Dublin Institute of Technology Faculty of Applied Arts School of Art, Design and Printing. BA (Hons) Fine Art. Programme Document. Part B.

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Dublin Institute of Technology

Faculty of Applied Arts

School of Art, Design and Printing

BA (Hons) Fine Art

Programme Document

Part B

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TABLE OF CONTENTS

1 Programme Background and Structure 4

2 General Structure of the BA Fine Art programme 7 3 Relationships with Professional and Academic Bodies and establishing

of Programme Advisory Board

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4 Admission Criteria 13

5 Curriculum Summaries 15

6 Allocation of Credits + Learning Hours 17

7 Marks and Standards 24

Syllabus 25

1st Year 25

Fine Art 1: Theories of History 26

Drawing /Photography Media 1.1 29

Painting Media 1.1 32 Sculpture Media 1.1 34 Printmaking Media1.1 37 Professional Practice 1.1 39 New Media 1.2 41 Painting Media 1.2 43 Print Media 1.2 45 Sculpture 1.2 47

Drawing / Photography Media 1.2 50

2nd Year 53 Professional Practice 2.3 54 New Media 2.3 56 Painting Media 2.3 59 Print Media 2.3 61 Sculpture Media 2.3 63 New Media 2.4 65

Fine Art 2: Modernism and its legacies 68

Painting Media 2.4 71

Interdisciplinary Studies 2.4 77

Sculpture Media 2.4 75

Print Media 2.4 77

3rd Year 79

Fine Art 3: Postmodernism and Contemporary Practices 80

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Professional Practice 3.5 85

Drawing Media 3.5 (Elective) 87

New Media 3.5 (Elective) 89

Print Media 3.5 (Elective) 91

Interdisciplinary Media 3.6 93

Thesis Preparation 95

Professional Practice 3.6 97

Drawing Media 3.6 (Elective) 99

New Media 3.6 (Elective) 101

Print Media 3.6 (Elective) 103

4th Year 105

Fine Art Media 106

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1 Programme Background and Structure

Faculty of Applied Arts

The Faculty of Applied Arts at the Dublin Institute of Technology is the pioneering educational leader in the creative, visual and performing arts and media in the country. It provides a wide and unique range of innovative, multidisciplinary and professional-level educational and research programmes in film, broadcasting, audio, art & design, music, photography, journalism, public relations, printing and publishing, animation and computer imaging, multimedia, and the

management of the new information and communication technologies. Programmes are offered at both undergraduate and postgraduate level and all share a strong commitment to linking creative practice with critical theory and new technology. The Faculty’s underlying philosophy is to provide education and training in the key disciplines within the cultural industries while also acknowledging the significant technological and cultural changes that are currently occurring. Thus the

programmes seek to preserve the best of the creative, performing and media arts while meeting the challenges of the digital age.

School of Art, Design and Printing

The first Technical Schools of Art and Science in Dublin were established in 1887 in Kevin Street. When the Vocational Education system was established in 1930, these technical schools came to be administered by the City of Dublin Vocational Education Committee (CDVEC). In 1971 the national network of the Regional Technical Colleges was established throughout the country and included Art and Design education in their programmes of study. At the same time, the CDVEC set up its own whole time course in Art and Design in what was to become the College of Marketing and Design. The current programmes in Fine Art and Design were developed in the 1970s. The success and continued popularity of these programmes is exemplified by the high profile of the graduates in the market place and by the record number of applicants for places, which is in excess of 1000 portfolios being submitted for consideration annually.

The School of Art, Design and Printing provides a wide range of innovative, inter-disciplinary and professional level educational and research programmes in visual communications, multimedia design, illustration, interior design, furniture design, product design, painting, sculpture,

printmaking, printing technology, printing management and publishing. In 2003, the School launched a BSc programme in Product Design in collaboration with the Faculties of Engineering and Business at DIT. Most recently, the School has developed an innovative on-line distance education programme in the visual arts in cooperation with the Sherkin Island Development Society on Sherkin Island off the west coast of Cork. This programme which allowed the school to develop its expertise in on line learning and new pedagogical strategies in visual arts education has

completed its pilot phase and has been developed into a 4 year BA in Visual Arts. Other new programme proposals include an MA in Design and an MA in Community Art. The school has also developed an active postgraduate research profile and since 1999 the number of MPhil and PhD students has increased to 11. In 2008 the School launched a new MA in Professional Design

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Practice in association with Design Ireland Skillnets targeted at senior designers in the Irish Design industry. Community links are a vitally important part of the School’s mission and these include The National Drug Treatment Centre, the Larkin Centre for the Unemployed, the Mater and Children’s Hospital Development Initiative. The school is represented on the board of ELIA

(European League of the Institutes of the Arts) and is a member of CUMULUS, PARADOX, Temple Bar Gallery and Studios, Black Church Print Studio, The Irish Museum of Modern Art Artists Advisory Panel and Visual Artists Ireland.

Title of Programme, Award sought and Date of Submission

This programme is designed to meet the terms and conditions for the award of the title of BA (Hons) in Fine Art, with pass, lower merit, upper merit and distinction as approved by the Dublin Institute of Technology.

Duration: 4 years NQAI Level 8

Date of Submission: March 2010

Programme aims and learning outcomes

The aims and objectives of the BA in Fine Art are as follows

1 To provide an educational context for students who wish to study Fine Art practices and theories at an undergraduate level.

2 To equip the Fine Art student with appropriate skills to realise ideas

3 To foster in each student an articulate, critical and informed understanding of contemporary Fine Art, its evolution, contexts and critical discourses.

4 To provide the intellectual environment and technical resources to enable each student to realise their own unique creative potential as a professional artist.

On graduating the student will demonstrate the ability to:

1 Originate, develop and articulate concepts in Fine Art practices.

2 Articulate a practical and theoretical understanding of Fine Art through essays, presentations, learning portfolios and thesis.

3 Apply a comprehensive level and appropriate range of material and technical skills to their practice.

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Year Respective Learning outcomes

At the end of Year 1 the student will be expected to:

1 Have an understanding of the fundamentals in Fine Art Practice and Theory

2 Demonstrate a developed visual awareness and technical ability in the realisation of project work

3 Demonstrate an ability to voice their views, to listen constructively and to give and accept positive criticism.

1 Demonstrate a critical awareness of development of ideation and skill within Fine Art Practice.

2 Demonstrate a greater understanding of the development of ideation within the context of Fine Art Theory.

3 Demonstrate a development of technical expertise through workshops and modules in all areas of Fine Art Media.

1 Demonstrate an individual awareness and development of ideation and skill within Fine Art Practice.

2 Demonstrate a critical and informed understanding of Fine Art, it’s contexts and critical discourse.

3 Demonstrate a specialist technical expertise in chosen area(s) of Fine Art Media.

1 Demonstrate a consolidated critical awareness of Fine Art practice and its contexts. 2 Demonstrate an advanced critical understanding of Fine Art history and contemporary

theory.

3 Demonstrate a continued development of specialist technical expertise in chosen area(s) of Fine Art media.

4 Work with increased independence.

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2 General Structure of the BA Fine Art programme

The BA Fine is a four year modular, full time, honours degree programme, aimed at students who wish to work as cultural producers in the Fine Art Sector. The programme is focused primarily on the acquisition of knowledge and skills, which are necessary for a graduate to operate as a visual artist in a competitive environment, nationally and internationally. There is a major emphasis on developing the students’ skills acquisition, creative intelligence and conceptual and critical thinking abilities, which are integrated with modules in Critical Theory and Professional Practice.

The BA Fine Art is a modular programme taught in semesters of 15 weeks duration and comprises of a series of twelve 5 credit modules each in Years 1 and 2. These are 9 studio modules, 1 professional practice and 2 critical theory modules in both these years. There are 8 modules in Year Three, 1 studio module of 15 credits in each semester and two modules in Final Year, 45 credits Studio practice and 15 credits allocated for thesis.

In addition to their own art practice each student must participate in the Broadcast Gallery housed in DIT Portland Row, participate on away trips to international art events, national trips focussed on land works, attend visiting lecturers, Art Survey sessions, artists talks and gallery and studio visits the majority of which are built in to the main programme. While working within a modular structure students are constantly invited to see the interdisciplinary opportunities that exist throughout the Fine Art modules and beyond mirroring the wide range of media and sources that is present in contemporary art practice.

In Year 3 semester 5 Fine students can take part in the Erasmus Programme of study and choose two 5 credit modules from the School of Art Design and Printing Elective Module Programme

In Year 4 semester two there is a programme of preliminary curated exhibitions for final year students. Students present a series of 4 to 5 thematically linked mini exhibitions which they curate , publicise and give peer critique on to their colleagues in addition to staff involvement. This provides practical experience in mounting a show, in articulating their individual positions within a group context and in reflective analysis of their work in an exhibition context. This initiative has received interest from other national Fine Art Degrees and we are currently involved in cross Institutional critiquing sessions in this academic year.

At the start of semester one each final year student must complete a Student Learning Proposal form (+ see below) in consultation with final year staff. They must outline their programme of work for semester one which will describe their intention and concerns, identify areas of primary and secondary research, plans for realisation, the work plan and an indicative description of semester 2. This Student learning proposal is subsequently updated at the beginning of Semester 2 again in consultation with final year staff at the Student Review meeting.

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The aim of the two initiatives outlined above is that students will acquire sophisticated and specialised skills, applied through both practical presentations, through the dynamic required to work in a group and to fully underpin their own practice with a strong conceptual framework.

Duration: the programme will be fulltime - 5 working days over Semesters 1- 8. Lectures and self directed learning will happen over 4-5 days. Students are expected to complement timetabled hours with private study and self learning.

Year 1

Semesters 1 and 2

In Year 1, the focus is on introducing students to the strategies in contemporary visual art practices and integrating this with an acquisition of relevant discipline skills both technical and conceptual. Students are introduced to the history and theory of Visual Art and receive an introduction to fundamental concepts of communication theory and discipline techniques. Teaching methods include practical workshops, studio crits, demonstrations, tutorials and lectures. The instruction is project based, with strictly enforced deadlines, and students are introduced to methods and systems which are compatible with best practice.

Thematically the semesters are structured in the following:

Semester One Theme: “Perception and Investigation of Particular Places.”

In asking students to explore perception we are asking them to think about how one experiences the world through our bodies’ senses: touching, smelling, seeing, hearing, and tasting.

Semester Two Theme: Investigation and Expression Living Processes

In asking the student to think about investigation we are asking them to consider conventional habits of seeing the world. We are then asking them to move beyond familiar idea and asking them to explore; to look closer; to look longer; to think as you look. Putting time into what seems familiar or obvious or unimportant or overlooked to find what is unfamiliar: this is what we mean by

“investigation”.

Year 2

Using the knowledge and skills acquired in Year 1, students focus an advanced level of

understanding of specific individual disciplines and begin to consider cross disciplinary relationships between the course modules. Digital Media now becomes a 2 semester module and the

introduction of the Interface Project. The aim of Interface is to facilitate the student in making a considered choice of processes and methods relevant to their interests by focusing the student on the skills and boundaries described by each fine art discipline. This involves an examination of the interstices between the theories, histories and practices of contemporary art. An agreed project

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across the studio modules is presented at the end of Semester One including reading lists and staff led discussion groups. Students produce work across the practice based modules that recognise the specifics of each discipline and and cross disciplinary thematic opportunities afforded by this project.

Year 3

In Semester One the Fine Art Interdisciplinary Media Module is allocated 15 ECTS credits with a further 5 from Professional Practice, 5 from Critical Theory (History and Theory assignments) and 5 credits from the School of Art Design and Printing Elective Module Programme. A similar structure and allocation is used for Semester Two with the main change being the shift in emphasis in Critical Theory to a Literature Review and Thesis Preparation from discipline specific history and school seminar programme.

In semester One of Year Three Fine Art students are eligible to study abroad as part the Erasmus Programme. A set of guidelines and protocols have been established to provide an effective framework for this initiative.

In both Semesters One and Two students attend the weekly Art Survey sessions. The Art Survey is a presentation / lecture / event for Third and Fourth Year students between 10.30 and 12.00 on Monday Mornings to offer a diversity of art experiences to start each week throughout the year. This slot is versatile and may be interpreted by each lecturer as they see fit. It can take the form of lecture, slide show, film, workshop, interactive performance etc, etc, of approximately one to one and a half hours duration.

At a mid point in both semesters a visiting professional is invited in to have a one to one critique with each student. While not directly contributing to their semesters mark this formative feedback from a non-staff member is a vital component in the student establishing the direction of their studio practice. All Third years are also invited to attend the Visiting Lecture Programme that runs in each semester.

Year 4

Semester 7 and 8

At the start of semester one each final year student must complete a Student Learning Proposal form (+ see below) in consultation with final year staff. They must outline their programme of work for semester one which will describe their intention and concerns, identify areas of primary and secondary research, plans for realisation, the workplan and an indicative description of semester 2. This Student learning proposal is subsequently updated by the beginning of Semester 2 again in consultation with final year staff at the Student Review meeting. The Fine Art Media module is a 45 credit module that runs over the 2 semesters.

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In both Semesters One and Two students attend the weekly Art Survey sessions. The Art Survey is a presentation / lecture / event for Third and Fourth Year students between 10.30 and 12.00 on Monday Mornings to offer a diversity of art experiences to start each week throughout the year. This slot is versatile and may be interpreted by each lecturer as they see fit. It can take the form of lecture, slide show, film, workshop, interactive performance etc, etc, of approximately one to one and a half hours duration.

At a mid point in both semesters a visiting professional is invited in to have a one to one critique with each student. While not directly contributing to their semesters mark this formative feedback from a non-staff member is a vital component in the student establishing the direction of their studio practice. All Fourth years are also invited to attend the Visiting Lecture Programme that runs in each semester.

In semester two there is a programme of preliminary curated exhibitions for Final Year students. Students present a series of 4/5 thematically linked mini exhibitions which they curate , publicise and give peer critique to their colleagues in addition to staff involvement. This provides practical experience in mounting a show, in articulating their individual positions within a group context and reflective analysis of their work in an exhibition context. This initiative has received interest from other national Fine Art Degrees and we are currently involved in cross Institutional critiquing sessions in this academic year.

Thesis

The Thesis contributes 15 ECTS Credits in Final Year. Submission of a written thesis is at the end of Semester One. Each thesis receives a minimum of 2 internal readings with an agreed mark then being provided to the Thesis External Examiner. Following all the relevant Institute guidelines a late submitted thesis will receive a deduction of 15% should it fall outside of any of the agreed DIT circumstance for late submission ie- learning/language difficulties or Personal Circumstance (PC1 system) criteria.

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3 Relationships with professional and academic bodies, programme advisory boards etc

Members of the Fine Art Staff are Board Members of key National Arts organisations including: The Educational Advisory Board of the Irish Museum of Modern Art, Visual Artists Ireland, Project Arts Centre, Artists Exchange, Temple Bar Gallery and Studios and Black Church Print Studio.

Advisory Board

An Advisory Board is being established at the moment to advise the Programme Committee on current innovations, and developments relevant to Fine Art and critical theory practices. Members will include representatives from The Irish Museum of Modern Art, Visual Artists Ireland, The Arts Council, the public and private gallery sector and other key stakeholders in the Irish Art World.

School Links

The School of Art, Design and Printing is committed to working with industry and the professions in a variety of ways which include

¾ Research and Development

¾ Professional Development

¾ Industry placements

¾ Involvement in National & EU Committees

Strong links have been established and are maintained with many appropriate organisations in Ireland and the EU so as to ensure the context within which the programme is delivered is appropriate and relevant.

These organisations include International

¾ European League of the Institutes of the Arts (ELIA)

¾ CUMULUS - European Association of 3rd level educational design institutes

¾ Paradox The Fine Art European Forum

¾ Triptych – Drawing Research Group

¾ Curating Zero

National

¾ The Irish Museum of Modern Art

¾ Dublin City Gallery: The Hugh Lane

¾ Visual Artists Ireland (VAI)

¾ Irish Visual Artist Rights Organisation

¾ Artists Residency Programs

¾ Black Church Print Studio

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¾ Mater and Children’s Hospital Development

¾ Project Arts Centre

¾ Temple Bar Gallery and Studios

¾ West Cork Arts Centre

¾ The Arts Council of Ireland

¾ Aosdana

¾ Public + Private Galleries

¾ Artist Led Studios

Academic Links

Links and working associations have been established with the following

¾ Kingston University, UK

¾ University of Northamptonshire

¾ Trondheim Academy of Fine Art, Norway

¾ Loughborough University

¾ University of Ulster at Belfast

¾ Norwich University College of the Arts

¾ UIAH Helsinki, Finland

¾ The Arts Academy Riga, Latvia

¾ Cooper Union College, New York, USA

¾ Fontys Hogeschool Tilburg, The Netherlands

¾ Utrecht Hogeschool voor de Kunsten Utrecht, The Netherlands

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4 Admission Criteria

Leaving Certificate with grade D3 or higher on ordinary level papers in at least 5 subjects OR

An acceptable equivalent standard of education AND

A portfolio of art and design work which reflects the candidate’s ability.

Mature Students may be called for interview.

Access, Transfer and Progression*

Portfolio Assessment: Following application to the CAO, portfolios are submitted to the School of Art, Design and Printing for assessment. A maximum score of 600 is available to the applicant in the portfolio assessment process. The applicants score is forwarded to the CAO and combined with their points from their Leaving Certificate to determine their place on a waiting list for a place based on their programme

preferences.

The portfolio is used to review the applicant’s ability to benefit from and, contribute to the programme. The evaluation criteria are as follows:

1. Evidence of Drawing ability should be demonstrated through: examples of freehand, observation and /or technical drawing use of colour and texture

variety of subject and media

2. Evidence of Practical ability should be demonstrated through: skills in visualization

quality of presentation control over media

3. Evidence of Conceptual ability should be demonstrated through: investigation

idea generation

imagination and creativity

Marking Scheme

The following marking scheme applies to each of the criteria indicated above: 0 Not suitable

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2 Very suitable 3 Exceptional

A total of the scores attained will determine overall suitability. The total to be converted to a 0-600 range by multiplying the score by 66.6 for submission to CAO

Transfer

Applicant’s who already possess an appropriate educational background and level of achievement which is closely related to the standard of the programme, for which they have applied, may apply to the DIT for entry to the second year of the programme subject to the availability of places. Entry will be based on portfolio assessment

Progression 2009/10 Year 1 36 Year 2 40 Year 3 42 Year 4 38 2010/11 Year 1 38 Year 2 38 Year 3 38 Year 4 38 2011/12 Year 1 38 Year 2 38 Year 3 39 Year 4 39 2012/13 Year 1 38 Year 2 38 Year 3 38 Year 4 38

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5 Curriculum Summaries

1st Year Syllabus

Semester 1

Professional Practice 1.1 (5 credits)

Fine Art 1: Theories of History (Awarded in semester 2) Painting Media 1.1 (5 credits)

Printmaking Media 1.1 (5 credits) Sculpture Media 1.1 (5 credits) Drawing Media 1.1 (5 credits)

Semester 2

New Media 1.2 (5 credits) Painting Media 1.2 (5 credits) Printmaking Media1.2 (5 credits) Sculpture Media 1.2 (5 credits) Drawing Media 1.2 (5 credits)

Fine Art 1: Theories of History (5 credits)

Theory Seminar (option from supplemental booklet)

2nd Year Syllabus

Semester 3

Fine Art 2: Modernism and its legacies (awarded semester 4) Painting Media 2.3 (5 credits)

Printmaking Media 2.3 (5 credits) Sculpture Media 2.3 (5 credits) New Media 2.3 (5 credits)

Professional Practice 2.3 (5 credits)

Theory Seminar (option from supplemental booklet)

Semester 4

Fine Art 2: Modernism and its legacies (5 credits) Painting Media 2.4 (5 credits) (5 credits)

Printmaking Media 2.4 (5 credits) Sculpture Media 2.4 (5 credits) New Media 2.4 (5 credits)

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3rd Year Syllabus

Semester 5

Fine Art 3: Postmodern and Contemporary Practices (awarded semester 6) Professional Practice 3.5 (5 credits)

Interdisciplinary Media 3.5 (15 credits)

Cross School Elective Modules 3.5 (5 credits each)

Semester 6

Fine Art 3: Postmodern and Contemporary Practices (5 credits) Thesis Preparation (5 credits)

Professional Practice 3.6 (5 credits) Interdisciplinary Media 3.6 (15 credits)

Cross School Elective Modules 3.6 (5 credits each)

4th Year Syllabus

Semester 7 and 8

Written Thesis (15 credits) Fine Art Media (45 credits)

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BA (Hons) Fine Art Year/Stage: 1 Semester: 1

Code Module title Weekly Contact Hours Total Learning Hours for

Semester Credits Assessment

Lecture Seminar Studio Workshop TOTAL Contact Independent TOTAL ECTS Marks (x100)

totals 2 4 14 5 27 324 276 600 30 600

Drawing / Photography 1.1 - – 4 - 4 48 52 100 5 100

Fine Art1: Theories of

History 1 – - – 1 12 38 50 Awarded sem 2 100 Sculpture Media 1.1 - 1 - 5 6 72 28 100 5 100 Painting Media 1.1 - 1 5 – 6 72 28 100 5 100 Printmaking Media 1.1 - 1 – 5 6 72 28 100 5 100 Professional Practice 1.1 1 1 - – 2 24 76 100 5 100

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totals 2 6 14 5 27 324 276 600 30 600

Drawing / Photography 1.2 - – 4 - 4 48 52 100 5 100

Fine Art1: Theories of

History 1 – - – 1 12 38 50 5 100

Theory Seminar option - 2 - – 2 24 76 100 5 100

Sculpture Media 1.2 - 1 - 5 6 72 28 100 5 100

Painting Media 1.2 - 1 5 – 6 72 28 100 5 100

Printmaking Media 1.2 - 1 – 5 6 72 28 100 5 100

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Code Module title Weekly Contact Hours Total Learning Hours for Semester Credits Assessment

totals 1 5 12 9 27 324 276 600 30 600

Professional Practice 2.1 - – 2 - 2 24 76 100 5 100

Fine Art 2: Modernism and

its legacies 1 – - – 1 12 38 50

Awarded

sem 4 100

Theory Seminar option - 2 - – 2 24 76 100 5 100

Sculpture Media 2.1 - 1 - 5 6 72 28 100 5 100

Painting Media 2.1 - 1 5 – 6 72 28 100 5 100

Printmaking Media 2.1 - 1 – 5 6 72 28 100 5 100

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Lecture Seminar Studio Workshop TOTAL Contact Independent TOTAL ECTS Marks (x100)

totals 1 5 10 9 25 324 276 600 30 600

Fine Art 2: Modernism and

its legacies 1 – - – 1 12 38 50 5 100 Interdisciplinary Media 2.2 - 2 - - 2 24 76 100 5 100 Sculpture Media 2.2 - 1 - 5 6 72 28 100 5 100 Painting Media 2.2 - 1 5 – 6 72 28 100 5 100 Printmaking Media 2.2 - 1 – 5 6 72 28 100 5 100 Digital Media 2.2 - - - 4 4 48 52 100 5 100

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totals 1 5 10 9 27 324 276 600 30 600

Fine Art 3: Postmodern and

Contemporary Practices 1 – - – 1 12 38 50 Awardes sem 6 100 Professional Practice 3.5 - 1 - - - 12 88 100 5 100 Interdisciplinary Media 3.5 - 1 11 – 12 72 28 300 15 100 Printmaking Practical 3.5* - - - 3 3 36 64 100 5 100

New Media Practical 3.5* - - - 3 3 36 64 100 5 100

Drawing Media 3.5* - - 3 - 3 36 64 100 5 100

Virtual Environments 3.5 - - - 3 3 36 64 100 5 100

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BA (Hon) Fine Art Year/Stage: 3 Semester: 6

Lecture Seminar Studio Workshop TOTAL Contact Independent TOTAL ECTS Marks (x100)

totals 1 5 10 9 27 324 276 600 30 600

Fine Art 3: Postmodern and

Contemporary Practices 1 – - – 1 12 38 50 5 100

Thesis Preparation - 2 - – 2 24 76 100 5 100

Professional Practice 3.6 - 1 - - - 12 88 100 5 100

Interdisciplinary Media 3.6 - 1 5 – 15 195 105 300 15 100

Printmaking Practical 3.6* - - - 3 3 36 64 100 5 100

New Media Practical 3.6* - - - 3 3 36 64 100 5 100

Drawing Media 3.6* - - 3 - 3 36 64 100 5 100

Virtual Environments 3.6* - - - 3 3 36 64 100 5 100

Arts in Context 3.6* - - - 3 3 36 64 100 5 100

Cultural Practices and

Sustainability 3.6* - - - 3 3 36 64 100 5 100

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BA (Hons) Fine Art Year/Stage: 4 Semesters: 7 + 8

totals 3 5 10 9 27 260 940 1200 60 600

Fine Art Media 2 2 14 - 18 234 676 900 45 100

Written Thesis 3 – - – 3 36 264 300 15 100

SEMESTER MODULE CRN OPTIONAL / CORE CREDITS

7 Fine Art Written Thesis 7899 CORE 15

7 Fine Art Media 7898 CORE 15

SEMESTER MODULE OPTIONAL / CORE CREDITS

8 Fine Art Media1 7900 CORE 30

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7 School of Art, Design and Printing Marks and Standards BA (Hons) Fine Art

Introduction Examinations are conducted in accordance with the Regulations laid down by the Academic Council of the Dublin Institute of Technology. Assessments are in accordance with the General Assessment Regulations (2006) and as indicated below.

Assessments It is compulsory for all students presenting for assessment in year 4 to 1) make themselves available for interview with the External Examiner

complete full exhibition installation in their spaces or other agreed venue for end of semester two and 2) produce a written thesis to be submitted for end of semester one. Failure to comply with this regulation will result in a reduction in the overall thesis mark of 15%.

Workplacement The Workplacement module will only be marked as pass or fail.

Project Submission

Continuous assessment work must be submitted for assessment on the specified day, date and time as stated in the student handbook or any subsequent official staff communication. Failure to present major display design projects on schedule must be supported by a written statement of mitigating circumstances (PC1 form) and by medical certification or equivalent. An opportunity to present at a later date and time will be facilitated only under the criteria above.

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Syllabus

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Pre-requisite module code(s) Co-requisite module code(s) ECTS Credits Module Code Module Title

5 Fine Art 1: Theories of

History

Module Author(s) Niamh Ann Kelly, Tim Stott

Module Description

In this module the student is introduced to key recurrent themes in art and a wide-range of art-historical and contemporary material. The student is informed of socio-political, aesthetic and philosophical concerns in art and the relationship between histories and theories of the art cannon. This module is designed to explore the changing technological environment in which the artist operates, connections between art and society and the importance of interpretation in forming art’s histories and theories.

Module Aim

The aim of this module is to introduce the student to the scope of the history of art and develop their knowledge and understanding of the history and theory of art. A significant emphasis of the module is upon critical reflection on and analysis of art in both historic and contemporary contexts. The module will help the student to achieve a standard of visual literacy that, together with skills of inquiry and analysis will enable critical evaluation of art.

Learning Outcomes

On completion of this module the learner will be able to:

1. Articulate a viewpoint and a theory on a variety of artistic styles and periods

2. Show an awareness of the origin of specific key artworks and art movements and an understanding of their critical relativity

3. Apply a method of investigation and analysis to the study of any art work 4. Make connections between art and societal change

5. Assess the role and function of the artist in contemporary society 6. Consider art in different environments and with different aims

7. Engage with current thinking and opinions on contemporary as well as historic art practice

Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus:

First Semester: Thematic introduction to key themes in the history of art. Roles of the Artist in Society

Languages of Classicism Collections: Making Art History? Patronage and Exhibitions The Body as Art

Ateliers to Interventionism: Studio Practices Work or Leisure in Art: A Matter of Gender? New Technology and Art

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Second Semester: Focus on twelve artefacts, to promote close readings and considered, developed arguments. Medium Form Narrative Technique Communication Word & Image History & Context

Module Assessment

This module is assessed through the production of class presentations and written submissions. There will be a Formative Assessment point at the end of the first semester, with a Group Exhibition/Space Review and an individual written report. This will be extended in second semester to a themed essay.

Group Exhibition Project, Class presentation and individual written report: 50% Essay: 50%

Assessment Criteria

Research 30%

Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20%

Reading List

Baxendall, Michael Painting and Experience in Fifteenth Century Italy. Oxford: Oxford University Press, 1988.

Belting, Hans Likeness and Presence: A History of the Image before the Era of Art. Chicago: University of Chicago Press, 1984

Belting, Hans Art History after Modernism. Chicago: University of Chicago Press, 2003. Berger, John Ways of Seeing. London: Penguin, 2008.

Blunt, Anhtony Artistic Theory in Italy 1450 – 1660. Oxford University Press, 1985 Broude, N. & Garrard, M. (eds.) Feminism and Art History – Questioning the Litany. New York; London: Harper and Row, 1982

Clark, T. J. The Sight of Death: an experiment in art writing. New Haven: Yale University Press, 2008.

Elkins, James How to use your Eyes. New York: Routledge, 2000

Fernie, Eric (ed.) Art History and Its Methods. Oxford: Phaidon Press, 1995.

Gombrich, Ernst The Use of Images: Studies in the Social Function of Art and Visual Communication. London Phaidon, 2000

Harrison Charles et al. Art in Theory: 1648-1815. Malden MA: Blackwell Publishers, 2001 Harrison C. et al. Art in Theory: 1900-2000: an anthology of changing ideas. Malden MA: Blackwell Publishers, 2002.

Hughes, Robert The Shock of the New Art and the Century of Change. London: Thames and Hudson, 1991.

Kennedy, Brian P.(ed.), Irish Painting. Dublin: Townhouse, 1993.

Klonk, Charlotte Spaces of Experience: Art gallery Interiors from 1800-2000. New Haven: Yale University Press, 2009.

Levey, Michael From Giotto to Cezanne: A concise history of painting. London: Thames & Hudson, 2003

Messmer, Dorothy Moral Imagination: Art and Climate. Nurnberg: Verlag, 2008.

Panofsky, Erwin Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York; London: Harper and Row, 1972.

Riegl, A. Historical Grammar of the Visual Arts. New York: Zone Books, 2004

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Berger, John Another Way of Telling. New York: Vintage Books, 1995. Fallon, Brian Irish Art 1830 – 1990. Belfast: Appletree, 2000.

Gombrich, Ernst Art & Illusion – A study in the psychology of pictorial representation London: Phaidon Press, 1980

Honour, Hugh Romanticism, London: Penguin Press Ltd, 1991. Honour, Hugh Neo-Classicism, Penguin Press Ltd, 1991

Le Corbusier Towards a New Architecture, The Architectural Press, 1987. Levey, Michael Early Renaissance. London: Penguin Press Ltd, 1977

Lucie- Smith, Edward Movements in Art Since 1945. London: Thames and Hudson, 2000. Norberg-Schulz, C.1975, Meaning in Western Architecture, Studio Vista

Panofsky, Erwin Meaning in the Visual Arts Chicago: University of Chicago Press, 1983. Sparke, Penny An Introduction to Design and Culture in the Twentieth Century Routledge, 1992.

Vasari, Giogrio The Lives of the Artists, 1511- 1574. Harmondsworth: Penguin, 1987. White, John The Birth and Rebirth of Pictorial Space. London: Faber and Faber, 1987

Journals

Artforum, Art Monthly, Circa Frieze, Irish Arts Review, Source, Art in America, Flash Art

Further Details

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Pre-requisite module code(s) Co-requisite module code(s) ECTS Credits Module Code Module Title 5 FADR 1000 Drawing/Photography Media 1.1 A - DRAWING MEDIA (60%)

Module Author(s) Caoimhe Kilfeather Theme: Perception and Investigation

This module will provide an introduction to visual awareness in drawing, specifically through the study of line, tone and structure.

Module Aim

The broad aim of this module is to introduce the student to the fundamentals of Drawing in Fine Art practice.

On successful completion of this module, the student will be expected to:

1

Demonstrate visual awareness and skills in drawing,

2

Apply a range of appropriate materials which are relevant to drawing studies,

3

Comprehend formal issues in drawing media,

4

Realise a learning portfolio,

5

Demonstrate the use of sourcebooks and visual research skills. Learning and Teaching Methods

1

Learning and teaching methods for this module will include:

2

Lectures to introduce the module elements, presentations of artist/practitioners relevant to theme/materials/elements, group discussion, group crits, project work, studio practice, self directed learning, learner reviews, learning portfolios, field trips.

Module Content

Content will include an introduction to:

1

Perception in drawing: explored through composition, line and structure

2

Form and Image

3

Drawing Application

4

Materials and formats

5

Investigation and source books

6

Methods of framing Module Assessment

Formative assessments: Learner Progress reports, learner reviews, project presentation, group crits, learning portfolios.

Summative assessments: Portfolio project 100%

Assessment Criteria and Weighting

The module is evaluated under the following headings:

Research 50%

Analysis and Development 30%

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Presentation 0%

Essential Reading

Tania Kovats, Drawing Book, Black Dog Publishing, 2006 Emma Dexter, Vitamin D, Phaidon, 2006

Doyle, Mary, ed. Drawing on Space. London: The Drawing Room, 2002. Godfrey, Tony. Contemporary Drawing. London: Phaidon, 1988.

Newman, Avis. Act of Gesture. London: Tate Gallery Publications, 2003. Savage, Jim. Drawing Texts. Dublin: Occasional Press, 2001.

Supplemental Reading

Drawing the Line- Reappraising Drawing Past and Present, South Bank Centre, 1995 Web references, journals and other:

www.drawingcenter.org The Drawing Center New York www.drawingroom.co.uk The Drawing Room, London http://www.into-drawing.com/

B - PHOTOGRAPHY MEDIA (40%)

Module Author(s) Anne Marie Walker

Concise introduction to the Foundation of Photography up to Contemporary Photography

Integration with drawing component

Module Aim

1

Introduction to Contemporary Photography.

2

Introduction to ‘Camera Obscura ‘.

3

Introduction to Photographic Creative Practise incl. camera obscura, camera & darkroom skills.

1. Ability to work independently in a darkroom.

2. Introduction to fine art creative practise, involving camera obscura, camera & darkroom skills.

3. Research, analyse & realize ‘camera obscura ‘skills. 4. Knowledge of Contemporary Photography.

5. Using photography as a drawing tool.

6. 2 essays, researching ‘camera obscura’ & Contemporary Photography.

Learning and Teaching Methods

1. Learning by lecture/ demonstration & Practise. 2. Facilitated group discussions on relevant topics 3. Independent research of camera obscura.

4. Photography Sourcebook, (ongoing after module) containing technical data, research incl. artists who combine drawing & photography as an art form.

5. Introduction of New Technology, to record & share imagery, e.g. Facebook, mobile phone, you tube, micro blogging.

Module Content

1. Week 1. Site visit or equivalent. i.e. lecture on camera obscura,

Contemporary Photography & Cinema. Details of module content & materials required. Individual research assigned.

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2. Week 2. Group critique on photographic research. Introduction to darkroom & darkroom techniques. Health & Safety rules explained. (Lecture/

demonstration). Black / White printing workshop (introduction & practise). Comprehensive instructions on construction & using a camera obscura. Group discussion at end.

3. Week 3. Camera obscura (lecture/demonstration) & Practise. Introduction to creative darkroom techniques (includes using photography as a drawing tool). Lecture/demonstration & Practise. Group discussion at the end. 4. Week 4. Advanced work of 1. Camera obscura 2. Creative darkroom

technique. Lecture/demonstration & Practise. Group discussion at the end. 5. Week 5. Film Processing demonstration. Lecture/demonstration. Group

discussion at the end.

6. Week 6. Black & White Printing from negatives. Lecture/demonstration. Practice. Group discussion on overall module & assessment requirements.

Completed portfolio of required components will be assessed at end of Semester.

Secret Knowledge. David Hockney. ISBN 0 – 500 -28638 – 8 Photobook. Jeffrey Ian. Paperback. 2005.

Ways of Seeing. John Berger. ISBN Penguin 0 1402.1631 6 On Photography. Susan Sontag. ISBN 0 – 440 -56696 – 7

Camera & darkroom techniques. Various ones available. (Library or online ) A dictionary of symbols.

Books on Contemporary Photographers (library) Photography journals (library)

Contemporary cinema / Research (library) YouTube.ie - Ways of Seeing. John Berger

YouTube.ie - Secret Knowledge (David Hockney) + various links pertaining to module concept

Drawing / Photography Contact Hours

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5 FAPA 1000 Painting Media 1.1

Module Author(s) Caoimhe Kilfeather, Tony Carroll

This is an introductory module normally offered in the first semester of year one.

Theme: Perception and Investigation

Sensory awareness and in particular visual awareness are addressed in this module through the study of colour and formal elements of 2D studies such as composition and form.

Relevant materials are introduced and applied to study these phenomena. Skill in application is part of the study.

Investigation and contextualisation of the student’s work takes place in learning portfolios.

Module Aim

The broad aim of this module is to introduce the student to the fundamentals of 2D studies in Fine Art.

On successful completion of this module, the student will be expected to: 1. Demonstrate visual awareness through the learning portfolio, 2. Apply a range of materials relevant to 2D studies,

3. Comprehend formal issues in painting media, 4. Realise a learning portfolio,

5. Display skills appropriate in 2D studies.

Learning and teaching methods for this module include the following:

Lectures to introduce the module elements, videos of artist/practitioners relevant to theme/materials/elements, group discussion, group crits, project work, studio practice, self directed learning, learner reviews, learning portfolios.

Module Content An introduction to:

1. The application of paint media

2. The study of colour theory and perception 3. The study of colour and media (1)

4. Compositional elements . 5. Form and image.

6. The investigation of materials and formats. 7. Primary and secondary research methodology 8. Investigation through the use of source books.

9. The implementation and practice of skills through workshops 10. Health and safety workshop and practice.

Formative assessments: Peer review, Learner progress reports, learner reviews

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The module is evaluated under the following headings:

Research 50%

Realisation 20%

Presentation 0%

Birren, Faber. Color Perception In Art. Van Nostrand Reinhold, 1976. Gage, John. Colour and Culture. London: Thames and Hudson, 1994.

Gage, John. Color and meaning: art, science, and symbolism. London: Thames and Hudson, 1999.

Hughes, Robert. The shock of the new: art and the century of change. London: Thames and Hudson, 1991.

Itten, Johannes. The Art Of Colour: The Subjective Experience And Objective Rationale Of Color. Van Nostrand Reinhold, 1973.

Schwabsky, Barry. Vitamin P: New Perspectives in Painting. London: Phaidon, 2002. Taylor, Brandon. Art of Today. Weidenfeld & Nicolson, 1995.

Contact hours

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5 FASC 1000 Sculpture Media 1.1

Module Author(s) Robert McColgan, Anna Macleod, John Mayock

Theme: Perception and Place

This is an introductory module in Sculpture offered over one semester.

Module Aim

The broad aim of this module is to introduce students to the fundamentals of Sculpture, its theories and practices and its relevance in Contemporary Fine Art practice.

It also introduces students to Collaborative practices through Group work.

On successful completion of the module the learner will be able to:

1. Conduct open enquiry into Sculpture theories and practices through Group work. 2. Identify and implement appropriate primary, secondary and technical research

methodologies.

Year 1 Semester 1. Studio / Workshop Week MODULE> Sculpture Media 1.1

‘Perception / Place’ 5 credits

1 Botanic Gardens. Site visit.

Orientation. Responding to space. Observing architectural form, historical and vernacular contexts. Documentation strategies discussed. (Bring camera, drawing materials, notebook, sound recorder etc.)

2 Botanic Gardens. Studio.

Development of observation studies. Scale, proportion and geometric forms recurring. Influence of Industrial revolution / Colonialism on architecture. Crystal Palace origins.

3 Botanic Gardens. Studio.

Finalise drawing from Botanics. Drawing for sculpture addressed, how are key construction issues handled through drawing. Information relayed through drawing. 4

Trip Abroad / Dublin project. See separate brief 5 Introduction to Sculpture practices. 1 Hour

Overview of sculpture practices, module requirements outlined. Explanation of workshop facility and procedures.

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Identify strategies appropriate for the analysis of objects, spaces and contexts.

Reflect on and identify significant issues in coursework through use of peer discussion and learning portfolios.

Demonstrate a capacity to implement collaborative creative strategies as well as independent learning strategies.

Teaching and learning methods will include lectures to introduce the module elements, staff presentations on artist/practitioners relevant to the module themes/materials/elements, orientation of perception, learner reviews, learning portfolios, learner reviews, learning portfolios, group discussion, group crits, project work, studio practice and self directed learning.

Formative Assessments: Peer review, Learner progress reports, Crits, Learner Reviews. Summative Assessment: Portfolio Project assessment: 100%

Portfolio elements may include: three dimensional and two dimensional work, and a learning portfolio.

6 Continuation of linear architectural project in teams. am. Documentation. Group presentations. pm.

7 Review Week

8 Form Construction project. Discussion of shape and form. Commence project based on architectural forms using planar materials.

Students work in same teams. Discussion and documentation.

9

Continuation of group form project. am. Documentation. Group presentations. pm.

10 Place and landscape Lecture 1 hour

Mobile project. Discussion of balance and movement in sculpture. Combination of linear and planar materials. Team work.

11 Complete with mobile project. am. Documentation. Group presentations. pm.

12 TOWER PROJECT individual project.

Introduction to small scale construction methodologies. Students complete individual towers using small scale linear and planer materials. Towers must be capable of bearing 1 kilo weight.

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Research 50%

Realisation 20%

Presentation 0%

Understanding the Assessment Criteria RESEARCH 50%

This includes Primary Research; Process based Research and Secondary Research Primary Research: Cognitive and experiential research from subject’s source through interviews, experimentation and/or documentation etc.

Process based Research: Technical Methodologies and Material Proceses.

Secondary Research: Appropriate texts of an artistic, contextual and historic nature relevant to subject and/or accredited relevant primary research done by others.

ANALYSIS AND DEVELOPMENT 30%

Interpretation and critical appraisal of research material and its subsequent use and application towards the development of a coherent body of work

REALISATION 20%

Conceptual underpinning and material manifestation of a coherent body of work

PRESENTATION 0% Essential Reading

Mills, John W. The Technique of Sculpture. Batsford, 1976.

Peck, Judith. Sculpture as Experience: Working with Clay, Wire, Wax, Plaster & Round Objects. Radner DA: Chilton Book Co., 1989

Grosenick, Uta and Riemschneider, eds. Art at the Turn of the Millenium. Taschen,1999. Grosenick, Uta and Riemschneider, eds Art Now, Taschen, 2005

Contact Hours

Class Size: Plenary size, maximum 36; Workshop Group size, maximum 16 Learning Hours

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5 FAPR 1000 Printmaking Media 1.1

Module Author(s) Peter Jones, Joe Hanly

Theme: Perception & Investigation

This module focuses on artistic production through print media, utilizing a variety of current and traditional technologies. The student will investigate different techniques and materials relevant to this media within a developing arts practice. This module emphasizes basic technical skills and the pursuit of creative adaptations.

Module Aim

The aim of this module is to introduce the student, through a series of projects, to a process of encounter and discovery. The distinctive properties of traditional and contemporary media, their practical and conceptual application, are explored.

On successful completion of this module the student will be expected to:

1. Apply methods of image construction across a broad range of print media. 2. Demonstrate visual awareness through the learning Portfolio.

3. Identify appropriate primary and secondary research methodologies.

4. Produce a series of printed images through project work in which the student displays examples of the different materials and processes.

Learning and teaching methods for this module include lectures to introduce the module elements, practical demonstrations, images of artist/practitioners relevant to

theme/materials/elements, group discussion, group crits, project work, studio practice, self directed learning, learner reviews, learning portfolios.

Module Content

The content of this module will include an extended exploration of the following: Silkscreen, Etching, Monotype and Digital Imaging

Formative assessments: Learner progress reports, learner reviews, project presentation, group critiques, learning portfolios.

Summative assessments: 100% portfolio project. Assessment Criteria and Weighting

Research 50%

Analysis and development 30%

Realisation 20%

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Ayres, Julia. Printmaking Techniques. New York: Watson - Guptill Publications, 1993.

Ayres, Julia. Monotype: mediums and methods for painterly printmaking. New York: Watson - Guptill Publications, 1993.

Whale, George. Digital Printmaking. London: A&C Black Lt, 2001.

Recommended Reading

Silvie, Turner. Which Paper? A Guide to Choosing and Using Fine Papers. London: Estamp, 1994.

Silvie, Turner. Europe for Printmakers. London: Estamp, 1994. Printmaking Today. Ferrand Press, London: Quarterly.

Contact Hours

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5 FAPP Professional Practice

1.1

Module Author(s) Caoimhe Kilfeather

This is an introductory module to Professional Practice as it relates to contemporary art practice.

Module Aim

Theme: Perception and Investigation

The broad aim of this module is to introduce students to the mediation of contemporary art. Students will be introduced to contemporary practice through studio and gallery visits and required to undertake appropriate research into the artists and institutions in advance of these visits as well as participate in class discussion and workshops looking at related topics.

On successful completion of this module the student will be expected to: 1. Articulate their opinions on contemporary art,

2. Implement a range of research methodologies around contemporary practices, 3. Demonstrate an awareness and understanding of the different ways in which artwork

is mediated in addition to the art exhibition.

1. Lectures to introduce module elements

2. Group research activities and subsequent student presentations 3. Development of a learning portfolio to include critical writing 4. Group discussion

5. Self-directed learning

Module Content

1. Introduction to presentation techniques / approaches 2. Group-work research skills

3. Analysis of and reflection on contemporary art practice through gallery and studio visits (preparatory and debriefing discussions)

4. Introduction to appropriate use of terminology / language in contemporary art practice 5. Analysis of text-based mediation (press releases, art journals, and catalogues) 6. Analysis of non- text-based mediation (pod-casts, panel discussions)

Formative assessment; peer review, learner progress reports, learner reviews, project presentation, learning portfolios.

Summative assessment; Learning Portfolio - 100%

Research 50%

Realisation 20%

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Press releases and critical texts associated with exhibitions which are visited over the course of the module.

Regular consultation with range of Art Journals:

Artists Newsletter, Art in America, Art Forum, Art Monthly, Art Review, Cabinet, CIRCA, Contemporary, Frieze, Modern Painters, Parkett, October, Printed Project, Source, Turps Banana, Visual Artists’ Ireland Newsletter.

Recommended reading

O’Neil, Paul ed. Curating Subjects, Occasional Table, 2007 Obrist, Hans Ulrich, A Brief History of Curating, 2008

Contact Hours

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5 FANM 1000 New Media 1.2

Module Author(s) Amy Walsh

In this module students will be introduced to New Media Art within a Fine Art context.

Throughout the module New Media Art as a movement will be explored and artists working in this area will be discussed. A particular emphasis will be placed on the area of animation within Fine Art. Students will learn a number of animation techniques and will be required to make a flipbook animation, a frame based animation and a stop-motion animation. Each student will be asked to work with the concept of a ‘loop’ while making the animations. In creating a ‘loop’ students will be exploring both the structure and nature of time based work.

Module Aim

This module teaches the basic skills required for making moving image work through animation within a Fine Art context. It will introduce the standard methods for making animations, and will introduce the concept of time-based and moving image work. Students will learn the basic principles of animation and will create a series of animations using drawing, photography, stop-motion together with basic animation tools in Photoshop. Students will be required to upload their finished animations to Youtube.

On successful completion of this module students will be able to:

1. Take a concept from storyboard through to a finished moving image work / 2. animation

3. Make informed choices in relation to time based moving image work

4. Understand and employ a range of animation techniques, flip-book, frame based animation and stop-motion animation.

5. Use the Internet as a tool to display work.

1. Practical and technical workshops and demonstrations 2. Lectures and group discussions

3. Tutorials

Module Content

Week 1 Introduce New Media Art and early moving image devices. Introduce contemporary artists working in animation. Students will take the concept of the loop and storyboard an animation. Students will be asked to make a flipbook animation and to research contemporary artists working with animation.

Week 2 Students will present their flipbook and research to the class. The animation tools within Photoshop will be introduced. Using the frame based animation palette and the drawing tools students will make an animation in Photoshop and save it as a QuickTime Movie

Week 3 Students will be asked to expand the idea of a loop and storyboard an animation to make using the stop-motion technique. Students will build sets and figures for their

animations using clay, card, paper, wire etc.

Week 4 Students will be shown a basic tabletop set up and techniques employed in stop motion animation. Students will be shown how to set a camera up on a tripod and how to white balance a camera. Students will use these techniques and start shooting their own stop motion animations.

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images into a QuickTime movie file. Students will create a Youtube account and upload their finished animations to Youtube.

Week 6 Module assessment Module Assessment

Students will be required to upload their finished animations to Youtube, and to submit their flip book animation and their research.

Research 50%

Realisation 20%

Presentation 0%

Berger, John 1972 Ways of Seeing Penguin

Tribe, Mark / Jana, Reena 2006 New Media Art Taschen Animate projects http://www.animateprojects.org/ http://www.animateprojects.org/films/by_date/

Filmboard of Canada http://www.nfb.ca/

http://www3.nfb.ca/animation/objanim/en/films/

A History of early photography or how to cheat at art by Tim Hunkin http://www.timhunkin.com/93_how_to_cheat_at_art.htm

Overview of history of imaging including camera obscura, phantasmagoria & proto or early photographers

http://www.precinemahistory.net/ Contact Hours

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5 FAPA 1001 Painting Media 1.2

Module Author(s) Caoimhe Kilfeather, Tony Carroll

Theme: Investigation and expression

Study of Fine Art fundamentals relative to equip learner with an understanding of the meaning and importance of a personalised visual language. Relevant materials are introduced and applied to study this.

Skill in application is part of the study.

Investigation and contextualisation of the students’ work takes place in learning portfolios.

Module Aim

The aim of this module is to introduce the student to further fundamentals of 2D studies in Fine Art.

On successful completion of this module, the student will be expected to: 1. Demonstrate visual awareness through the learning portfolio, 2. Apply a range of materials relevant to 2D studies,

3. Display and discuss examples of formal issues in painting media, 4. Develop and complete a small personal project,

5. Realise a learning portfolio,

6. Display skills appropriate in 2D studies.

Learning and teaching methods for this module include the following:

Lectures to introduce the module elements, videos of artist/practitioners relevant to theme/materials/elements, group discussion, group crits, project work, studio practice, self directed learning, learner reviews, learning portfolios.

Module Content

This module will progress the learning from the Paining Media 1.1 module in the areas of: 1. Paint application

2. Colour theory: expression 3. Colour and Media (2) 4. Composition 5. Form and Image 6. Materials and formats

7. Primary and secondary research methodology 8. Investigation and source books.

Formative assessments: Peer reviews, learner progress reports, learner reviews, Project presentation, group crits, learning portfolios

Summative Assessment: Portfolio Project assessment, 100%

Research 40%

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Realisation 20%

Presentation 10%

Birren, Faber. Color Perception In Art. Van Nostrand Reinhold, 1976.

Chipp, Herschel B. Theories of modern art : a source book by artists and critics. University of California Press, 1996

Gage, John. Colour and Culture. London: Thames and Hudson, 1994.

Gage, John. Color and meaning: art, science, and symbolism. London: Thames and Hudson, 1999.

Hughes, Robert. The shock of the new: art and the century of change. London: Thames and Hudson, 1991.

Itten, Johannes. The Art Of Colour: The Subjective Experience And Objective Rationale Of Color. Van Nostrand Reinhold, 1973.

Schwabsky, Barry. Vitamin P: New Perspectives in Painting. London: Phaidon, 2002. Taylor, Brandon. Art of Today. Weidenfeld & Nicolson, 1995

Contact hours