Studio Practice 2A (Experimentation and Reflection)

Learning Outcomes

Transferable and Generic Skills

Having successfully completed this module you will be able to:

• work independently and collaboratively;
• articulate your creative decisions with increasing confidence.
• conduct broad research including library research;

Subject Specific Intellectual and Research Skills

Having successfully completed this module you will be able to:

• locate the concepts and methods of your practice in relation to contemporary art.
• take full responsibility for your experimentation and outcomes;
• consistently critique your experimentation and outcomes;

Knowledge and Understanding

Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:

• ways of broadening the scope of your studio work through sustained experimentation;
• a relevant range of technical methods and concepts to support the development of your studio work;
• the application of critical and contextual thinking in the development of your practice.

Subject Specific Practical Skills

Having successfully completed this module you will be able to:

• work towards an innovative studio practice through open-ended, non-linear, or serial production.

This module marks the point in the programme at which you move from the Part 1 Studio to a studio of your choice, either Painting, Printmaking, Sculpture or New Media. There is no requirement that this choice be reflected in an exclusive commitment to particular techniques or media, and you continue to have access to any and all workshops for which you have received the relevant training. You continue to develop your own ideas, test materials and techniques, and build up a portfolio of experimental material and outcomes through which you start to define your creative ‘voice’. Workshop training in a range of skills is available. On two occasions the module encompasses participation in a Shared Drive project - typically a remaking project – working alongside Part 1 and 3 students towards a collective outcome. A number of visiting artists deliver lectures on their practice.

Teaching and learning methods

Teaching methods include:

• module briefing;
• lectures;
• tutorials;
• group critiques.

Learning activities include:

• module briefing;
• lectures;
• library research;
• Shared Drive projects;
• tutorials;
• group critiques;
• peer group learning;
• self-evaluation;
• Study Skills Hub.

Relationship between the teaching, learning and assessment methods and the planned learning outcomes:

Outcomes and work in progress are discussed individually with tutors, and in group critiques. The module requires ongoing research for relevant antecedents for the work in hand, from current practice and art history, as well as theoretical considerations, for which use of the library is essential. The advice you receive and what you learn should all be documented in your sketchbooks and research folders and will be manifest in the work you produce. Taken together, these items are your ‘portfolio’, which will be assessed at the end of the semester against the learning outcomes for the module.

Resources & Reading list

Internet Resources

Study Skills.

Library.

Academic Skills ( including AI).

Blackboard (E:learning).

Textbooks

Viola, B. (1995). Reasons for Knocking at an Empty House: Writings 1973-1994. Boston: Mass.: MIT.

Macey, D. (2001). The Penguin Dictionary of Critical Theory. London: Penguin.

McNiff, J. and Whitehead, J. (2010). You and Your Action Research Project. New York: Routledge.

Steyerl, H. (2012). The Wretched of the Screen. Sternberg Press L2S1.

Kafka, F. (1926). The Castle. London: Vintage.

Sontag, S. (2009). Against Interpretation and Other Essays. London: Penguin.

Smith, P. (2008). Cultural Theory: An Introduction. Oxford: Wiley-Blackwell.

Dawson, I. (2012). Making Contemporary Sculpture. London: The Crowood Press.

McNiff, J. and Whitehead, J. (2009). Doing and Writing Action Research. London: Sage Publications Ltd.

Pearce, E. (1992). Artists Materials; Which, Why and How. London: Draw Books.

Hiller, S. (1996). Thinking About Art - Conversations with Susan Hiller. Manchester: Manchester University Press.

Derrida, J. (2017). The Truth in Painting. Chicago: University of Chicago.

Doherty, C. (2009). Situation (Documents of Contemporary Art). London: Whitechapel.

Kholeif, O. (2014). You Are Here: Art after the Internet. Manchester: Cornerhouse.

Graham, B. and Cook, S. (eds) (2010). Rethinking Curating: Art after New Media. Boston: Mass.: MIT.

Formative

This is how we’ll give you feedback as you are learning. It is not a formal test or exam.

Summative

This is how we’ll formally assess what you have learned in this module.

Referral

This is how we’ll assess you if you don’t meet the criteria to pass this module.

Repeat

An internal repeat is where you take all of your modules again, including any you passed. An external repeat is where you only re-take the modules you failed.

Repeat Information

Repeat type: Internal & External