|Delivery Type||Delivery length / details|
|Seminars / Tutorials||Seminar 15 x 1 hr|
|Seminars / Tutorials||Tutorials 15 x 1 hr|
|Practical||287.5 hrs (Portfolio production)|
|Assessment Type||Assessment length / details||Proportion|
|Semester Assessment||Course Work: Portfolio (include. Studentship, and Monthly Reports(90%)||90%|
|Semester Assessment||Forum Seminar presentation and interaction||10%|
|Supplementary Exam||Failure to secure an aggregate pass will result in the resubmission of the failed component|
On successful completion of this module students should be able to:
1. Produce a body of work to a prescribed deadline and a standard of excellence in conception and execution comparable with the professional practice in Fine Art (Aims: A,B)
work in a strategic, rational, informed, and self-determined manner
3. Identify and pursue and appropriate field of action and sepcify a research problem( Aims: B,C)
4. Discern a strand of related and qualitative work for immediate, future devleopment (Aim: D)
5. Discuss their work through academic discussion (in the context of tutorials and seminars) in relation to appropriate theoretical, practical, and historical contexts (Aim: E)
Relation to Assessment
Outcomes 1-4 are assessed through a Portfolio of preparatory studies
Outcome 5 is not assessed
Portfolio is an interface between the students' BA degree scheme experience and the first Exhibition of the MA degree scheme. The module provides a context for the initial development of Fine Art practice. Students pursue an agreed programme of self-initiated, research-based study in Fine Art under tutorial supervision. The resultant portfolio should demonstrate that a student has extended their previous experience and practice, defined a specific subject matter, research problem, or field of action, and acquired and refined a knowledge of technical, stylistic, theoretical, and historical frameworks relevant to their work. It should also manifest an enhanced capacity to be productive and experimental, and to work at an appropriate and consistent pace within a prescribed time frame. In tutorials and seminars, students should demonstrate confidence in justifying and articulating their practice, and cognisance of relevant criteria in order to make discriminating judgements about their work. In these ways, the module is conceived as a means of instilling standards and strategies of professional practice.
A. Enable the student to develop a portfolio of work over an extended period of tome that demonstrates a creative, productive, and imaginative interpretation of subject matter, the acquisition and refinement of appropriate technical and technological eexterity and stylistic sophistication, and an cognizance of appropriate conceptual, theoretical, and historical frameworks.
B. Enable the student to develop and sustain a self-initiated programme of work to this end in consultation with a supervisor, a progamme that defines a specific research problem and which is responsive to external driectives and the internal dynaimcs of the work
C. Challenge the student to experiment, test hypotheses, and broaden and extend their field of action, and ariculate verbally the criteria by which their work is made and assessed
D. Develop a body of work as a foundation for ARM0460 Exhibition 1
E. Develop the student's capacity to communicate orally and critically about their own and colleagues works in the context of 'Forum' seminars
They are held, generally once-a-week (in negotiation with the student). The aim is to discuss and evaluate work in progress and to develop realistic strategies and short-term objectives. Students are expected to bring to tutorial both their practical work and source material (in the form of notes, reproductions, or texts) relevant to the discussion.
The first seminar outlines the format aims, objectives, and assessment criteria for this component of the scheme. Thereafter, the syllabus of seminars is based upon individual presentations by students and staff associated with the degree scheme. They consist of a 20-minute delivery based on the individual's current art practice followed by a half-hour group discussion.
Students are expected to work in their studios throughout the week. They determine their timetable. Along with research students, they have access to the School's building in the evening and at weekends. The expectation is that, over the period of each semester (which currently includes vacation periods also) students would accrue approximately 240 hours of `study-time' practice.
The syllabus represents a suggested programme of work. It is given as a general guide for student and tutor. It need not be maintained rigidly; indeed, it may be superseded by a very different programme agreed between the two parties. What is important is that some form of schedule is developed so that a body of work that fulfils the aims and objectives of the module is produced within the allotted time.
- Independent project work - through tutorial interaciton between student and supervisor in the production of project work, that is at the heart of the module.
- It and information handling - studentw will be encouraged to prepare research reports using work processing packages.
- Writing in an academic context - this will be developed in the production of monthly reports and the essay, assessed under Oral discussion and presentation. This will be chiefly developed in the context of individual tutorials.
- Careers Awareness - N/A
- Self-management - Through individual tutorials
- Group activity - In the context of 'Forum' seminars
Anthony O'Heare (1994) 'What is Aesthetic Value' in Artists in the 1990s, Issues in Art Education 1 Wimbledon School of Art/Tate Gallery Primo search Barbara Cockburn and Alex Ross (1978) Participatory Discussion University of Lancaster Primo search Bert Braham (1995) The Graphic Art Studio Manual Collins Primo search Carole Gray et al (1995) Developing a Research Procedure Progamme for Artist and Designers Centre for Research in Art and Design, Robert Gordon University Primo search Kim Levin (1988) Beyond Modernism: Essays on Art form hte 1970s and 80s, Icon Editions Harper and Row Primo search L A Hill (1980) Techniques of Discussion Evans Primo search Marc Helgesen (1994) Active Listening: Building Skills for Understanding, Cambridge University Press Primo search Max Doerner (1973) The Materials of the Artist and Their Use in Painting Hart-Davis MacGibbon Primo search Neil Gunther (1987) Debating and Public Speaking David & Charles Primo search Ralph Mayer (1973) Artists handbook of Materials and Techniues (1964) third edition Faber Primo search AN Newsletter Primo search Art MONTHLY Primo search Arts Review Primo search Flash Art Primo search Frieze Primo search Modern Painters Primo search
This module is at CQFW Level 7