This module promotes effective use of the studio to develop your fine art practice. Through a process of continuous practice-based research you are supported to expand on ideas with further experimentation, so as to develop and extend your own formal language within the context of contemporary Fine Art.
Through independent, peer and group learning, you are encouraged to enhance your practical / thinking skills and interests and to nurture existing ones.
Throughout this module, you are encouraged to pursue increasingly self-led enquiry in and beyond the studio and to continue to invest in collaborative approaches to making and reviewing your work. You are supported to be increasingly analytical in your approach to materials, processes and ideas, as well as to hone strategies for self-management and enrichment.
On successful completion of the module, students will be able to:
Tutor-led, individual and group sessions support students to develop their studio practice, apply practical and theoretical research and analysis and implement independent learning strategies. Core and elective tutorials, subject-workshops, artist/professional talks, practice seminars, critiques and gallery visits all support academic progress towards the increasingly self-led development of an individual Fine Art practice. The module will make use of the Virtual Learning Environment (VLE) Canvas for communication and dissemination of information between students and staff as well as making online learning materials available to all.
Students are expected to invest in peer learning by engaging proactively in independent studio practice alongside one another and to keep a Research Log to track their practical and theoretical enquiry, the guidelines for which can be found on the VLE.
It is expected that students keep abreast of contemporary Fine Art practice by undertaking frequent, independent gallery visits / events, on and off site.
All courses based in the Kingston School of Art offer students free access to the online video tutorial platform Lynda.com. This provides a wide range of subjects to choose from, many with downloadable exercise files, including software tutorials covering photography, graphics, web design, audio and music, CAD and Microsoft Office software, as well as courses on Business and Management skills. Some of these are embedded in the curriculum and offer additional self-paced learning, others may be taken at will by students wishing to broaden their employability skills in other areas.
Learning activities will include:
| Definitive UNISTATS Category | Indicative Description | Hours |
|---|---|---|
| Scheduled learning and teaching | Artist/professional talks, critiques, seminars, tutorials, visits, workshops | 150 |
| Guided independent study | Independent studio practice, research, exhibition visits | 450 |
| Total (number of credits x 10) | 600 | |
Formative Assessment: A mid-module review constitutes an organized body of work, accompanied by a brief verbal presentation and documentation of practical and contextual research. Notes will be recorded by staff and students and consolidated on a feedback form, to be filled in by students during feedback tutorial. Formative assessment is further augmented by regular feed forward tutorials.
Summative Assessment: A selected body of work is augmented by a Research Log.
Group work will not be assessed. It is a method through which students learn, the results of which are integrated back in to individual practice. However, the student's reflection on this process may well be included in the work which is submitted for assessment.
Achievement of Module Learning Outcomes is assessed using the following Assessment Criteria:
Experimentation: Testing of thinking through making, risk-taking and problem-solving.
Analysis: Critical examination of context and interpretation of individual and related work.
Communication: Realisation of intentions and skill in appropriate media
Personal & Professional Development: Planning, time-management, commitment and subject engagement.
| Learning Outcome | Assessment Strategy |
|---|---|
| 1. Demonstrate that they have developed their studio practice, with an ability to test and reflect on thinking through making, risk-taking and problem-solving (Experimentation) | Formative assessment: A mid-module review, followed by feedback tutorial where student takes notes. Summative assessment Selected body of work, Research Log. |
| 2. Critically examine contemporary art practice / theory with relevance to their individual enquiry (Analysis) | Formative assessment: A mid-module review, followed by feedback tutorial where student takes notes. Summative assessment: Selected body of work, Research Log. |
| 3. Demonstrate an ability to employ appropriate media to develop ideas and realise outcomes that are unique to their individual enquiry. (Communication) | Formative assessment: A mid-module review, followed by feedback tutorial where student takes notes. Summative assessment: Selected body of work, Research Log. |
| 4. Assimilate teaching and learning resources to manage their fine art practice, working individually and as part of a group. (Personal & Professional Development) | Formative assessment: A mid-module review, followed by feedback tutorial where student takes notes. Summative assessment: Selected body of work, Research Log. |
| Description of Assessment | Definitive UNISTATS Categories | Percentage |
|---|---|---|
| Selected body of work, Research Log. | Coursework | 100% |
| Total (to equal 100%) | 100% | |
It IS a requirement that the element of assessment is passed in order to achieve an overall pass for the module.
Stallabrass, J. (2006) Contemporary art: A very short introduction (very short introductions series). 11th edn. Oxford: Oxford University Press, USA.
Billing, J. and Nilsson, L. (2007) Taking the matter into common hands: On contemporary art and collaborative practices. Edited by Billing Johanna, Maria Lind, and Nilsson Lars. London, UK: Black Dog Publishing.
Sennett, R. (2013) Together: The rituals, pleasures and politics of co-operation. London: Penguin Press/Classics.
Hickey, D. (1997) Air guitar: Essays on art and democracy. Los Angeles: Distributed by D.A.P. (Distributed Art Publishers).
Danto, A.C. (2003) Abuse of beauty: Aesthetics and the concept of art (the Paul Carus lectures series 21). 4th edn. Chicago, IL: Open Court Publishing Co ,U.S.
ElDahab, M.A., Choi, B. and Pethick, E. (2011) Circular facts. United States: Sternberg Press.
Berger, J. (2007) Berger on drawing. Edited by Jim Savage. 2nd edn. Ireland: Occasional Press
Ryan, D. (2002) Talking painting: Dialogue with twelve contemporary abstract painters. London: Routledge.
Phelan, P. (1993) Unmarked: The politics of performance. New York: Routledge..
Morris, R. (1994) Continuous project altered daily: The writings of Robert Morris. Cambridge, MA: Solomon R. Guggenheim Museum.
Lippard, L.R. (1997) Six years: The dematerialization of the art object from 1966-1972: ... 4th edn. Berkeley: University of California Press.
Bourriaud, N., Pleasance, S., Woods, F. and Copeland, M. (1998) Relational aesthetics. Dijon: Les Presses du réel.
Rebentisch, J., Hendrickson, D., Jackson, G. and Whitman-Salkin, L. (2012) Aesthetics of installation art. Berlin: Sternberg Press.
Larsen, L.B. (ed.) (2014) Networks. United Kingdom: Whitechapel Art Gallery.
Elwes, C. (2015) Installation and the moving image. United States: Wallflower Press.
Recommended magazines and journals:
AN magazine, Artforum, Art Monthly, Flash Art, Frieze, Mousse, Parkett, Third Text, Afterall, Paper Monument.
Additional material may be recommended during taught sessions.