|Semester 2, 2021 On-campus Toowoomba|
|Short Description:||3D Studio Foundations|
|Faculty or Section :||Faculty of Business, Education, Law and Arts|
|School or Department :||School of Creative Arts|
|Student contribution band :||2021 Grandfather Funding Cl 2|
|ASCED code :||100301 - Fine Arts|
|Grading basis :||Graded|
|Version produced :||14 April 2021|
Examiner: David Usher
Enrolment is not permitted in VIS1020 if VSA1001 and VSA1002 have been previously completed.
Art students need to be able to research concepts, techniques and skills in order to develop, reflect and apply their understanding of historical, traditional and contemporary visual art practice. In addition, students need to be aware of cross-disciplinary studio practices and hybrid approaches to installation. This course is significant in its offering of foundational skills, processes and materials within 3D contemporary art practice. Students will be introduced to a range of technical, conceptual, practical and observational skills related to the three-dimensional studio areas of Sculpture and Ceramics.
This course is the second of two foundational studio courses. Students will need to complete both VIS1001 and VIS1002 before engaging in VIS2001 and VIS2002 to obtain a 4 unit studio minor, and to obtain an 8 unit studio major, students with additionally need to complete VIS3001, VIS3002, VAP3003 and VAP3004.
Students will learn about various processes, techniques and materials associated with the three-dimensional visual arts studio areas of Sculpture and Ceramics. The practical skills developed in these areas will be underpinned by a foundational approach to artist research, ideas development and analytical thinking. This course will offer a range of lectures, workshop tutorials, critiques and consults which will support the development of the student's contemporary practice, ideas and research. The work of established professional artists will be analysed in order to increase student insight into their own approaches to three-dimensional practice. The visual language, studio research and artist reflection used at this level will be appropriate with skill-development.
Due to the range of possible intensives or workshops, to gain credit for these activities, students must seek and obtain pre-approval from the discipline co-ordinator of visual arts.
On successful completion of this course students should be able to:
- Produce artworks and broader forms of creative practice at a foundational level using relevant skills and knowledge of materials, processes and concepts in three-dimensional practice;
- Research and evaluate the ideas in historical and contemporary three-dimensional art practice as constructed by artists;
- Demonstrate a foundational understanding of studio ethics, work processes and installation;
- Communicate and reflect visually, orally and in writing by clearly and logically expressing ideas pertaining to practices and research inherent within individual and collaborative art outcomes.
Foundation Skills and Materials - Sculpture
Foundation Skills and Materials - Ceramics
Introduction to Studio Research Skills – Artists and Concepts
Introduction to Presentation Skills – Visual Mediums
Introduction to Presentation Skills – Written and Verbal
|6.||An Introduction to Linking Ideas to Skills in the Visual Arts||20.00|
Text and materials required to be purchased or accessed
ALL textbooks and materials available to be purchased can be sourced from USQ's Online Bookshop (unless otherwise stated). (https://omnia.usq.edu.au/textbooks/?year=2021&sem=02&subject1=VIS1020)
Please contact us for alternative purchase options from USQ Bookshop. (https://omnia.usq.edu.au/info/contact/)
Atkins, R 1997, Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present, Abbeville Press.
Bhandari, H.D, Melber, J Art/Work - Revised & Updated: Everything You Need to Know (and Do) As You Pursue Your Art Career, Simon & Schuster.
Documents of Contemporary Art (Series) , Whitechapel Gallery, 2006 – 2019, MIT Press, Cambridge.
Grabner, M, Jacob, M.J, The Studio Reader: ON THE SPACE OF ARTISTS, University of Chicago Press.
Louden, S Living and Sustaining a Creative Life: Essays by 40 Working Artists, Intellect Ltd.
Louden, S The Artist as Culture Producer: Living and Sustaining a Creative Life, Intellect Ltd.
pressPLAY: Contemporary Artists in Conversation, 2005, Phaidon Press.
Williams, G, 2014, How to Write About Contemporary Art, Thames & Hudson.
(If you require assistance with writing, this is a good resource)
Art in America
Australian Art Collector
Australian Art Review
Un magazine (http://unprojects.org.au/)
Adajania, N & Ellegood, A 2009, Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon: London and New York.
Bishop, C 2005 Installation Art, Tate Publishing, Millbank.
Chambers, N and Weir, K. E 2012, Sculpture is Everything, Gallery of Modern Art, Queensland Art Gallery, Brisbane.
Dezeuze, A and Kelly, J (eds) 2012, Found Sculpture and Photography from Surrealism to Contemporary Art, Burlington: Ashagte.
Grubinger, E and Heiser, J (eds) 2015, Sculpture unlimited. 2 Materiality in the Times of Immateriality, Sternberg Press, Berlin.
Harper, G 2006 A Sculpture Reader; Contemporary Sculpture Since 1980, Hamilton, NJ: ISC press Seattle.
Katrib, R and Ceruti, M (eds) 2016, How Does it feel?: Inquiries into Contemporary Sculpture, Black dog Publishing, long Island City, New York.
Le Feuvre, L, Feeke, S and Raikes, S 2010, Undone: Making and Unmaking in Contemporary Sculpture, Leeds: Henry Moore Institute Leeds, England.
Ring Petersen, A 2015, Installation Art Between Image and Stage, Museum Tusculanum Press, Denmark.
Journal of Australian Ceramics
Ceramics: Art and Perception and Ceramics: Technical
Clarke, G 2004, Shards, D.A.P./Ceramic Arts Foundation.
Creswell Bell, A 2017, Clay: Contemporary Ceramic Artisans, Thames and Hudson.
Lilley, C 2017, Vitamin C: Clay and Ceramic in Contemporary Art, Phaidon Press.
Morris, T 2018, New Wave Clay: Ceramic Design, Art and Architecture, Frame Publishers.
Singleton, K 2016, Ceramics: Contemporary Artists Working in Clay, Chronicle Books..
Student workload expectations
|Lectures or Workshops||50.00|
|Description||Marks out of||Wtg (%)||Due Date||Notes|
|MID-SEMESTER ASSESSMENT STG 1||100||40||06 Aug 2021|
|FINAL ASSESSMENT INSTALL EVALU||100||60||22 Oct 2021|
Important assessment information
On-campus Attendance requirements:
It is the students' responsibility to attend and participate appropriately in all activities (such as lectures and tutorials) scheduled for them, and to study all material provided to them or required to be accessed by them to maximise their chance of meeting the objectives of the course and to be informed of course-related activities and administration.
ONL Attendance Requirements:
There are no attendance requirements for this course. However, it is the students’ responsibility to study all material provided to them or required to be accessed by them to maximise their chance of meeting the objectives of the course and to be informed of course-related activities and administration.
Requirements for students to complete each assessment item satisfactorily:
To satisfactorily complete an individual assessment item a student must achieve at least 50% of the marks for that item.
Penalties for late submission of required work:
Students should refer to the Assessment Procedure http://policy.usq.edu.au/documents.php?id=14749PL (point 4.2.4)
Requirements for student to be awarded a passing grade in the course:
To be assured of receiving a passing grade a student must achieve at least 50% of the total weighted marks available for the course.
Method used to combine assessment results to attain final grade:
The final grades for students will be assigned on the basis of the aggregate of the weighted marks obtained for each of the summative items for the course.
There is no examination in this course
Examination period when Deferred/Supplementary examinations will be held:
There is no examination in this course, there will be no deferred or supplementary examinations.
University Student Policies:
Students should read the USQ policies: Definitions, Assessment and Student Academic Misconduct to avoid actions which might contravene University policies and practices. These policies can be found at http://policy.usq.edu.au.
Referencing in assignments must comply with the Harvard (AGPS) referencing system. This system should be used by students to format details of the information sources they have cited in their work. The Harvard (APGS) style to be used is defined by the USQ library’s referencing guide. This guide can be found at http://www.usq.edu.au/library/referencing.