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The current and official versions of the course specifications are available on the web at https://www.usq.edu.au/course/specification/current.
Please consult the web for updates that may occur during the year.

VIS1020 3D Studio Foundations

Semester 2, 2021 Online
Short Description: 3D Studio Foundations
Units : 1
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

Staffing

Examiner: David Usher

Requisites

Enrolment is not permitted in VIS1020 if VSA1001 and VSA1002 have been previously completed.

Rationale

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.

Synopsis

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.

Objectives

On successful completion of this course students should be able to:

  1. 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;
  2. Research and evaluate the ideas in historical and contemporary three-dimensional art practice as constructed by artists;
  3. Demonstrate a foundational understanding of studio ethics, work processes and installation;
  4. 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.

Topics

Description Weighting(%)
1. Foundation Skills and Materials - Sculpture
30.00
2. Foundation Skills and Materials - Ceramics
30.00
3. Introduction to Studio Research Skills – Artists and Concepts
10.00
4. Introduction to Presentation Skills – Visual Mediums
5.00
5. Introduction to Presentation Skills – Written and Verbal
5.00
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/)

Stiles, K & Selz, P 2012, Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, Second edn, University of California Press.

Reference materials

Reference materials are materials that, if accessed by students, may improve their knowledge and understanding of the material in the course and enrich their learning experience.
Books:

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)

Journals/Magazines:

ARTAND
Eyeline
Art in America
Frieze
Parkett
Elephant
Art Monthly
Australian Art Collector
Australian Art Review
Artlink
Juxtaposed
Monster Children
Cabinet magazine
Un magazine (http://unprojects.org.au/)
Curator (http://www.curatormagazine.com)

SCULPTURE

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.

CERAMICS

Journals/Magazines:

Journal of Australian Ceramics
Ceramics: Art and Perception and Ceramics: Technical
Ceramics Monthly

Books:

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

Activity Hours
Assessments 65.00
Lectures or Workshops 50.00
Private Study 50.00

Assessment details

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

  1. Attendance requirements:
    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.


  2. 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.

  3. 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)

  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.

  5. 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.

  6. Examination information:
    There is no examination in this course

  7. Examination period when Deferred/Supplementary examinations will be held:
    There is no examination in this course, there will be no deferred or supplementary examinations.

  8. 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.

Assessment notes

  1. 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.

Date printed 14 April 2021