Course Title: Originate a body of independent creative work
Part B: Course Detail
Teaching Period: Term1 2015
Course Code: VART6222C
Course Title: Originate a body of independent creative work
School: 340T Art
Campus: City Campus
Program: C6128 - Advanced Diploma of Visual Arts
Course Contact : Jennifer Cabraja and Fay Reynolds
Course Contact Phone: +61 3 9925 4472
Course Contact Email:visualarts@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Deb Williams deborah.williams@rmit.edu.au
Fiona Hillary fiona.hillary@rmit.edu.au
Loretta Quinn loretta.quinn@rmit.edu.au
Kirsten Lyttle kirsten.lyttle@rmit.edu.au
Nominal Hours: 75
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
Nil
Course Description
Creative practitioners at this level have a capacity for independent thought and self-direction that allows them to conceive, plan and realise a body of work of a professional standard. In this course you will engage with peers and industry networks in ways that develop and confirm your place as an arts practitioner. This course allows you to develop and extend your skills with materials, processes and techniques. There is an expectation in this course that you will work independently to conceive, plan and realise a coherent body of creative work.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUVPRP601A Originate a body of independent creative work |
Element: |
2. Seek professional opportunities and engagement |
Performance Criteria: |
2.1 Pursue opportunities for professional work based on established goals and aspirations |
Element: |
4. Realise the body of creative work |
Performance Criteria: |
4.1 Integrate command of technique, materials and process to create finished work of professional standard suitable for the public domain |
Element: |
5. Evaluate professional work |
Performance Criteria: |
5.1 Seek and apply constructive criticism from others to improve own work |
Element: |
1. Evolve conceptual thinking |
Performance Criteria: |
1.1 Identify the potential for individualised or specialised research based on current practice |
Element: |
3. Plan an independent project |
Performance Criteria: |
3.1 Integrate individual research, personal ideas and professional realities to confirm the concept for a body of creative work |
Learning Outcomes
On successful completion of this course, you will be able to:
- Apply critical thinking and analytical skills to make judgements about relationships between painting materials, techniques and processes
- Create a body of work that has refined painting skill and technical ability
In this course you will develop the following program capabilities:
- Self-management and planning skills
- Skills to create work to a paraprofessional standard
Details of Learning Activities
Your learning activities will take place in a studio. You will complete exercises and industry style projects. You will also be required to undertake independent study.
RMIT will provide you with resources and tools for learning in this course through our online systems. Learning resources include access to the studios and computer laboratories and relevant software. You will also be expected to make use of the library resources.
In this course, you learn through:
1. In-class activities:
- Peer teaching and class presentations
- Group discussion
- Studio work
2. Out-of-class activities include:
- Reading articles and excerpts
- Preparing for discussion
- Project work
- Independent research
This course is clustered and delievred in conjunction with VART6313C Extend expertise in a specialised art form to professional level.
The course provdies individual specilisation in four areas whcih include painting, printmaking, sculpture and digital art.
Teaching Schedule
PRINTMAKING SPECIALISATION SEMESTER 1 | |||
Week | Course content |
Tasks and Assessment | Elements |
1 |
INDEPENDENT PROJECT A self-motivated and directed body of work spanning the semester and exchange print
|
• learning outcomes
|
1 |
3 | Project material preparation & conceptual development. | Project development | 1-3 |
5 | Draft project proposal due. | 1-3 | |
7 | Individual tutorials | Resolving a body of work | 1-3 |
9 | Peer tutorials | Introduction to peer crit | 4-5 |
11 | Independent exploration,ongoing project work | 1-5 | |
13 | Independent exploration,ongoing project work | 1-5 | |
15 | Studio preparation for assessment | 1-5 | |
18 | Assessment | 1-5 | |
PRINTMAKING SPECIALISATION SEMESTER 2 | |||
1 | Studio: Proposal development | 1-3 | |
3 | Studio: Proposal presentation development
These need to be clear, succinct powerpoint presentations with 5 images |
Resolving a body of work | 1-3 |
5 | Proposals due – 5 min presentations each student
These need to be clear, succinct powerpoint presentations with 5 images |
Presentations | 1-5 |
7 | Studio Work | 1-5 | |
9 | Peer Crit workshop | Peer Crit kit | 4-5 |
11 | Peer Crit workshop | Peer Crit kit | 4-5 |
13 | Studio work | 1-5 | |
15 | Studio preparation for assessment | 1-5 | |
18 | Assessment. | 1-5 | |
SCULPTURE SPECIALISATION SEMESTER 1 | |||
2 | Introduction to unit: •Learning outcomes •assessment criteria •course requirements •studio clean-up process •introduction to project briefs Concept development |
apply knowledge of materials, processes and techniques for a particular art form | 1 |
4 | Tools & materials | manage specialised resources for the particular art form | 1/3 |
6 | Class discussion. Fabrication of sculptures/Concept development/tutorials/technical assistance for individual students. | create work of a professional standard for sale, promotion or use in the public domain | 2/3 |
8 | Studio work | Crit sessions presenting exploration to date | 1-3 |
10 | Studio work | Crit sessions presenting exploration to date | 1-3 |
12 | Tutorials, Research, Studio Practice. | Tools and materials overview | 2-3 |
14 | Group presentation: Technical development. Concept development.Continue to plan new work for semester two. | Evaluate a discuss work in a professional context | 1-5 |
16 | Folio/studio preparation for assessment | 1-5 | |
18 | Assessment | 1-5 | |
SCULPTURE SPECIALISATION SEMESTER 2 | |||
2 | Tutorials, Research, Studio Practice. | manage specialised resources for the particular art form | 2-3 |
4 | Demonstration for Pinkysil, 4PU, Latex. | Tools and materials overview | 2-3 |
6 | Tutorials, Research, Studio Practice | Casting objects | 2-3 |
8 | Tutorials, Research, Studio Practice, | ||
10 | Presentation & update of Sculptural works/Studio Practice | Evaluate a discuss work in a professional context | 1-3 |
12 | Presentation & update of Sculptural works/Studio Practice | Evaluate a discuss work in a professional context | 1-3 |
14 | Studio work | 1-3 | |
16 | Studio preparation | Evaluate a discuss work in a professional context | 1-3 |
18 | Assessment | 1-3 | |
PAINTING SPECIALISATION SEMESTER 1 | |||
Week |
Course content | Tasks | Elements |
1 | Project Proposal Introduction | Exhibition visit & critique | 1/2 |
3 | Marina Abramovic: The Artist is Present
Film & Reflection |
Art work exchange | 1 |
5 | Studio: Proposal development | 1 | |
7 | Studio: Proposal development
Proposals due – 5 min presentations each student |
Proposal Pecha Kucha
Clear, succinct powerpoint presentations with 5 images
|
1/3 |
9 |
Individual Proposal feedback Artists of Influence Brief |
1/2/3 | |
11 | Peer Crit Studio work |
1/2/3/5 | |
13 | Peer Crit /Artist of Influence Presentations Studio Work |
Artist of Influence Presentations | 3/4/5 |
15 | Artists of Influence Presentations Studio Work |
2/3/4/5 | |
18 | Assesssment / moderation week | 1-5 | |
PAINTING SPECIALISATION SEMESTER 2 | |||
1 | Project Proposal revision | 1 | |
3 | Studio work | Studio engagement | 1-5 |
5 | Studio work | Studio engagement |
1-5 |
7 | Revised proposal presentation | 1/3 | |
9 | Peer Crit | Prepare peer crit kits | 1/2/3/5 |
11 | Peer Crit | Contribute to peer crit kits | 1/2/3/5 |
13 | Studio work | Studio engagement | 1-5 |
15 | Studio work | Studio engagement | 1-5 |
18 | Assessment/moderation | 1-5 | |
PUBLIC ART SPECIALISATION SEMESTER 1 | |||
Week | |||
2 | Project Proposal | 1. | |
4 | Sanctioned Public Works | 1. | |
6 | Proposal: Brief 1: PS50 | 1/2. | |
8 | Proposal development | Proposal submission | 1/2. |
10 | Proposal feedback | 1-4. | |
12 | Peer Crit | Prepare peer crit kit | 1-3,5. |
14 | Peer Crit/Artist of influence presentations | contribute to crit kit | 1-3,5. |
16 | Artist of influence presentations | Presentation | 3-5. |
18 | Studio Assessment | 1-5 | |
PUBLIC ART SPECIALISATIONSEMESTER 2 | |||
Week | |||
2 | Proposal revision: Brief 2 Parking Day | 1/2. | |
4 | Brief 2 Parking Day | 1/2. | |
6 | Studio work | Studio engagement | 1-3 |
8 | Studio work | Studio engagement | 1-3. |
10 | Peer Crit | Prepare peer crit kits | 1-5. |
12 | Peer Crit | Contribute to peer crit kits | 1-5. |
14 | Studio work | Studio engagement | 1-5 |
16 | Studio work | Studio engagment | 1-5 |
18 | Studio assessment | 1-5 |
Please note: While your teacher will cover all the material in this schedule, the weekly order is subject to change depending on class needs and availability of speakers and resources.
Learning Resources
Prescribed Texts
You will be required to have your materials purchased prior to the commencement of the project. Please refer to the materials list provided at enrolment. |
References
Other Resources
You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Recommended read
Recommended resources for Printmaking
Imprint’ quarterly publication of the Print Council of Australia.
Cabinet Magazine held at RMIT Library, Swanston street.
Lambert, Susan, Print: art and technique, V&A Publications, London, 2001.
McCann, M., Artist Beware, Watson-Guptill, New York, 1979.
Petardi, A. Printmaking, London, 1959.
Grishin, Sasha, Australian Printmaking in the 1990s, Craftsman House, Sydney 1979
Simmons, Rosemary., Dictionary of printmaking terms, London : A. & C. Black, 2002.
Ross and Romano The Complete printmaker New York, Free Press 1972
D’arcy Hughes, Ann & Vernon-Morris, Hebe The printmaking bible : the complete guide to materials and techniques San Francisco, Calif. : Chronicle Books, 2008
Noyce, Richard. Printmaking at the edge London : A. & C. Black, 2006
Watrous Madison, James. American printmaking : a century of American printmaking, 1880-1980 , Wis. : University of Wisconsin Press, 1984
Recommended websitess:
Crown Point Press, Magical – Secrets: A Printmaking Community
http://www.magical-secrets.com/
http://www.australianprints.gov.au/
http://www.rama9art.org/artisan/2001/july/proverb/bot.html
http://www.mala.bc.ca/~soules/CMC290/imagetxt.htm
http://www.crownpoint.com
www.printcouncil.org.au
Recommended resources for Digital Imaging
You will be required to have your materials purchased prior to the commencement of the project. Please refer to the materials list provided at enrolment.
You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Recommended resources for Sculpture
You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Below is a list of resources that will be relevant throughout the course:
•Glenn Harper, Landscapes for Art: Contemporary Sculpture Parks
•Kirsten Mey, Sculpsit: Artists on Sculpture and Beyond
•Causey, A. Sculpture since 1945 (Oxford History Of Art) Oxford University Press 1198
•Collins J. Contemporary Sculpture Phaidon
•Eleanor Heartney.Art & Today Phaidon
•Uta Grosenick. Art Now, Taschen
•Periodicals, Art Almanac, Current Exhibitions, Public Art
Recommended resources for Painting
Mayer, Ralph. The Artist’s Handbook of Materials and Techniques. Viking Adult; 5th revised and updated edition, 1991
Vitamin P: new perspectives in painting / [contributors] Tomma Abts ... et. al. ; introduction by Barry Schwabsky, London : Phaidon, 2002.
Journals in Library:
Art & Australia
Modern painter
Overview of Assessment
Assessment for this course is on going throughout the semester. Your knowledge and understanding of course content is assessed through completion of a body of work that demonstrates concept development, understanding of materials and adhering to the guidelines of working in a studio.
Assessment Tasks
To demonstrate competency in this course, you will need to complete the following pieces of assessment to a satisfactory standard. You will receive feedback on all assessment.
Painting - Semester 1
Assesment title: Project Proposal
Due W7
Assessment title: Peer Critique
Due W11/13
Assessment title: Artist of Influence presentation
Due W13
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W18
Painting Semester 2
Assesment title: Project Revision
Due W7
Assessment title: Peer Critique
Due W11/13
Assessment title: Artist of Influence presentation
Due W13
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W18
Public Art Semester 1
Assesment title: Project Proposal
Due W8
Assessment title: Peer Critique
Due W12/14
Assessment title: Artist of Influence presentation
Due W16
Assessment title: PS 50 Installation.
Due W16-18
Assessment Title: Visual Diary
Due W18
Public Art Semester 2
Assesment title: Project Revision
Due W8
Assessment title: Peer Critique
Due W12/14
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W18
Graded assessment applies for courses within the Diploma of Visual Art.
Grade CHD
Outline Competent with high distinction
Grading 80 - 100
Criteria Highly developed
Grade CDI
Outline Competent with distinction
Grading 70 - 79
Criteria Well developed
Grade CC
Outline Competent with credit
Grading 60 - 69
Criteria Developed
Grade CAG
Outline Competent achieved - graded
Grading 50 - 59
Criteria Sound
Grade NYC
Outline Not Yet Competent
Grading
Criteria
Grade DNS
Outline Did not submit for assessment
Grading
Criteria
Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant unit of Competency. These are available through the course contact in Program Administration.
Other Information
Feedback
You will receive verbal and written feedback by teacher on your work. This feedback also includes suggestions on how you can proceed to the next stage of developing your projects.
Plagiarism
RMIT has a strict policy on plagiarism. Please refer to the website for more information on this policy.
Special consideration policy (late submission)All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension.
Please refer to the following URL for extensions and special consideration:
http://www.rmit.edu.au/browse;ID=qkssnx1c5r0y;STATUS=A;PAGE_AUTHOR=Andrea%20Syers;SECTION=1;
Please note
While your teacher will cover all the material in this schedule, the weekly order is subject to change depending on class needs and availability of speakers and resources.
Course Overview: Access Course Overview