VPR3012 Visual practices 3
Faculty of Art, Design and Architecture
VPR3012 Visual practices 3 is a level 3, 12-credit-point, undergraduate unit from the Faculty of Art, Design and Architecture, offered in 2023 in Semester 2 at Caulfield. It needs VPR3011.
- Credit points
- 12
- Offered in 2023
- Semester 2
- Caulfield
- Assessment
- No exam
- 3 tasks
This is the 2023 handbook entry. See the 2024 entry.
Reviews
No reviews yetNo reviews yet. Be the first to review VPR3012.
Requisites
Before VPR3012
Corequisites
Pass these before, or take them in the same semester.
Prerequisites
Pass these before you enrol.
Prohibitions
You can't enrol if you have passed any of these.
After VPR3012
No unit lists VPR3012 as a prerequisite in the 2023 handbook.
Enrolment rules
Prerequisite: Must be enrolled in a Bachelor of Visual Arts course
Overview
This unit is the last and culminating unit in the Visual Practices sequence and is second of the two third year units. In this unit emphasis is placed on independent cultural research and its relation to a broader collaborative or group context in the public realm. You will develop a creative, expressive and critical project that utilises advanced conceptualisation and material manipulation, engaging with the artwork as part of a chain of production, reception, distribution and publics. You will develop an individual program in conjunction with the lecturer that reflects your evolving cultural practice and professional direction. The program focuses on clear articulation of concepts and their publication in the written form as a supplement to the your Visual Practice. Detailed analysis and discussion of your work takes place primarily through personal tuition with lecturers, peer-based critique and experimenting with various modes of public presentation. This unit provides a stimulating and supportive environment through the introduction of a supervised studio and bridges this to independent professional practice in the broader arts arena. This unit contextualises individual practice within various public platforms that require different modes of group and/or collaborative modes of engagement. The work produced culminates in an end of year exhibition of a professional standard, preparing you for entry into the professional world as cultural producer in broad array of Visual Arts disciplines, or the pursuit of further studies at a higher level.
Offerings in 2023
| Teaching period | Campus | Mode |
|---|---|---|
| Second semester | Caulfield | On campus |
Assessment
- Preparatory folio30%
- Creative public outcome40%
- Creative public outcome exhibition30%
Learning outcomes
When you finish this unit, you should be able to:
- 1
Compose a self-directed and coherent work plan that addresses advanced research in your field of enquiry;
- 2
Demonstrate advanced knowledge and skills in techniques, materials and logistics in relation to their production in accordance to questions that emerge out of your cultural research;
- 3
Critically explore the developmental phase of your research through an advanced engagement in observation, analysis and experimentation;
- 4
Justify through the creative use and presentation of writing a position in relation to the historical, theoretical and artistic fields your own cultural production sits in;
- 5
Demonstrate a sophisticated ability to contextualise your cultural practice and the work of others within a curatorial and collaborative rationale in various professional public platforms.
Workload and teaching
- Studio activities96 hours
- Teaching approachField trips
- Teaching approachResearch activities
- Teaching approachOnline learning
- Teaching approachPeer assisted learning
- Teaching approachActive learning
- Teaching approachIndustry-based learning
24 hours per week including 8 contact hours plus 16 hours of independent study and studio practice.
Learning resources
Required resources
Interview between Felix Gonzalez-Torres and Tim Rollins Felix Gonzalez-Torres, New York : A.R. T. Press, c1993.
Amelia Jones; Geoffrey Batchen; Ken Gonzales-Day; Peggy Phelan; Christine Ross; Guillermo Gómez-Peña; Roberto Sifuentes; Matthew Finch: “The Body and Technology”, Art Journal, Vol 60, no. 1 (Spring 2001) pp. 20-39.
Foster, Hal. Design and Crime in Design and Crime and Other Diatribes, Verso, London, 2002, pp. 13 - 26.
Babette Mangolte, “Afterward: A Matter of Time”, in Camera Obscura, Camera Lucida; Essays in Honor of Annette Michelson, eds. Richard Allen and Malcolm Turvey, Amsterdam University Press, 2003. pp.261-274.
Joselit, David. Notes on surface - Towards a Genealogy of Flatness, in Theory in contemporary art since 1985 / edited by Zoya Kocur and Simon Leung. # Publisher:Malden, MA : Blackwell Pub., c2005, pp. 292 – 308.
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
Gardner, Anthony. Art in the Face of Fame: Ricky Swallow’s Reflection of Reputation, Reading Room: A Journal of Art and Culture – Autobiography in the wake of conceptualism Issue 01/2007, pp.60-79
Buren, Daniel. The Function of the Studio in October 10, Fall 1979
Adamson, Glen. Wearable Sculptures: Modern Jewellery and the Problem of Autonomy & Reframing the Pattern and Decoration Movement in Thinking Through Craft, Berg Publishing, New York, 2007.
Hickey, Dave. Introduction in Invisible Dragon: Four essays on Beauty, Los Angeles
Owens, Craig. The Discourse of Others: Feminists and Postmodernism. IN FOSTER,
Schorr, Collier. The Fine Line Between This and That (on Sarah Lucas’ photographic self- portraiture) in PARKETT No. 45 1995
Paul Taylor, ‘A Culture of Temporary Culture’, Art & Text #16 (Burnout) 1984. pp. POSITIONS
Den Besten, Liesbeth. Deskilled Craft and Borrowed Skill, Think Tank – a European Initiative for the Applied Arts, Austria, 2008, http://www.thinktank04.eu/page.php?4,137,139
Bachelard, Gaston. The House. From Cellar to Garret. The Significance of the Hut, The Poetics of Space, Beacon Press, Boston, 1958, pp. 3 – 37.
Lucy Orta in conversation with Nicolas Bourriaud OR Pipilotti Rist in conversation with Hans Ulrich Obrist In pressPlay: Contemporary Artists in Conversation Phaidon Press, London, 2005
Murray, Kevin. Introduction to Craft Unbound: make the common precious.
http://www.societyofcontrol.com/whitecube/insidewc.htm or Santa Monica, CA : Lapis Press, 1986. Or Art Forum 1976
Burgin, Victor. Art Common Sense and Photography in Visual Culture: the Reader. SAGE Publication, London, 1999
Bois, Yve-Alain. Introduction: Resisting Blackmail (pp. xi - xxx) & Painting as Model (pp. 245 - 258) in Painting as Model, MIT press, Massachusetts, 1993.
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
Off With the Pixies: An Interview with Hany Armanious Lara Travis, Like Art Magazine, No. 14 Autumn 2001
Krauss, Rosalind. The Destiny of the Informe, Formless – A User’s Guide, Zone Books, New York, 1996, pp. 235 – 252.
Butler, Rex. Bright Shadows: Art, Aboriginality and Aura in A Secret History of Australian Art, Craftsman House, Sydney, 2002, pp. 129 – 147.
H. (Ed.) Postmodern Culture. Port Townsend, Bay Press. 1983 O’Doherty, Brian. Inside the White Cube: Notes on the Gallery Space
Lippard, Lucy. Escape Attempts in Six years: the dematerialization of the art object from 1966 to 1972 .edited and annotated by L Lippard. (Berkeley : University of California Press, 1997)
Port Melbourne, Vic.: Craftsman House, an imprint of Thames and Hudson, 2005.
Baker, George. Film Beyond Its Limits, Grey Room, Fall 2006, No. 25, Pages 92 - 125
Philip Brophy Curating Video Art 101 in Photofile (Issue 94, Winter 2005) OR Bad Video Art Like Art Magazine (haven’t located yet)
Ian Burn, The Metropolis is only Half the Horizon in The Boundary Rider, catalogue, The Biennale of Sydney Ltd. 1992,
Koolhaas, Rem. Junkspace, October, Vol. 100, Obsolescence. (Spring, 2002), pp. 175-190.
Every Form of Art Has a Political Dimension Author(s): Chantal Mouffe, Rosalyn Deutsche, Branden W. Joseph, Thomas Keenan Source: Grey Room, No. 2 (Winter, 2001), pp. 98-125
Carter, Paul. Peculiar to the Night: the knowledge of Craft in Knowledge Makers Papers from the Craft Victoria Forum on Research and Craft Practice 19 July 1997, ed. S. Attiwill, (Melbourne: Craft Victoria, 1998 )
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.
Krauss, Rosalind. Sculpture in the Expanded Field, October, Vol. 8, (Spring, 1979), pp. 30-44 Kwon, Miwon. One Place after Another: Notes on Site Specificity
Crow, Thomas. The Return of Hank Herron in Endgame – Reference and Simulation in Recent Painting, MIT press, Massachusetts, 1987, pp. 11 – 27.
Katz, Jonathan. Rauchenberg’s Honeymoon in Art/Text, No. 61 May-July 1998
Morris, Robert. Some Notes on the Phenomenology of Making: The Search for the Motivated in Continuous Project Altered Daily: The Writings of Robert Morris 1993 MIT Press, Cambridge Massachusetts
October Spring 1997, No.80: 125-134 OR from One place after another : site-specific art and locational identity , Cambridge, Mass. : MIT Press, c2002.
Fraser, Andrea. Why Does Fred Sandback's Work Make Me Cry? Grey Room Winter 2006, No. 22, Pages 30-47
Rowley, Sue. There once lived...craft and narrative traditions.” in Craft and Contemporary Theory, ed. S. Rowley (St Leonards: Allen & Unwin, 1997)
Potts, Alex. Minimalism and High Modernism in The Sculptural Imagination: Figurative, Modernist, Minimalist, Yale University Press, New Haven, 2000, pp. 178
LEE, PAMELA M. Bridget Riley’s Eye/Body Problem, OCTOBER Fall 1998, Fall 2001, pp. 27–46.
Greenhalgh, Paul. The History of Craft in The Culture of Craft Status and Future, ed. P.Dormer, (New York: Manchester University Press, 1997)
Den Besten, Liesbeth. Keeping the Gift Moving in Gift: Papers and Exhibitions 2007, Think Tank – a European Initiative for the Applied Arts, Austria, 2007, pp. 14 – 18. http://www.thinktank04.eu /page.php?4,116
Juan Davila, 'Aboriginality: A Lugubrious Game?', Art & Text 23/24 1987. Also in Rex Butler, (ed), What is Appropriation? An anthology of critical writings on Australian art of the 80's and 90's, Institute of Modern Art and Power Publications 1996
Contacts
- Unit Coordinators
- Professor Kathy Temin
- Chief Examiners
- Professor Kathy Temin