Data projectors
Studio Space.
Lecture Theatre
Seminar rooms
Workshops chosen from a range of Faculty facilities available that are appropriate to your project or could serve to develop that practice.
Technical skills modulettes, as appropriate.
Slide projector
Audio, DVD playback, monitors
Room with blackout
Library
Slide library
Student word-processing facilities
Internet access
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

Bayrle, T. 2011. Vitamin P2 : new perspectives in painting. London ; New York, Phaidon.
Bishop, Claire. 2005. Installation art: a Critical History. London: Tate.
Bright, S. 2011. Art photography now. London, Thames & Hudson.
Chadwick, W. 2012. Women, art, and society. New York, NY, Thames & Hudson.
Cotton, Charlotte. 2004. The photograph as contemporary art. London: Thames and Hudson.
Dean, Tacita, and Jeremy Millar. 2005. Place. New York, N.Y.: Thames & Hudson.
Demos, T. J. and R. Alonso. 2006. Vitamin P: new perspectives in photography. London ; New York, NY, Phaidon.
Dexter, Emma. 2005. Vitamin D New Perspectives in Drawing. New York, NY, Phaidon.
Ellegood, Anne. 2009. Vitamin 3-D New Perspectives in Sculpture and Installation
Filipovic, E. 2010. Creamier : contemporary art in culture: 10 curators, 100 contemporary artists, 10 sources. London ; New York, Phaidon.
Grosenick, Uta, Burkhard Riemschneider eds. 2002. Art Now: 137 artists at the rise of the new millennium. Cologne: Taschen.
Grosenick, Uta, Burkhard Riemschneider, Lars Bang Larsen eds. 1999. Art at the Turn of the Millennium. Cologne: Taschen.
Hoffmann, Jens, Joan Jonas (2005) Perform. New York, N.Y.: Thames & Hudson.
Malloy, Judy, ed. 2003. Women, Art, and Technology. Cambridge, Mass. London: MIT
Martin, S; E. Thomas. 2002. Baltic: The Art Factory: The Building of Baltic, the Centre for Contemporary Art. Gateshead: Baltic
O'Reilly, S. 2009. The body in contemporary art. New York, Thames & Hudson.
Robertson, J. and C. McDaniel 2012. Themes of Contemporary Art: Visual Art After 1980. New York, Oxford University Press.
Rush, Michael. 2003. Video art. New York: Thames & Hudson.
Schwabsky, Barry. 2004. Vitamin P: new perspectives in painting. London ; New York, Phaidon.
Siegel, Katy, Paul Mattick (2004) Money. New York, N.Y.: Thames & Hudson.
Steiner, Barbara, Yang, Jun. 2004. Autobiography. London: Thames & Hudson.

Lectures
Seminars
Tutorials
Group critiques
External Visits
Practical Classes and workshops
Academic workshops
Online resources
Readings
Independent study to support work within seminar workshops
Independent study in support of your project work
Short exercises and assignments that help you to apply and evaluate your learning

Key Information Sets:
10% scheduled learning and teaching activities
90% guided independent study

70% - An exhibition of selected artworks an artist statement and exhibition proposal. The presentation of all relevant research, undertaken during the semester this should include; material trials, research dossier, sketchbooks, notebooks and workshop exercises.
[Learning Outcomes 1 - 5]

30% - 1000 word essay [Learning Outcomes 2-4, 6-7]

* Students must pass all elements of the assessment criteria

Key Information Set Data:
100% Coursework

This module will develop your ability to construct an individual working method. It will help you to challenge and develop research interests announced in the first semester. You will continue to speculate and experiment with ideas, materials, and processes in order to open up a greater range of expressive possibilities within your practice. The module will encourage you to increase your awareness of the contextual, thematic and material implications of your practice through tutorial contact, seminar discussion and studio presentation.
This module will introduce you to the broad range of enquiry found within contemporary art covering a variety of media. The expressive resources focused on will include; painting, sculpture, installation, photography, video, and digital media.
Students will be introduced to the notion that the ideas, media and methods addressed by artists are not locked into art historical 'movements' or 'isms' but are, instead more fluid and flexible. The purpose of art historical classifications is to make sense of the complexity of contemporary art practice. But there cannot be a definitive sense, the complexity of art practice is open to continuous reassessment. In addition, a practicing artist can traverse the history of art (including contemporary art), creatively reworking and/or deconstructing the rich repository of elements that it offers, in order to create new perspectives.
Themes addressed will include socio-political art, transgression, environment, the body, simulation, the role of the museum, and the movement-image.