FNA3112 Contemporary practices 6
Faculty of Art, Design and Architecture
FNA3112 Contemporary practices 6 is a level 3, 12-credit-point, undergraduate unit from the Faculty of Art, Design and Architecture, offered in 2021 in Semester 2 at Caulfield. It needs FNA3111.
- Credit points
- 12
- Offered in 2021
- Semester 2
- Caulfield
- Assessment
- No exam
- 2 tasks
This is the 2021 handbook entry. See the 2027 entry.
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Requisites
Before FNA3112
Prerequisites
Pass these before you enrol.
After FNA3112
No unit lists FNA3112 as a prerequisite in the 2021 handbook.
Enrolment rules
Overview
This unit is the last and culminating unit in the Contemporary Practices sequence. In this unit emphasis is placed on independent investigation, and the development of the creative and expressive potential inherent in your work. Imagination combined with advanced conceptualisation and innovation in material manipulation should be manifest at this stage of your practice. You will develop an individual program in conjunction with the lecturers that reflect your personal direction and evolving art practice. The program focuses on clear articulation of concepts. Lecturers facilitate your own exploration, primarily through personal tuition where detailed analysis and discussion of your work takes place. Whilst providing a stimulating and supportive environment this unit provides a bridge between your experience in the supervised studio and a fully-fledged independent professional practice in the broader arts arena. The work produced culminates in an end of year exhibition of a professional standard, preparing you for entry into the professional world as fine artists in the discipline of choice, or the pursuit of further studies at a higher level.
Offerings in 2021
| Teaching period | Campus | Mode |
|---|---|---|
| Second semester | Caulfield | On campus |
Assessment
- Mid-semester folio40%
- End of semester folio60%
Learning outcomes
When you finish this unit, you should be able to:
- 1
Demonstrate strong self-reliance, and able to construct a program of work with a coherent direction which imaginatively addresses your own concerns;
- 2
Produce outcomes that display advanced skills, confidence and control in theoretical concepts and materials, and be able to isolate areas of your work that require further research and sustain a directed inquiry into these;
- 3
Demonstrate possession of a strong faculty and methodology for critical inquiry, enabling you to question and discuss the issues relevant to current theory and practice in your chosen field of fine art and in broader art practice;
- 4
Approach contemporary art practice and aesthetics with challenge and vigour, and be able to establish a personalised and informed discourse within the context of fine art practice;
- 5
Achieve a professional presentation and documentation of works in the final submission of your completed folio;
- 6
Independently practice the rules of occupational health and safety in force in the studio, and are able to collaborate and co-operate safely and productively within the studio environment with observance of the OHS&E regulations and policies of the studio.
Workload and teaching
- Studio activities48 hours
- Teaching approachField trips
- Teaching approachActive learning
- Teaching approachEnquiry-based learning
- Teaching approachResearch activities
- Teaching approachOnline learning
- Teaching approachPeer assisted learning
24 hours per week including 8 contact hours plus 16 hours of independent study and studio practice.
Learning resources
Required resources
Artlink covers contemporary art in Australia and provides a context for evaluation and analysis. It regularly produces special issues on specific areas, and undertakes major theme- based features.
Sontag, Susan. "In Plato’s Cave" in On Photography, Farrar, Straus and Giroux, New York, 1977, pp. 3 -26
Martha Buskirk, The Contingent Object of Contemporary Ar t . USA, 2005
Texte Zur Kunst https://www.textezurkunst.de,
Joseph Kosuth, Art after Philosophy and After , Collected Writings, MIT, 1991
Rowley, Alison & Pollock, Griselda. Painting in a ‘Hybrid Moment’ in Critical perspectives on contemporary painting : hybridity, hegemony, historicism , edited by Jonathan Harris. Liverpool : Liverpool University Press : Tate Liverpool, 2003, pp. 37-80.
Crimp, Douglas. The End of Painting October, Vol. 16 pp. 69-86 Published by: The MIT Press OR Pictures, October, Vol. 8 (Spring, 1979), pp. 75-88
Australian photo-based art magazine focusing on contemporary practice and produced by the Australian Centre for Photography
Discipline is a Melbourne-based publisher and contemporary art journal edited by Nicholas Croggon, David Homewood, and Helen Hughes. It has a focus on longer, research-based essays, interviews and artist pages.
Hans Ulrich Obrist, Interviews: Volume 1 , Published by Charta, Milan
Hans Ulrich Obrist, A brief History of curating , 2009 Zurich
Boris Groys , Art Power , 2008
Paula Marincola (ed.) What makes a great exhibition? Questions of Practice , Philadelphia Exhibitions Initiative
Peter Weibel, Gregor Jansen, Andreas Beitin, Dietmar Elger, and Friedrich Kittler, Light Art from Artificial Light: Light as a Medium in the Art of the 20th and 21st Centuries , Germany, 2006
Schwabsky, Barry. "Painting in the Interrogative Mode" in Vitamin P: new perspectives in painting , New York: Phaidon Press Inc., 2002, pp. 6-10.
O’Doherty, Brian. Inside the White Cube: Notes on the Gallery Space http://www.societyofcontrol.com/whitecube/insidewc.htm or Santa Monica, CA : Lapis Press, 1986. Or Art Forum 1976
Arts Hub is the online home for Australian arts workers, providing news, job lists, discussions and artsblogs for its subscribers.
Crimp, Douglas. "The End of Painting." October . vol. 16: pp. 69-86 OR "Pictures." October vol. 8 (Spring, 1979): pp. 75-88
Published by QUT, with in-depth analysis of and commentary on the contemporary visual arts, craft and related media
Gerhardt Richter, Daily Practice of Painting , MIT ,1995
Carolee Thea , On curating: Interviews with Ten International Curators , Published by d.a.p Covers the Australian art world in depth by profiling its artists, dealers and collectors
Klein, Paul, The Art Rules, Wisdom and Guidance from Art World Experts , Intellect, Bristol, 2015
Armen Avanessian and Andreas Topfer, Speculative Drawing , USA, 2014
Storr, Robert. "Painting History – Painting Tragedy" in Gerhard Richter: Doubt and Belief in Painting , Museum of Modern Art, New York, 2003, pp. 250 -263.
Moore, Catriona. Margaret Preston at Home in Radical Revisionism: An Anthology of Writings on Australian Art, edited by Rex Butler, IMA, Brisbane, 2005, pp. 200 – 212.
RealTime
Buren, Daniel. "The Function of the Studio." October 10 (Fall 1979): 51-58
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H D Buchloh. Art since 1900 . London, 2004.
Art Monthly is a national, monthly publication committed to representing all Australian states and territories to a local, national and international audience.
Leo Steinberg, Other Criteria , Oxford, 1972
Merleau-Ponty, Maurice. Cezanne's Doubt (1945) in Maurice Merleau-Ponty : basic writings / [edited by] Thomas Baldwin. London ; New York : Routledge, 2004. pp. 9- 24
Yves Alain Bois, Painting as Model , MIT, 1991
Crow, Thomas. The Return of Hank Herron in Endgame – Reference and Simulation in Recent Painting , MIT press, Massachusetts, 1987, pp. 11 – 27.
Jorg Heiser, All of a Sudden: Things That Matter in Contemporary Art ., USA, 2008
Anne Goldstein and Anne Rorimer, Reconsidering the Object of Art: 1965-1975 . USA, 1995
Lippard, Lucy. "Escape Attempts" in Six years: the dematerialization of the art object from 1966 to 1972. Ed. L. Lippard. Berkeley : University of California Press, 1997.
Stephen Henry Madoff (ed.), Art School (propositions for the 21st Century)
Australian visual arts-based blogspot, discussing NSW-based exhibitions and issues relating to contemporary artists.
Boris Groys, Art Power , USA, 2008
Basic equipment such as Stanley knives, canvas, paint, clay, paper, etc will be required.
Art Almanac is the essential guide to Australia’s art galleries -a monthly magazine listing art galleries, museums, dealers, artists, exhibitions, prizes and visual arts events Australia-wide.
Hickey, Dave. Introduction in Invisible Dragon: Four essays on Beauty, Los Angeles : Art Issues, Press, 1993.
Contacts
- Unit Coordinators
- Emily Floyd
- Dr Peta Clancy
- Chief Examiners
- Dr Peta Clancy
Common questions
What are the prerequisites for FNA3112?
You need FNA3111 before you enrol. Enrolment rules also apply.
When is FNA3112 offered?
In 2021, FNA3112 runs in Semester 2 at Caulfield.
Does FNA3112 have an exam?
No. FNA3112 has 2 assessment tasks and no exam.