Director: Professor David Williams, TACTC Melb., TC DipArt RMIT, Fellow RMIT, MEd LaTrobe
The School of Art is a purpose-built institution situated in Australia's national capital. Formally established as a separate institution in 1976, the School of Art has built a reputation as a leading arts educator offering undergraduate and postgraduate training in nine art and craft disciplines -- Ceramics, Glass, Gold and Silversmithing, Painting, Photomedia, Printmedia and Drawing, Sculpture, Textiles and Wood.
Design and the use of computers and multimedia applications are integral parts of the School's philosophy. Design Studies, Multimedia, Field Studies, Papermaking and Edition & Artists Books are exciting study options.
In these discipline areas, leading artists with national and international standing head workshop-based programs designed to prepare students for careers as professional artists. Heads of Workshop and full-time teaching staff are supported by a team of practising artists acknowledged in their fields. Workshop structures and programs have been established to provide a teaching environment closely related to day-to-day professional studio art practice. The School's programs are designed to give students experience in specific art forms while fostering originality and innovation through the integration of concepts and skills.
A special feature of the School of Art is the International Exchange Network. Through this program students, normally in their third year, have the opportunity to study at university schools of art and design in Asia, Europe and North America.
The School of Art is well known for its excellent workshop facilities, specialist library, exhibitions in the School Gallery, the Artforum and Visiting Artist Forum guest lecture program, regular artists-in-residence and participation and support for other initiatives which benefit local artists.
Because of its central location, the School of Art has been able to develop productive relationships with the University of Canberra, the National Gallery of Australia, ScreenSound Australia, the National Portrait Gallery, the National Library of Australia, and other institutions. This enables School of Art students to develop particular contacts and opportunities to complement their studio-based practical studies which are designed to equip graduates for work as practising artists.
The School of Art aims to give students experience in specific art forms, fostering originality and professional levels of execution through the integration of concepts and skills, and to provide each student with a professional studio artist's working environment and an individual work space. The School uses a workshop system as the basis of a highly specialised teaching program which offers major studies in the following disciplines: ceramics, glass, gold and silversmithing, painting, photomedia, printmedia and drawing, sculpture, textiles and wood.
The principle underlying the operation of each work shop is the establishment of the closest possible resemblance between it and day-to-day professional art activity.
In meeting the needs for art education in the national capital and the nearby region, the School of Art also attracts students from other parts of Australia and overseas who are seeking the special opportunities which are available in Canberra.
The School interacts extensively with the community through access to non-award programs, artist-in-residence activities, Art Forum Lectures, exhibitions, summer schools, teacher in-service programs and special projects such as specialised symposia and workshops.
The School of Art Gallery is one of the major exhibition spaces in Canberra. It aims to show the variety and strength of contemporary Australian visual arts through a diverse program. The Gallery Curator initiates exhibitions for the program which include touring exhibitions and selected exhibitions to coincide with Open Day. Graduating students' work is displayed at the completion of each year and each academic year begins with an exhibition of work by postgraduate students.
The CSA Foyer Gallery is a community access space managed by the CSA Gallery.
Photospace Gallery primarily exhibits photographic work as part of the Photomedia Workshop activities. The general public is invited to visit these galleries.
Throughout the academic year, the Art Theory Workshop presents a free public lecture series Art Forum and Visiting Artists Forum featuring members of the local national and international arts community. Students are required to attend lectures as an adjunct to their studies and as a means of keeping abreast of current thought and practice in the visual arts. The public is invited to attend these lectures.
Single courses or combinations of courses for students who will also be enrolled in programs at the University of Canberra (eg. Education, Liberal Studies, Environmental Design, etc.) are available as Complementary Studies.
The School of Art has established an international network of working partnerships with comparable institutions to facilitate a student exchange program. Under these arrangements, students in their third year may apply to study for one semester at university schools of art and design in Asia, Europe and North America. No fees are payable at the host institution, although you must remain enrolled at CSA for the duration of the program and the credit for work undertaken in an approved study program is accepted by the School of Art. Costs of travel and accommodation are the student's private responsibility. Students interested in taking part in the Student Exchange Program should contact the CSA Executive Officer, on (02) 6125 5803 for further details.
The School of Art is able to provide very limited materials for coursework. In addition, students should expect to outlay a minimum of $1,000 per annum depending on the major study area. An indication of the order of expense is available from the Workshops. Materials and minor equipment can be purchased at competitive prices through the Art Supply Shop, which is located on campus.
1.1 The School does not encourage students to exhibit their work off campus during their undergraduate years. For academic reasons, work produced for exhibition purposes may not always be in the best interests of student progress, and in any event should be seen as work done under guidance. It is considered that the student has reached a certain level of expertise at the completion of their degree, at which point the School of Art endorses their work and supports their endeavours as exhibiting artists.
1.2 Exhibitions and entry to competitions coordinated under the auspices of Workshops and with staff supervision, incorporating a public relations or recruitment function, representing the School in the wider community, may be an exception to this regulation, with the approval of the Director. The ANU School of Art must be acknowledged in all such exhibitions and competitions.
2 End of Year Graduating Student exhibitions
2.1 This major exhibition is presented throughout the School of Art, incorporating the School of Art Gallery, Foyer Gallery, Photospace and other areas within workshops.
2.1.1 Students completing their program(s) mid year prepare an assessment presentation in the relevant workshop or School Gallery spaces if they are available and are invited to participate in the end of year major exhibition as described in 2.1.
2.2 To be eligible to exhibit, students must have successfully completed all courses within the relevant degree/diploma.
2.3 All graduating students are expected to exhibit.
2.4 This exhibition is a school-wide responsibility, coordinated by the Gallery, working with a Student Committee. All Workshop Technical Officers are expected to contribute towards the preparation of spaces and students are responsible for the installation of works.
2.5 These exhibitions take priority over any other exhibition which may be planned under item 1.2.
2.6 The sale of student work, not purchased under the EASS Scheme, is subject to a commission collected by the School of Art Gallery.
2.7 Proceeds from the commission will be used for student scholarships and the Student Association will have input to this via a representative on the Academic Committee.
3.1 February and March are set aside in the School of Art Gallery program each year for a series of Postgraduate exhibitions. While there is no such commitment for the mid-year postgraduates, due to the varying numbers graduating at that time, the School and relevant Work shops are committed to assisting postgraduate students locate suitable spaces either on or off campus.
3.2 In this context, postgraduate students are at liberty to approach other galleries to exhibit their assessment work. The approval of the Postgraduate Coordinator and Workshop Supervisor is required. All such exhibition proposals and subsequent exhibition material must acknowledge the status of the artist as a postgraduate student of the ANU Canberra School of Art.
3.3 The sale of student work is subject to a commission, collected by the School of Art Gallery if the student is exhibiting in a commercial venue, a shared percentage shall be negotiated.
The following is a guide to the nature of study in each Workshop. Combined Programs, Bachelors Degree, and Diploma programs are available. As part of their programs students may include computer studies involving the Australian Centre for the Arts and Technology, the NITA Macintosh Laboratory or the School of Art Computer Art Studio. The School of Art acknowledges the importance of, and provides for, a safe and healthy working environment. As part of the curriculum of all Workshops, issues of occupational health and safety are included and emphasised. Workshops provide for the training and use of equipment, materials, techniques and processes which ensure that occupational health and safety issues have been adequately dealt with and considered. In each course undertaken within Workshops students are provided with detailed outlines of the objectives, duration and requirements of projects together with assessment criteria.
Core Studies serves as a common introduction to all workshops at the School of Art. In Semester 1 students spend four days per week in the Core Studies Workshop. Through studio classes in 2D and 3D Studies, General and Life Drawing, courses aim to give all first-year Bachelor of Arts (Visual) students basic skills and a common language in visual communication. Technical and conceptual development of rigorous observational studies and problem-solving studio projects. The reference to and discussion of works of art and their aesthetic and historical contexts is a feature of the practical studio program. This, in conjunction with the Art Theory component provides students with the means of assessing the development of their work in an highly informed environment.
The Art Theory Workshop aims to develop the analytical skills necessary for students of the visual arts. These include looking at images and objects with a critical eye, selective reading, and the ability to write and speak effectively about works in different media. Students are introduced to critical and historical writings dealing with the visual arts and cultural theory in general. After a one year program in Core studies focusing on art of the modern period second and third year students choose from a menu of advanced courses which vary from year to year in response to expressions of student interest and staff expertise. The Art Theory program in Core Studies introduces students to key moments in the history of modern art, in the West, in the Asia-Pacific region and in Australia. The two courses serve as an introduction to the specialist languages used in discussing the visual arts and to the strengths and weaknesses of various approaches, both contemporary and historical. The aim is to teach a basic artistic vocabulary and to impart a sense of the richness of the visual traditions which we inherit. First year Art Theory classes are held at the National Gallery of Australia. This initiative provides students with a rich learning environment and direct access to works in the National Collection.
The Ceramics Workshop has a long-established tradition and has become prominent within Australia for its facilities, teaching program and student successes. As the only tertiary institution conducting ceramics programs within the Australian Capital Territory, the School caters for a wide range of ceramic interests and modes of expression -- from the more conventional functional pottery to exploratory and innovatory figurative and sculptural ceramics. This diversity is reflected in the range of programs and study programs available in the Ceramics Workshop. The facilities of the Workshop are extensive and offer some of the best studio spaces and ceramic equipment in Australia. Many of the thirty kilns within the Workshop are student built, especially the wood-firing and top-hat trolley kilns, and supplement the other gas, electric, raku, blackfire and test kilns. Along with clay-making equipment and other associated machinery, these facilities offer almost unlimited potential for students artistically to explore the versatile ceramic medium. The three-year Degree program allows for the mastery of skills and the promotion of conceptual development within a specialisation of the student's choice. During the first three semesters of study in the Ceramics Workshop students are introduced to a broad range of ceramic skills, methods of production and kiln and glaze technology, while their aesthetic sensibilities are developed through a project system of teaching. The teaching program is based on a rotational `block system' of half semester duration, where a group of students remains with one specialist teacher investigating a particular aspect of ceramics, such as wheelthrowing, slip casting, wood firing, etc. In the final two years of study students are encouraged to diversify and specialise according to individual interests and capabilities, under the guidance and supervision of staff. The two-year Diploma is presently offered both as a day program or a part-time evening program (catering for many employed Canberrans) and has an orientation to more conventional approaches to clay, especially wheel-thrown pottery. This can also be undertaken by Distance Mode made through the Distance Diploma Pathway. A compulsory workshop fee applies for full time students, $75 per semester; and for part-time students, $75 per year.
The Glass Workshop was established in 1982 with the intention to establish a facility in Australia comparable with the best glass studios in teaching institutions throughout the world. This has been achieved by creating an atmosphere of professionalism and providing students with a sound understanding of the diversities of glass media. The breadth and variety of work to which students are exposed creates continuous stimulation and inspiration to explore this versatile medium. On completing their programs, students are prepared and equipped to pursue their chosen directions in the field of glass. The Workshop is one of the best equipped of its type anywhere, and provides for a wide range of needs, from the many requirements of `hot' glass (glassmaking, blowing), lampworking and kilnforming, as well as associated areas of mouldmaking, finishing and cold processing. Equipment of outstanding quality is provided by the Workshop and students are familiarised with its use and function at the beginning of their studies. The Workshop offers three-year Degree and two-year Diploma undergraduate studies. Degree students commence their major study in the Workshop in the second semester of the first year. This period provides a sound basis of understanding of the material, its processes and techniques, through which students develop technical skills, individual creativity and a critical ability. In subsequent semesters students are required to submit a written proposal with visual representation of the work they intend to pursue. Through this process, students develop their own artistic identity and the technical basis for future work. The objective is for students to work in and gain as much experience as possible in a broad spectrum of glass techniques and processes, in order to understand the versatility of the medium. In the final year of study, students select and specialise in a particular area of work, determined by their experience and interest and by the program of study approved in their individual work proposals. Students are also required to be involved in the manufacture of glass (from raw materials) produced in the Workshop. This provides a basic understanding of the physical and chemical properties of glass. Slide lectures, demonstrations, films, field trips and a lively visiting artist program are also an integral part and regular feature of the program. These broaden the student's experience and attitude to glass as a material for expression.
The Gold and Silversmithing Workshop was established to prepare artists to continue and to extend the tradition of the craft of Gold and Silversmithing. This tradition has long been an important basis for artistic expression and exploration using precious metals and other materials. The programs aim to provide students with professional skills in designing for and working with precious and other metals and materials, and to produce objects of high aesthetic and technical standard for both functional and decorative purposes. Throughout the courses, design concepts will be dealt with on a day-to-day basis as students address particular problems in their projects. The workshop environment and method of operation is an important aspect of the Gold and Silversmithing courses. Students are expected to be fully involved in all activities, such as Workshop equipment and tool maintenance, with the aim of fully preparing them to establish and conduct an independent workshop upon graduation. The Workshop has facilities for most metalworking techniques and students are able to experience, by demonstration or personal application, the traditional methods, in addition to the use of equipment, machines and media related to the contemporary development of Gold and Silversmithing. The facilities have been specially designed to achieve the aims of the course and include provision for the following processes: casting in various materials; cold and hot forging; lathe work and machining; tool making; metal finishing; anodising; polishing; and design studio techniques. The processes and technologies covered by the courses include: casting in metals and plastics; cold forming and forging; fabrication; metal finishing; and toolmaking and machining.
The Painting Workshop aims to equip its graduates with the ability to develop their ideas visually through processes of research, discussion and reflection by drawing on an appreciation of art history and theory, and by fostering an understanding of the range of contemporary practice. The Workshop programs encourage students to be self-reliant and self-motivated, and to be resourceful and inventive in their use of ideas in order to explore the full expressive potential of their materials. The Workshop emphasises the development of students' capacities to reflect critically on their own works and to be able to communicate effectively their intentions in a lively exchange of ideas. Through this approach, students generate attitudes and skills which ultimately support them in their professional practice.
Studio facilities include a multi-purpose tool shop containing all equipment necessary to work wood, other soft materials and some metals. A dedicated drawing space with specialist lighting is available at all times. The open-planned, well-ventilated studios are augmented by a specially designed extraction room for toxic spray applications. Word processing, computing, photocopying and slide projection equipment are available to students who may wish to make the application of these skills part of their program of study. The early stages emphasise study through closely monitored projects designed to expand students' creative and technical skills while laying the foundations for the development of critical judgment. As the program progresses more emphasis is placed on individual investigation and research. This allows first-hand experience of the problems and considerations involved in independent activity as an artist. A one day a week intensive drawing session incorporates both life drawing and exploratory drawing, taught by visiting artists with national and international reputations, are designed to develop visual research skills and broaden the range of materials that are normally used. The Seminar program deals with the history and theory of painting introducing themes and issues in painting for analysis and debate.
The Photomedia Workshop has existed in its present form since 1982 and provides programs and facilities allowing students of the visual arts to engage in the process of image making by exploring the medium's visual and conceptual possibilities. Located close to the considerable photographic collections of the National Gallery of Australia, the National Library of Australia and other national collections, the Workshop provides an excellent environment for study and research. Instruction is provided in all areas of photography. Students are encouraged to adopt a conceptually creative and intermedia approach. Alternative photographic processes, computer manipulation, interactive multimedia and media relating to drawing and printmedia can be used within the Workshop. A variety of structured programs and set projects is offered, including technical programs, the history and theory of photography and specialist workshops. Generally, these programs occur in the first half of the Degree and Diploma programs. In the latter semesters personal creative development is emphasised and students propose independent study programs. Progress is monitored through individual tutorials and reviews where work is presented for critical appraisal. Regular field trips and visits to galleries and museums are organised each year.
The Workshop provides excellent facilities and equipment for production of a full range of art work and processes in photographic, computer and audio-visual media. Three large studio areas are provided for personal workspaces, each student being allocated a small workspace which includes furniture and display facilities. In addition generous studio spaces provide for photofinishing, display and tutorial areas. All studio spaces are air conditioned. There are nine darkrooms, including a film processing area, a darkroom for cibachrome and alternative photographic processes and darkrooms providing full colour and black and white print and processing facilities. Students are required to provide their own cameras and basic photographic and graphic tools and equipment. The Workshop has a store from which students may borrow some additional photographic equipment and accessories. Photospace is an exhibition area within the Workshop organised and directed by the staff and students. It exhibits a changing program of student, staff, local and interstate shows. This facility provides excellent opportunities for regular assessment of work produced and for the viewing of exhibitions which complement the Workshop's educational programs.
The Printmedia and Drawing workshop aims to equip its graduates with a range of practical, critical and research skills which will enable them to realise fully the conceptual and visual possibilities of drawing, printmaking and related media, in their professional practice. The Workshop provides a comprehensive program including technical instruction in all printmaking technologies, plus typography and the artist's book, drawing and studio theory components. An environment is provided where students can, through discussion and critical evaluation, develop self reliance, confidence and the ability to communicate effectively. Undergraduate programs balance traditional craft skills and contemporary modes and application of these skills. A variety of structured programs and set projects is offered. There is the opportunity to gain a technical grounding in media selected from a menu which includes relief printing, lithography, screen printing, etching, digital imaging, papermaking, typography and book design. Drawing is considered a fundamental activity in the workshop and is integrated into the timetable for the first four semesters. The drawing program spans experimental, life drawing and conceptual approaches. Complementing studio classes and drawing is a studio theory program developed to provide an historical, theoretical and critical context for students working in printmedia and drawing. The national collection of prints, works on paper and artists books housed at the National Gallery of Australia and the National Library of Australia, are a valuable resource in these studies. Later, individual investigation and research is emphasised and students propose independent study programs. Progress is monitored through individual tutorials and reviews where work is presented for critical appraisal. The printing studios are equipped with four lithography and offset presses, four intaglio presses, four relief presses and six screen printing tables. There is a papermaking studio with long fibre and rag paper facilities and an Editions and Artist's Book facility. Four large studio areas are provided for personal work spaces, each student is allocated a work station, including a desk and wall space. There is a networked Macintosh computer room for image manipulation, graphics and photo process applications. The Printmedia and Drawing workshop benefits from a continuing visiting artists program which incorporates the expertise of artists, printers, publishers and designers into the program. Students benefit from field trips, both interstate and into the landscape.
The School of Art Sculpture Workshop provides an excellent environment for study and research with academic staff of nationally and internationally recognised artists, advanced technical facilities, and proximity to Australia's national collecting institutions, providing opportunities comparable with other acclaimed sculpture teaching institutions in the Asia-Pacific Region. Students are prepared for careers in the visual arts and many graduates of the Sculpture Workshop have developed successful careers as high-profile artists, curators, and lecturers as well as in other related fields, including prestigious awards and commissions, and have been selected for scholarships and further studies around the world.The Sculpture Workshop promotes all forms of contemporary practice and media, while also providing students with a comprehensive understanding of the basic conventions and traditions of sculpture. The Staff provides high standard expertise to meet the conceptual and skills-based requirements of the program, while a full time technical officer, and a dynamic program of distinguished visitors and artists-in-residence from Australia and overseas support staff and student endeavours. Undergraduate programs include a two-year Diploma of Art, a three-year Bachelor of Arts (Visual) Pass Degree, and a four-year Bachelor of Arts (Visual) Honours Degree as well as combined programs with the ANU Faculties of Arts, Asian Studies and Forestry. Applications are welcome from school leavers and mature-age students Australia wide and internationally. Workshop Staff interview all prospective students and at this time applicants are required to present a comprehensive folio of recent work detailing examples of three-dimensional exploration, development of ideas and good observational drawing. For applicants who may have had little opportunity to work in a sculptural medium, an awareness of contemporary sculptural practices is an advantage. Undergraduate programs in sculpture emphasise study through a closely monitored program, which expands the student's critical and technical skills. Early projects establish the development of techniques ranging across the processes of casting, carving, modelling, constructions, assemblage, installation and performance. Drawing is an important component of the program that assists students to develop spatial and sculptural modes of expression through observation and media exploration. Studio Theory seminar groups enhance the program by encouraging students to understand various contexts for making and discussing art through theoretical and art historical references. Regular visits to various galleries, museums and art events are organised each year. Later, emphasis is placed on self-directed research through the development of individual work proposals created in consultation with Workshop Staff. This encourages a critical framework for concepts and processes, which leads to creative independence. Progress is monitored through individual tutorials, group critiques, reviews and individual assessments where work is presented to peers and/or staff for critical appraisal. The Sculpture Workshop is purpose built and very well resourced. Well-trained staff, precision equipment, and a full time technical officer provide for the necessary range of skills and processes encompassed by the programs. Numerous opportunities exist for students to explore diverse media and techniques including many facets of carving, modelling, casting hot and cold, (eg. bronze and aluminium foundry, and cement-fondue and plaster), and construction. Metal fabrication is assisted by a comprehensive range of metal working tools including MIG, TIG, Oxyacetylene and stick welders, metal bender, guillotine, Oxy-cutters, forge etc. Construction in timber and related media is facilitated by an extensive range of equipment including drill presses, bench saw, band saw, radial arm saw, bench sander etc. Furthermore the use and manipulation of various unconventional sculptural media and combinations of media is actively encouraged.
Sculpture students have access to a large range of inside and outside workspaces including the Drawing, Modelling and Installation Rooms and the Sculpture Courtyard. Students wishing to pursue particular projects or activities can often book these spaces. The Workshop allocates each student an individual workspace in the later part of the study program and furthermore it facilitates generous access arrangements to the open plan studios.
Students are encouraged to engage in cross-disciplinary studies. The Complimentary Studies Program facilitates access to the resources of the School's other Major Workshops and studios, which include the Papermaking Studio, the Edition and Artist Book Studio and the Computer Art Studio. Students may enrich their study program by engaging in exchange programs with universities overseas and more locally from experiences gained through the School of Art Field Studies Programs that focuses on exploring regional areas of Australia. Art Forum is a public art program renowned for featuring visiting artists, crafts people and art theorists who are invited to lecture on a wide range of topics. The School of Art Gallery, Foyer Gallery and Photospace provide additional stimulus with a dynamic program of diverse exhibitions and symposiums.
For general Workshop inquiries:
The Textiles Workshop provides programs and facilities for students wishing to explore the broad range of textile studies, studio practice and research. Programs aim to prepare students for careers as textile designers, small business producers, practising artists, teachers, curators, community artists and for employment in public art. With active academic staff, excellent technical facilities and located close to Australia's national collecting institutions, the Workshop provides an excellent environment for studio practice, study and research.
The Textiles Workshop promotes a creative and innovative approach to textiles based on a thorough technical understanding of the medium and knowledge of the historical and contemporary context. Concept and ideas development parallels technical training, allowing students to use the textile medium to express theory, personal concerns, concepts and ideas to develop an individual approach to their art practice. Students develop an historical perspective and conceptual, creative and critical abilities.
Applications are welcome from school-leavers and mature-age students Australia wide and internationally. All prospective students are interviewed and must present a folio of recent work. The folio can consist of drawings, sketchbooks, textiles and other forms of artwork, reflecting the applicant's interests and abilities.
The Textiles Workshop offers a three-year Degree, fourth Honours year and a two year Diploma program. Students receive full instruction in the diverse range of traditional and contemporary textiles from weave, tapestry and surface design to felt-making, dyeing, rug-tufting, basketry and embroidery. The workshop is well resourced with equipment to give students the knowledge of processes and develop a range of skills.
Later, students are encouraged to pursue their own goals and establish an artistic identity through self-directed projects developed in consultation with Workshop staff. Progress is monitored through individual tutorials, group discussions and reviews where work is presented to staff and fellow students for critical appraisal. Regular visits to galleries and museums are organised each year.
The well-equipped Workshop allocates each student an individual work area in the open plan studio, providing a stimulating environment that encourages an exchange of ideas. Technical assistance is available and facilities include tapestry looms for large- and small-scale work, floor and table looms for weaving, two computer-linked dobby looms for computer-aided weaving, a fully equipped dyehouse, modern hank and yarn winding machinery, a fabric printing facility, sewing machines and rug-tufting equipment. In addition the Workshop has areas for display and general drawing and design. Facilities for computer-aided design are available in the Workshop with specialist textile software and graphic packages for the exploration and development of colour, pattern and imagery in relation to both traditional and contemporary textiles. Students can take cross-disciplinary practices and are encouraged to access the resources of the School's Workshops and studios including the Papermaking Studio, the Edition and Artist Book Studio and the Computer Art Studio.
The Wood Workshop provides comprehensive skills-oriented courses of study intended primarily for students who ultimately wish to work as designers/makes. The studnet with a paced core program upon which both skills and theory components can be logically assembled. As a natural outcome, this is extended to the challenge of real and hypothetical design briefs. The latter encourage and supprt the development and extension of their design and making skills in the use of wood products as media for functional aesthetic expression. There is the growth of a skills base and the establishment of the fundamentals of a personal expressive language. The emphasis of the Workshop is directed to professional practice. A Visiting Artist program establishes contact with professionals and focuses on clients, design, making, and such outcomes as exhibiting and marketing. This is the reality of where most graduates will find themselves. The academic relationships possible between the School of Art and the Wood Workshop together with the proximity of Australia's national collecting institutions make the Workshop unique in Australia for original investigation. The fundamental basis of the workshop is to train its students to think, explore and work with forms in wood.
The Workshop thus provides a context for Graduate Studies. In these there is emphasis of the development of the student's prior practice in practical and conceptual terms. It is seen by the workshop as a time of maturation; the putting in place a known, deeply understood and reasoned skill. Applicants to the graduate programs are selected on the basis of prior achievement, the merit of the submitted study proposal and the availability of appropriate resources.
The Papermaking Studio both facilitates required study in the Printmedia and Drawing Workshop and provides access for other students who wish to learn hand-made paper's methods and vocabularies through complementary studies. The studio is equipped with a Hollander Beater and Stamper enabling students to encounter both European and Oriental techniques, and to synthesise the outcomes of both. Students are encouraged to experiment with different papers and formats such as rag and long-fibre papers, as well as internal and surface markmaking.
The Edition and Artist Book Studio was established in 1996. It is an integral part of the Printmedia and Drawing Workshop and is well set up with an etching press, letterpress, nylor plate making and bookbinding facilities. The studio both facilitates required study in the Printmedia and Drawing Workshop and provides access for other students through Complementary Studies.
Students internally register within a Major or Honours to undertake a field research in support of an individual Course work proposal or students may enrol in Complementary Studies. Environment Studio will be offered in 2002 (See description under Complementary Studies).
Prerequisites: Registration in Field Studies requires the approval of the appropriate Course Supervisor. A sufficient number of participants with research interests in the same field location and the allocation of School resources are also a requirement for a Field Study to be offered.
Contact: Each Field Study spans one semester and involves 15 days of fieldwork at the same field location in the form of three 5 day field trips, usually Wednesday to Sunday, in weeks 2, 6 and 10. Transport is provided. A Field Coordinator is responsible for the academic and logistic coordination of the group in the field. Periods between field trips allow for further development and critical appraisal of work back in the studio as part of the Major, Honours or Graduate Course. Field experts and members of local communities may consult with the group to enrich the field experience. A Field Study usually culminates with a group exhibition of artwork, performance or published text produced as an outcome of the participants' individual field research. The exhibition is usually curated by the Field Coordinator and is held in the following semester. The exhibition takes place at the School and often at a venue on or near the field location. Contribution to the exhibition is not compulsory.
Syllabus: Field Studies provides students with logistic and academic assistance to undertake sustained field research in the wide variety of landscapes easily accessible from Canberra -- from alpine to coastal, semi-arid to rainforest, from wilderness to rural to urban. Field research may be orientated to the formulation of ideas, the seeking of inspiration, the gathering of materials and visual data or the undertaking of site specific work. Field Studies have taken place in wilderness reaches of the Kosciuszko National Park, in aesthetically remarkable compartments of the Monga State Forest and on the vast expanses of the Hay Plain, NSW. Recently, Field Studies have been conducted in urban/industrial Sydney, along the Shoalhaven River, on the Far South Coast of NSW and on the ANU campus itself. Students from any discipline in the School may undertake Field Studies. Field Studies also provides participants with temporal and conceptual space for independent analysis, reflection and contemplation as an essential part of the material construction of artwork. The repeated return to the field location and the collaborative, inter-disciplinary and outreach nature of Field Studies greatly assists the development of participants' work proposals. A Field Study constitutes a multi-disciplinary group. The exact nature of the field research and/or art production is determined by each participant's work proposal.
Assessment: The assessment of research and artwork production associated with Field Studies is assessed as an integral part of the Major Study or Honours assessment. (See details listed under relevant Course entries). The Field Coordinator also contributes to the Assessment Panel.
Further information: John Reid, Convener, Field Studies. Telephone + 61 2 6125 5809. E-mail john.reid@anu.edu.au
Land$cape Cadia Region near Cowra, NSW
Field Coordinator: Mandy Martin
The Study centres around the Belubula River in the Lachlan Catchment, part of the vast Murray Darling Basin. Participants will be orientated to the features of the site which include pastoral properties, mining operations and an associated water pipeline.
The Cadia Region is part of the extensive traditional lands of the Wiradjuri people and contains several cultural sites. The Region also has a history of second settler exploration and gold/copper mining dating back to the 1850s. There is ample evidence of early Chinese diggings and early mining leases. Renewed interest and exploration in the 1950s led to the identification of the Cadia Hill gold deposit. Cadia Hill Gold Mine, (1996) and the adjacent Ridgeway Gold Mine, (2001) make Cadia now the largest gold mine in Australia.
The Thring Pastoral Company has a property adjacent to the mine and has been involved in the respective Environmental Impact Surveys and Development proposals. The Company is working with the Mine, CSIRO, Environment Australia and Landcare to protect the endangered Superb and Turquoise Parrots and the Yellow-Bellied Sheathtail Bat and their threatened white box community. Other significant fauna in the area include: platypus, echidna, frogs, reptiles, birds, bats, kangaroos, possums, gliders-possums and swamp wallabies.
Thring Pastoral Company will provide in-kind support to the Field Study through provision of a powered camping site and 4WD transport where needed. There will be a good opportunity for in situ generation of artwork and written text.
Mandy Martin is a visual artist and lecturer, National Institute of the Arts, Australian National University. She has a national and international reputation ad is represented in all major collections including the National Gallery of Australia. She currently holds an ArtsACT Creative arts Fellowship. Her most prominent work is Red Ochre Cove, Main Committee Room, Parliament House, Canberra. She is Senior Author of Tracts: Back O Bourke (Canberra, 1996); Watersheds: The Paroo to the Warrego (Canberra, 1999); and Inflows: the Channel Country (Canberra, 2001).
Mandy and her husband, environmental consultant and grazier, Guy Firtzhardinge, own the property used as a base location for this Field Study.
Further information: John Reid, Convener, Field Studies. Telephone + 61 2 6125 5809. E-mail john.reid@anu.edu.au
The Canberra School of Art offers the following programs with major studies in any one of the following disciplines: ceramics, glass, gold and silversmithing, painting, photomedia, printmedia and drawing, sculpture, textiles, wood.
In 2002, the Canberra School of Art will offer the following undergraduate programs:
Bachelor of Arts (Visual) Pass (3 yrs)
Bachelor of Arts (Visual) Pass & Hons (4yrs)
Combined program Bachelor of Arts/Bachelor of Arts (Visual)
(5 yrs) (4 yrs for new students)
Combined program Bachelor of Asian Studies (Specialist)/Bachelor of Arts (Visual) (5 yrs)
Combined program Bachelor of Asian Studies/Bachelor of Arts(Visual) (4 yrs)
Combined program Bachelor of Arts (Visual)/Bachelor of Science (Forestry) (5 yrs)
The Canberra School of Art offers single courses and combinations of courses as majors for students enrolled in programs at the University of Canberra, Liberal Studies and Graphic Design.
This program is normally undertaken as two-years full-time, although part-time study is available in some workshops. A candidate qualifies for the diploma by completing courses in one discipline offered by any of the School's nine workshops to the total value of 96 units.
Three year Pass degree, and fourth year Honours
Applicants should refer to the university's Handbook for details
To be admitted to the program, a candidate must comply with the Institute of the Arts Undergraduate Admissions Rules.
The Majors available in the Bachelor of Arts (Visual) are listed in Attachment A.
The courses and classes available in the Bachelor of Arts (Visual) are listed in Attachment A:
In order to complete the program, a candidate must accumulate 144 units and successfully complete:
a) A Major comprising the units Major 1 to 5 in one workshop to the value of 60 units;
b) Complementary Studies 1-5 in approved Classes to the value of 30 units:
c) Art Theory from the List of Art Theory courses to the value of 36 units:
d) The course Core to the value of 18 units.
To be admitted to the fourth year of the program at Honours level, a candidate must have:
successfully completed three years of the Bachelor of Arts (Visual) to the value of 144 units (including Major 4 and 5 of the three year pass degree); have completed program requirements normally at the level of Distinction, and have had their Research Proposal approved by the School of Art Academic Committee, on the recommendation of the Admissions Panel. In exceptional circumstances candidates who have successfully completed 132 or 138 units may apply to complete the remaining courses on a part-time basis in the year following the completion of their Honours program.
hold an equivalent 3 year degree from another institution approved by the School of Art Academic Committee; and comply with the Institute of the Arts Undergraduate Admission Orders, and be
The process of development of the application is spelt out in this paper, in the separate guidelines, and in the questions incorporated in the application form.
The normal sequence for undertaking the program is shown in the table below.
granted status to the value of 144 units.
7. HONOURS PROGRAM REQUIREMENTS
A candidate qualifies for the fourth year Honours degree by completing courses to the value of 192 units comprising:
a) A Major comprising the courses Major 1 to 5 and Hons Studio in one workshop to the value of 96 units;
b) Complementary Studies 1-5 in approved Classes to the value of 30 units;
c) Hons Research to the value of 12 units;
d) Art Theory from a List of Art Theory Classes in Attachment A to the value of 36 units;
Except with the approval of the Academic Committee, a candidate may not attempt an honours course for a second time.
A candidate who has successfully completed the third year of the Bachelor of Arts (Visual) degree, and who fails to qualify for the Honours degree, may be admitted to the Pass degree.
A candidate who has successfully completed the third year of the three year Bachelor of Arts (Visual) Pass degree, or who holds an equivalent 3 year degree from another institution, and whose progress at the end of the first semester of the Honours year is considered by the Academic Committee not be of Honours standard, may be required to withdraw from the program.
A candidate who has successfully completed the third year of the Bachelor of Arts (Visual) and whose progress at the end of the first semester of the Honours year is considered by the Academic Committee not to be of Honours standard, may be transferred to the Year 4 of the Pass degree.
If a candidate successfully completes all the courses prescribed in the first year of the program order, the Director may, on the recommendation of the relevant Head of Department, approve the candidate enrolling, in one other subsequent year, in fewer courses than prescribed for that year in the order. Only in exceptional circumstances may a candidate seek the permission of the Academic Committee to undertake a part-time enrolment within the first year of the program.
With the permission of the Director, a candidate may enrol in a course at another institution or undertake other work that is approved instead of a course in the order in accordance with the Status Orders.
Candidates undertake Complementary Studies in approved Classes by negotiation and/or folio presentation, with the written permission of their Head/s of Workshop. Some workshops may require candidates to undertake two sequential courses in the same Class, with a pass in the first course/class a prerequisite to enrolment in the second course. Candidates may undertake two courses of `major' studies, which do not need to be sequential. Should a candidate fail a Complementary Studies course, he/she is not required to repeat that Class but may select a replacement.
Candidates must undertake the courses Major 3, 4, and 5 in the one workshop. Candidates may apply to change their Academic Plan by the fifth day of the semester in which they enrol in Major 3.
If a candidate has successfully completed all courses prescribed for the first year of the program, a candidate may apply to the Academic Adviser through the Head of Workshop, on the appropriate form to take leave of absence for a period not exceeding 12 months, stating reasons. This must occur on or before the HECS census date of that semester.
(Four year Pass and Honours degree)
(This program only relates to candidates who enrolled in the four year program prior to 1999)
Applicants should refer to the university's Handbook for details
To be permitted to continue into the fourth year of the program at Pass level, a candidate must normally have successfully completed three years of the Bachelor of Arts (Visual) to the value of 144 units including the course Major 4.
The Majors available in the Bachelor of Arts (Visual) are listed in Attachment A.
The courses and classes available in the Bachelor of Arts (Visual) are listed in Attachment A:
5. PROGRAM REQUIREMENTS (PASS)
A candidate qualifies for the four year pass degree by completing courses to the value of 192 units comprising:
To be admitted to the fourth year of the program at Honours level, a candidate must have successfully completed three years of the Bachelor of Arts (Visual) to the value of 144 units (including Major 4 of the four year pass degree); have completed program requirements normally at the level of Distinction, and have had their Research Proposal approved by the School of Art Academic Committee, on the recommendation of the Admissions Panel. In exceptional circumstances candidates who have successfully completed 132 or 138 units may apply to complete the remaining units on a part-time basis in the year following the completion of their Honours program.
7. PROGRAM REQUIREMENTS (HONOURS)
A candidate qualifies for the four year Honours degree by completing courses to the value of 192 units comprising:
a) A Major comprising the courses Major 1 to 4 and Hons Studio in one workshop to the value of 84 units
b) Complementary Studies 1-4 in approved Classes to the value of 24 units
c) Hons Research to the value of 12 units;
d) Art Theory from a List of Art Theory Classes in Attachment A to the value of 36 units;
e) Core to the value of 30 units;
f) Workshop Introduction in the same discipline as the Major to the value of 6 units.
Candidates normally complete their studies in a full-time mode .
The Honours degree builds on an already achieved high level of achievement. Objectives are:
The candidate will develop a highly focused individual Honours Studio program (36 units), and also undertake Individual Research (12 units) integral to their specialisation, in consultation with their relevant Heads of Workshop.
If a candidate successfully completes all the courses prescribed in the first year of the program order, the Director may, on the recommendation of the relevant Head of Department, approve the candidate enrolling, in one other subsequent year, in fewer courses than prescribed for that year in the order.
With the permission of the Director, a candidate may enrol in a course at another institution or undertake other work that is approved instead of a course in the order in accordance with the Status Orders.
Candidates undertake Complementary Studies in approved Classes by negotiation and/or folio presentation, with the written permission of their Head/s of Workshop. Some workshops may require candidates to undertake two sequential courses in the same Class, with a pass in the first course/class a prerequisite to enrolment in the second course. Candidates may undertake two courses of `major' studies, which do not need to be sequential. Should a candidate fail a Complementary Studies course, he/she is not required to repeat that Class but may select a replacement. Year 1 candidates must undertake Complementary Studies in the Core Studies Class.
Candidates must undertake the courses Major 3, 4, and 5 in the one workshop. Candidates may apply to change their Academic Plan by the fifth day of the semester in which they enrol in Major 3.
If a candidate has successfully completed all courses prescribed for the first year of the program, a candidate may apply to the Academic Advisor, through the Head of Workshop, on the appropriate form to take leave of absence for a period not exceeding 12 months, stating reasons. This must occur on or before the HECS census date of that semester.
The assessment of research and artwork production associated with Field Studies is assessed as an integral part of the Major Study, Honours or Graduate Course assessment. (See details listed under relevant Course entries). The Field Coordinator also contributes to the Assessment Panel.
Proposed Assessment is by periodic class paper presentations, and required written projects (or equivalent).
ARTV2037 Art & the Asian Pacific
ARTV2016 Cartographies: Art, Exploration & Knowledge
ARTV2017 Contemporary Australian Art
ARTV2019 Framing Other Cultures
ARTV2020 Gender and Visual Culture
ARTV2021 Indigenous Australian Visual Culture
ARTV2034 Individual Research Unit
ARTV1009 Introduction to Art Theory A
ARTV1010 Introduction to Art Theory B
ARTV2035 Issues in Decorative Arts
ARTV2025 Modernism at Periphery
ARTV2027 Professional Practices
ARTV2028 Professional Practices Advanced
ARTV2029 Representing the Self
ARTV2030 Shopping Around: a unit on objects
ARTV2031 Theories of the Image
ARTV1021 Complementary Studies 1
ARTV2022 Complementary Studies 2
ARTV2023 Complementary Studies 3
ARTV3024 Complementary Studies 4
Students take two theory courses in their first year, `Introduction to Art Theory A' and `Introduction to Art Theory B' which are also offered to International students studying English at ANUTECH, prior to commencing ANU studies. In their second and third year they select one course per semester from other offerings listed below. Complementary Studies students select an additional four courses. Professional Practices I or II must be taken at a third year level.
Offered First or Second Semester
2,500 years ago, Plato condemned art and artists as politically dangerous. Ever since then there has been a complex and passionate relation between art and politics, between art and power. This course examines this relation both historically and conceptually, covering such areas as revolutionary art, community based art, public memorials and festivals, questions of gender, race and nationhood, and ends with the culture wars of the present moment. The course includes detailed analyses of specific artists and artworks and encourages the student to reflect on the political implications of their own practice.
Offered First or Second Semester
This course will investigate the visual arts practices of selected countries in the Asia Pacific region and the complex web of exchanges that occur between east and west. The focus is on twentieth-century art with the advent of modernism being a key consideration. The course will also consider issues related to the presentation and reception of art of the Asia-Pacific region in Australia, especially since the early 1990s and the mounting of the Asia-Pacific Triennials of Art at the Queensland Art Gallery. Where appropriate visiting artists and lecturers will be involved and students will be expected to view relevant exhibitions and access works in public collections in Canberra.
Offered first or second semester
This course will deal with aspects of European visual culture associated with exploration and colonisation, with an emphasis on material related to Australia and the Pacific. Issues raised by the visual cultures associated with cartography and landscape, ethnography, and natural history will be the focus of the course. There will be an emphasis on eighteenth and nineteenth century practices; this historical material will be dealt with in the light of contemporary art practices and theoretical writing.
Proposed Assessment is by periodic class paper presentations, and required written projects (or equivalent).
Offered First or Second Semester
This course deals with aspects of Australian art practice from the 1970s to the present. Issues to be discussed revolve around notions of identity, as constructed in personal and cultural terms. Art works in different media, including new technologies, will be considered. The course also has a practical focus; students are expected to engage critically with current exhibitions of contemporary art.
Offered First or Second Semester
This unit explores the impact of the computer age and the information revolution on society generally and on visual arts practitioners in particular. It is divided into two interconnected parts. The first focuses on some of the key debates concerning changing views of the body, space and time. The second part deals with the varied creative uses of the new media, including digital imaging, websites, interactive CD-ROMS, animation and virtual reality, framing them within broader historical and social contexts. The unit also takes into account some of the ethical issues raised by the advent of cyberspace.
Offered First or Second Semester
The aims of this course are twofold: to introduce students to a range of visual practices that address gender and to engage with a variety of approaches to understanding gender and visual culture. Central themes in current gender debates in the art world will be examined including: the sexual politics of looking; the body and performance art; art history and sexual difference; men in feminism; cross-dressing and gender ambiguity; decoration, ornament and the feminine. While debates within feminism will be central to this course, we will also address the way the study of gender intersects with other methodologies including; queer theory, psychoanalysis, post-colonialism and post-modernism.
Assessment is by periodic class paper presentations, and required written projects (or equivalent).
Offered First or Second Semester
A study of the development of Aboriginal and Torres Strait Islander art in the context of Australian social history, this unit will examine Indigenous responses to the history of colonial occupation and expansion. It will also consider non-Indigenous attitudes to Indigenous culture and the significance of attempts to assimilate or appropriate it. A diversity of visual practices, including varied traditions, contemporary and urban-based art and craft practices will be addressed in relation to the ongoing history of Indigenous political struggle.
Proposed Assessment is by periodic class paper presentations, and required written projects (or equivalent).
Students will be permitted to produce an extended research paper asa complementary studies course or as part of Art Theory provided that they have demonstrated the requisite writing and research skills and can show that their research topic is relevant to their workshop concerns. Students will normally take this course in the first semester and will consult with a supervisor from the Art Theory Work shop on a weekly basis.
Two lectures and one tutorial per week.
This course focuses on the modern period and issues raised by modern art practices. It spans the period from the mid-nineteenth century to the late 1930s, before the outbreak of the second World War. The program makes a distinction between modernity as a social phenomenon and modernism as an activity in the visual arts. It will consider the role of the artist in modern society and will include detailed examination of the new forms of representation developed by artists in Europe with particular reference to works of art in the collection of the National Gallery of Australia. Most lectures and tutorials are held in the National Gallery.
Two lectures and one tutorial per week.
This course considers issues raised by modern and postmodern art practices in the latter half of the twentieth century to the present. The focus is on art practice in Australia as it relates to developments in the international context. This involves an examination of the nature of modernism in Australia; the relationship between so-called cultural centres and peripheries; and Australia's relation to the Asia Pacific. Issues associated with cultural identity will be central: questioning what it means to be an Australian artist in the late twentieth century. Most lectures and tutorials are held in the National Gallery.
Offered first or second semester
Professional Practices is presented under the auspices of the Art Theory Workshop. It may be taken as an additional studies course, or as part of an Art Theory Sub-major, or as an Art Theory course at third-year level. It aims to provide a basic understanding of the economic and legal framework of the art world; to provide an understanding of the skills necessary for an artist to practise professionally; to introduce resources available to artists to assist their economic survival in the production of art. It is a crucial `nuts and bolts' unit.
An Advanced Course (i.e. a second course of Professional Practices) or work placements may also be available and must be negotiated by the student with the Head of Art Theory and the Major Workshop
Proposed Assessment is by periodic class paper presentations, and required written projects (or equivalent).
Offered First or Second Semester
This course explores themes of identity and autobiography in contemporary culture, with specific reference to the implications of Australia's complex intercultural relationships. It will examine these preoccupations in the context of current debates surrounding notions of individuality and cultural identity, and will address such issues as the nature and problems of self-representation in the visual arts; the nature and problems of theorising autobiography and the role of autobiography in feminist and cross-cultural literature. The course will draw on literature and the visual arts for its material. Students undertaking this course will be required to read and discuss a range of fiction in addition to the critical material supplied for reading each week.
Offered first or second semester
This unit will discuss objects and the relationship of people to objects. It will examine key moments in the history of objects over the past two centuries, with an emphasis on the post-war period and the current moment. Starting from motions of the object motivated by and motivating particular modern and contemporary art and craft practices, the unit will examine the production, consumption and distribution of objects, and the ways in which they have been collected, categorised and otherwise deployed to produce meaning.
The aim of this course is to encourage students to engage with different theoretical and historical frameworks for interpreting images. It will cover a wide range of primarily western theories of the image including marxism, feminism, psychoanalysis, and phenomenology. It also deals with the culture industry, film, the televisual and with recent theories of technology. Students will be encouraged to think about how the various different interpretative methods addressed in the course might relate to their studio.
Offered First or Second Semester
This course reflects on what it is for artists to confront people from differing cultures, and to assimilate into their own work the methods or imagery from other cultures. It is divided into three blocks; the first, on French Orientalism, focuses on artists like Delacroix, Renoir and Mattise, who travelled to North Africa. Dinet, a convert to Islam, and Racim, an indigenous Algerian, present a different perspective on cultural exchange. The second block briefly investigates `primitivism', the way artists like Picasso and Margaret Preston incorporated African or Aboriginal ways of representing to liberate their own styles. The third Block further examines artists on either side of the settler/indigenous divide in Australia, from Albert Namitjira to postmodern artists like Tim Johnson and Gordon Bennett.
Proposed Assessment is by periodic class paper presentations, and required written projects (or equivalent).
Course structure: The practical components are structured into four disciplines: 2D Studies, 3D Studies, Life Drawing and General Drawing. Students are encouraged to work in and experiment with a broad range of materials and to acquire various practical skills. Core Studies students also undertake an introductory work shop in computer-aided drawing.
Four (five-hour) days per week.
Students work to a program of projects which introduce them to a range of skills and conceptual issues designed to provide a solid basis for continuing studies.
2D Studies: introduces students to the application of two dimensional representation. It deals with the dynamics of colour, design, composition and pictorial space.
3D Studies: acquaints students with the language, practice and analysis of 3D form and design through reference to design and structures found in nature and visual culture.
The development of skills and safe work practices is an integral part of the program.
Life Drawing: observation and analysis of form; anatomical study; composition; the investigation of drawing materials; and the development of sound technical skills.
General Drawing: This will investigates a wide range of contemporary and historical drawing conventions, including pictorial elements such as line, plane, mass, form and volume, perspective and composition, etc.
Students will work to a program structured around a sequence of processes and methodologies, as a foundation for a diversified foundation for subsequent practice. A sequence of four study programs applies the processes and methods to a topic of relevance to their Major Workshop studies, introducing processes of photography, digital image production, colour theory, and fieldwork involving research skills and institutional access.
Fifteen hours of studio practice per week.
Projects designed to introduce both a range of skills and technologies, and a range of conceptual and thematic aspects addressed by the course of study.
These courses concentrate on a broadening of experience in the technologies and processes of ceramics, including casting, kiln firing and glaze technology. Study provides for greater individual interpretation within parameters established for each project.
Proposed Assessment is by periodic criticism and review sessions, and end-of-semester presentation to the Assessment Panel.
Fifteen hours of studio practice per week.
Prerequisite: Major 1 ARTV1001
Projects designed to introduce both a range of skills and technologies, and a range of conceptual and thematic aspects addressed by the course of study. These courses concentrate on a broadening of experience in the technologies and processes of ceramics, including casting, kiln firing and glaze technology. Study provides for greater individual interpretation within parameters established for each project.
Proposed Assessment is by periodic criticism and review sessions, and end-of-semester presentation to the Assessment Panel.
Fifteen hours of studio practice per week.
Prerequisite: Major 2 ARTV2002
Students extend their studies in the development of individual themes and work methods. Projects are largely conceptually based and enable students to draw on the range of technologies introduced earlier in the program. Students must develop independent study programs as outlined in a Work Proposal (see guidelines provided with Program Requirements and Assessment Criteria), subject to approval by the Head of Workshop or relevant lecturer.
Assessment is by periodic criticism and review sessions, and end-of-semester presentation to the Assessment Panel.
Fifteen hours of studio practice per week.
Prerequisite: Major 3 ARTV2003
Students extend their studies in the development of individual themes and work methods and must develop independent study programs. The study program as outlined in a Work Proposal (see guidelines provided
At the end of the twentieth century, the concept of memory is hotly debated: some argue that we have become locked into a state of cultural amnesia, others argue that the need to remember has become a cultural malaise. This multi-disciplinary course explores the intersections between public and historical memory in the construction of national identity, the role of memory in the archive and the exploration of memory in contemporary visual practice, film and fiction.
15 hours of studio practice per week.
Prerequisite: Major 4 ARTV3004
Students extend their studies in the development of individual themes and work methods and develop independant study programs subject to approval by the head of Workshop or relevant lecturer.
Proposed Assessment is by periodic criticism and review sessions, and end-of-semester presentation to the Assessment Panel.
(This course is undertaken by 4-year degree students only)
Offered First or Second Semester
20 hours of studio practice per week
Offered First or Second Semester
Students choosing the ceramics discipline must enrol in a minimum of 2 sequential courses.
Five hours of studio practice per week
Prerequisite: ARTV1019 and by folio/interview
Projects are designed to introduce students to a range of skills and technologies related to concepts and themes appropriate to the course of study and will address the conventions of handbuilding, construction and wheel throwing, firing and finishing processes, introducing relevant skills in working with clay as a material.
Five hours of studio practice per week
Prerequisite: ARTV1021 in Ceramics
Projects are designed to introduce an additional range of skills and technologies, and will address such conventions as mould-making and construction of large forms. A range of optional projects are offered which enable the student to choose between themes and different firing and finishing processes. In exceptional circumstances students seeking particular requirements and skills development may apply to