and resolutions.
Assessment:
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
- Course engagement
- Work development
- Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
26 hours per week
| Credit Points: | 37.5 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Studio Studies 3 |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 4 and 8 hours per week (depending on the requirements of studio program undertaken). |
| Supervised Studio hours: | Between 22 and 26 hours per week. |
| Semester: | Semester 2 |
Subject description:
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Objectives:
- consolidate, within their individual practice, ongoing experimental work practices and research methods;
- demonstrate an understanding of the potential dynamic between individual work concepts and practice in relation to diverse exhibition sites/spaces;
- extend their contribution to artistic practice and the role of professional networks, work collaboratively and begin to understand the importance of context and site.
Assessment:
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
- Course engagement
- Work development
- Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
23 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Jan Murray |
| Prerequisites: | Nil |
| Mode of Delivery: | Dependent on subject undertaken |
| Contact hours: | 36 hours over one semester (taken in lieu of an elective) |
| Semester: | Semester 2 |
Subject description:
Students may propose to undertake as their elective in Year Two a study in an area of endeavour either within their own department or one that is not offered by the School. The student’s proposal must be submitted on the appropriate application form, which is available from the School office. The aims, content and assessment process of the proposed study program must be outlined and a suitable supervisor appointed.
Proposals and their suitability will be considered by the Head of Department and endorsed by the nominated Coordinator.
Note: Subjects taken outside the College or The University of Melbourne cannot be undertaken as part of the Independent Study Program. Application should be made for cross-institutional enrolment.
Objectives:
Assessment:
Assessment will be carried out by appropriate academic staff, or the nominated Coordinator. Assessment provisions will be determined in writing when the proposal is approved.
Time Commitment:
3 hours per week
| 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
Year 3
| Credit Points: | 6.25 |
|---|---|
| Mode of Delivery: | weekly seminar/workshop |
| Contact hours: | 2 hours per week |
| Supervised Studio hours: | 6 hours per week including class preparation |
| Semester: | Semester 1 |
Subject description:
Through the process of group building activities in tutorial settings, students will form collaborative groups and project ideas reflective of the diversity of disciplines. Additionally, throughout the course students will develop their project ideas through various forms of online collaboration including blogging, forum discussions, bulletin board postings as well as responding to collaborative work as it is developed and posted online.
Subject Coordinator - Alex Gibson
Seminar/ lecture Program
Friday 9.30-11.30am Art Auditorium
FEBRUARY 20, 27, MARCH 6, 13, 20, 27, APRIL 3, 24, MAY 1, 8.
Objectives:
On completion of the Collaborative Contract subject students should be able to:
-
demonstrate confidence in their ability to initiate cross-disciplinary collaborative practice;
-
develop cooperative approaches and exercise leadership skills;
-
display critical, reflective skills;
-
demonstrate the ability to work in an inclusive manner;
-
gain confidence that insight is found in the creative process;
-
recognise the cumulative and complex ways in which knowledge is formed;
-
develop strong documentary processes;
-
understand the role of accounting and project management; and,
-
be able to disseminate information and publicly promote their project.
Assessment:
The group project must be presented before the end of the semester, to be reviewed by two academic members of staff (100%). Hurdle requirement – 80% attendance. Groups will be issued with a group mark.
Time Commitment:
6 hours per week including class preparation
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Dr Elizabeth Presa |
| Prerequisites: | World in the Artist 2nd year seminars |
| Contact hours: | 2 hours per week |
| Supervised Studio hours: | 6 hours per week |
| Semester: | Semester 2 |
Subject description:
This subject will provide an integrated and generic introduction to the key issues and skills necessary to enhance a student’s artistic career. The aim is to develop a base upon which all students can build their own specialist skills. This subject will complement the existing specialist subjects on professional development on offer in each School. The presentation of the subject will be in the form of lectures by invited experts in the fields of intellectual property, copyright, ethics, small business development, financial management, taxation, marketing and publicity, and occupational health and safety. Extracurricular workshops will be offered in negotiation, time management, grant writing and presentation skills.
Seminar /Lecture Program
Fridays 9:30am – 11.30 am Federation Hall
Objectives:
On completion of the Professional Development subject students should be able to:
-
exhibit sophisticated professional communication skills;
-
undertake preparation of a curriculum vitae;
-
demonstrate an understanding of ethical issues;
-
identify career management strategies;
-
identify problem solving and conflict resolution skills;
-
exhibit experience of team processes; and,
-
demonstrate knowledge of issues relating to personal safety, teaching aids, access to information,and financial and legal advice.
Assessment:
Students select from a menu of discipline related written assessment projects (100%). Hurdle requirement – 80% attendance.
Time Commitment:
6 hours per week
| Credit Points: | 37.5 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Studio Studies 4 |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 3 and 7 hours per week (depending on the requirements of studio program undertaken). |
| Supervised Studio hours: | Between 23 and 27 hours per week. |
| Semester: | Semester 1 |
Subject description:
Consideration and preparation for the end of year Graduate Exhibition and the Honours year is emphasised.
The professional practice component focuses on the practical application of procedures, practices and protocols to equip students with the necessary skills and knowledge to have an understanding of the broader arts industry and to function as practising professional artists.
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Studio Studies 5 Photography
Studio Studies 5 Printmaking
Studio Studies 5 Sculpture
Objectives:
- demonstrated a focused development of conceptual and research skills; skills in planning, describing and developing work and developing the student’s individual contribution to their chosen discipline;
- consolidated, within their individual practice, ongoing experimental work practices and research methods;
- a practice that indicates understanding of practical means/modes for engaging audience and entering the broader visual arts discourse.
Assessment:
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
Course engagement
Work development
Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
26 hours per week
| Credit Points: | 37.5 |
|---|---|
| Coordinator: | See subject description |
| Prerequisites: | Studio Studies 5 |
| Mode of Delivery: | This subject is delivered through supervised time in the studio, structured classes, regular individual and group tutorials and where appropriate practical, workshop training sessions. |
| Contact hours: | Between 3 and 7 hours per week (depending on the requirements of studio program undertaken). |
| Supervised Studio hours: | Between 23 and 27 hours per week. |
| Semester: | Semester 2 |
Subject description:
Coordinator: Merrin Eirth Drawing; Janenne Eaton, Painting; Christopher Koller, Photography; Neil Malone, Printmaking; Dr Marie Sierra, Sculpture and Spatial Practice.
Objectives:
- focused development of conceptual and research skills; skills in critically engaging with art as a profession, and enhancing the student’s individual contribution to their chosen discipline;
- the requisite understanding, knowledge and skills to maintain an independent artistic practice upon leaving the School.
Assessment:
Assessment is based on a substantial folio of work demonstrating the range of a student’s activities during the semester, including any group of finished works, support work, drawings, journals/sketchbooks etc and other works/material in any media the student chooses to submit. For more detailed assessment information refer to your program’s subject handouts.
Ongoing feedback is provided to students via individual and group tutorials. The mid-semester review takes into account the student’s progress against the following criteria:
- Course engagement
- Work development
- Studio use
Formal feedback is given to students who are deemed to be at risk.
Academic staff write progress reports during the semester that students sight and sign.
A single mark is assigned at the end of the semester.
Time Commitment:
26 hours per week
| Credit Points: | 6.25 |
|---|---|
| Coordinator: | Edward Colless |
| Prerequisites: | CATS 3 |
| Mode of Delivery: | Lecture with accompanying tutorial |
| Contact hours: | 24 hours of seminars over one semester (Semester 1 or 2) |
| Semester: | Both Semesters |
Subject description:
As for CATS 4
Objectives:
- exercise and direct an open and independent attitude to learning about contemporary cultural developments, both theoretical and practical.
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: | CATS 3 |
| Mode of Delivery: | Lecture with accompanying tutorial |
| Contact hours: | 24 hours of seminars over one semester (Semester 1 or 2) |
| Semester: | Both Semesters |
Subject description:
As for CATS 4.
Objectives:
Building on the skills acquired in previous semesters the students should be able to:
- respond confidently and intelligently to innovative or unfamiliar cultural concepts and practices; and
- critically and creatively engage with topics of cultural significance and effectively participate in or contribute to contemporary cultural debate.
Assessment:
As for CATS 5
Time Commitment:
2 hours contact plus 2 hours non-contact per week
Prescribed Texts:
As provided in Class Reader