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

Data projectors
Studio Space
Galleries
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.
Practical skills workshops
Slide projector
Audio, DVD playback, monitors
Room with blackout
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.

70% - A public display of selected artworks, an artist statement and support material which will include relevant research undertaken during the semester [Learning Outcomes 1 - 5]

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

* Students must pass all elements of the assessment criteria

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 an emphasis on the development of practical, making skills and the use of materials leading to a public display of work.

This module will introduce you to the broad range of enquiry found within contemporary art covering a variety of media, via a series of lectures and seminars. The expressive resources focused on will include; painting, sculpture, installation, photography, video, and digital media.

You 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. In addition, you will explore how 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.

1. THE ABILITY TO USE MATERIAL, EQUIPMENT AND PROCESS WITH INCREASED COMPETENCE AND RELEVANCE TO YOUR OWN PRACTICE.
(Application, Learning, Problem Solving, Visual Analysis)

2. THE ABILITY TO CONTEXTUALISE YOUR STUDIO PRACTICE.
(Communication, Enquiry, Knowledge & Understanding, Visual Analysis)

3. THE ABILITY TO BROADEN THE DISCUSSION AND DEBATE OF IDEAS RELATED TO YOUR WORK.
(Communication, Knowledge & Understanding, Reflection, Visual Analysis, Working With Others)

4. THE ABILITY TO DEMONSTRATE CRITICAL AWARENESS OF YOUR DEVELOPING PRACTICE
(Analysis & Reflection)

5. THE ABILITY TO DISCRIMINATE IN THE SELECTION OF WORK FOR PUBLIC DISPLAY.
(Visual Analysis & Working with Others)

6. THE ABILITY TO RESEARCH A TOPIC THOROUGHLY ACQUIRING PROPERLY REFERENCED TEXTS AND IMAGES
(Enquiry& Learning)

7. THE ABILITY TO STRUCTURE THE DISCUSSION OF VISUAL AND VERBAL MATERIAL IN A LOGICAL AND INTEGRATED FASHION
(Analysis, Communication, Knowledge & Understanding, Reflection)