Module Descriptors
STUDIO PRACTICE AND EXHIBITION
FINA40198
Key Facts
Digital, Technology, Innovation and Business
Level 4
30 credits
Contact
Leader: Sarah Key
Email: S.R.Key@staffs.ac.uk
Hours of Study
Scheduled Learning and Teaching Activities: 60
Independent Study Hours: 240
Total Learning Hours: 300
Assessment
- COURSEWORK weighted at 70% - Learning outcome(s) assessed: 1,2,3
- REFLECTION -1200 WORDS 5-6 MINUTES weighted at 30% - Learning outcome(s) assessed: 3,4
Module Details
LEARNING OUTCOMES
1. Apply knowledge of professional and theoretical contexts to produce a practical outcome suitable for public display. Knowledge & Understanding, Research Skills
2. Solve creative problems, using appropriate methods and processes to refine and develop your artwork, leading to a public display, working independently while engaging with relevant professional, technical, or academic feedback. Application & Problem Solving, Critical Reasoning & Collaboration
3. Communicate your work to academic, professional, or non-specialist audiences. Communication
4. Reflect on how employability and enterprise concepts inform your developing practice in Fine Art Personal Development & Entrepreneurship
2. Solve creative problems, using appropriate methods and processes to refine and develop your artwork, leading to a public display, working independently while engaging with relevant professional, technical, or academic feedback. Application & Problem Solving, Critical Reasoning & Collaboration
3. Communicate your work to academic, professional, or non-specialist audiences. Communication
4. Reflect on how employability and enterprise concepts inform your developing practice in Fine Art Personal Development & Entrepreneurship
ADDITIONAL ASSESSMENT DETAILS
Assessment 1: Coursework: Evidence of artistic practice
This will consist of a body of practical artwork, displayed in a public setting (such as an exhibition or publication), along with relevant supporting work. The artworks produced should show progression and development from the artworks produced on the previous module. Supporting work might take the form of sketchbooks, notebooks, material tests, or other forms of practical experimentation, depending on your own artistic practice.
Assessment 2: Reflection: Practice in Context document
Option 1: This will consist of a digital file (for example, a PowerPoint or PDF) that combines images of your work with reflective writing about your work and connects these with other artists’ work and ideas. It should be a continuation and an enhancement of the document produced in the previous module, providing around an additional 15-20 slides, with an additional 1200 words.
Option 2: This will consist of a verbal presentation that includes images of your work with reflective commentary about your work and connects these with other artists’ work and ideas. This should be between 8-10 slides and last between 5-6 minutes. A reference list will be supplied to accompany presentation.
Formative Assessment: Midway formative feedback will be embedded within practical sessions, providing structured opportunities for feedback on work-in-progress to support student development and progression.
This will consist of a body of practical artwork, displayed in a public setting (such as an exhibition or publication), along with relevant supporting work. The artworks produced should show progression and development from the artworks produced on the previous module. Supporting work might take the form of sketchbooks, notebooks, material tests, or other forms of practical experimentation, depending on your own artistic practice.
Assessment 2: Reflection: Practice in Context document
Option 1: This will consist of a digital file (for example, a PowerPoint or PDF) that combines images of your work with reflective writing about your work and connects these with other artists’ work and ideas. It should be a continuation and an enhancement of the document produced in the previous module, providing around an additional 15-20 slides, with an additional 1200 words.
Option 2: This will consist of a verbal presentation that includes images of your work with reflective commentary about your work and connects these with other artists’ work and ideas. This should be between 8-10 slides and last between 5-6 minutes. A reference list will be supplied to accompany presentation.
Formative Assessment: Midway formative feedback will be embedded within practical sessions, providing structured opportunities for feedback on work-in-progress to support student development and progression.
INDICATIVE CONTENT
- To develop and sustain the studio practice you initiated in Studio Practice Introduction
- Produce a body of work for display.
- Develop your ability to construct an individual working method and challenge and develop research interests announced in the previous module.
- Speculate and experiment with ideas, materials, and processes, opening up a greater range of expressive possibilities within your practice.
- Introduced to basic principles of exhibiting your work
- You will gain practical and conceptual knowledge of the mechanics of exhibiting, such as considering the appropriateness of hanging devices, object supports and intervention, as well as methods for collecting viewer feedback.
- Produce a body of work for display.
- Develop your ability to construct an individual working method and challenge and develop research interests announced in the previous module.
- Speculate and experiment with ideas, materials, and processes, opening up a greater range of expressive possibilities within your practice.
- Introduced to basic principles of exhibiting your work
- You will gain practical and conceptual knowledge of the mechanics of exhibiting, such as considering the appropriateness of hanging devices, object supports and intervention, as well as methods for collecting viewer feedback.
WEB DESCRIPTOR
Ready to develop your studio practice and present your work to an audience? In this module, you’ll build on your studio practice through sustained experimentation with ideas, materials, and processes, developing an individual working method. You’ll also explore the principles of exhibiting and curating work, learning how presentation, display, and audience engagement shape meaning. The module supports your progression towards confident, professional studio practice and public presentation.
LEARNING STRATEGIES
Lectures
Seminars
Tutorials
Group critiques
External Visits
Practical classes and workshops
Online resources
Group working
Public display of artworks
Seminars
Tutorials
Group critiques
External Visits
Practical classes and workshops
Online resources
Group working
Public display of artworks
TEXTS
Alters, S. (ed.) (2023) Everything that happened: Manchester International Festival. London: Unicorn Publishing Group.
Boon, M. and Levine, G. (2018) ‘Introduction: The promise of practice’, in Boon, M. and Levine, G. (eds.) Practice. London: Whitechapel Gallery.
O’Doherty, B. (1986) Inside the white cube: The ideology of the gallery space. Los Angeles: Lapis Press.
Steeds, L. (ed.) (2014) Exhibition. London: Whitechapel Gallery; Cambridge, MA: MIT Press.
Steeds, L. (2014) ‘Introduction: Contemporary exhibitions: Art at large in the world’, in Steeds, L. (ed.) Exhibition. London: Whitechapel Gallery; Cambridge, MA: MIT Press.
Thea, C., Micchelli, T. and Christov-Bakargiev, C. (2016) On curating 2: Paradigm shifts: Interviews with fourteen international curators. New York: D.A.P.
Where older texts are included, they are retained as foundational texts within the discipline, remaining relevant where no more recent equivalent texts are available.
Magazines and online sources to be regularly consulted:
Art Monthly
Art Forum
Art in America
Flash Art
Frieze: Contemporary Art & Culture
Boon, M. and Levine, G. (2018) ‘Introduction: The promise of practice’, in Boon, M. and Levine, G. (eds.) Practice. London: Whitechapel Gallery.
O’Doherty, B. (1986) Inside the white cube: The ideology of the gallery space. Los Angeles: Lapis Press.
Steeds, L. (ed.) (2014) Exhibition. London: Whitechapel Gallery; Cambridge, MA: MIT Press.
Steeds, L. (2014) ‘Introduction: Contemporary exhibitions: Art at large in the world’, in Steeds, L. (ed.) Exhibition. London: Whitechapel Gallery; Cambridge, MA: MIT Press.
Thea, C., Micchelli, T. and Christov-Bakargiev, C. (2016) On curating 2: Paradigm shifts: Interviews with fourteen international curators. New York: D.A.P.
Where older texts are included, they are retained as foundational texts within the discipline, remaining relevant where no more recent equivalent texts are available.
Magazines and online sources to be regularly consulted:
Art Monthly
Art Forum
Art in America
Flash Art
Frieze: Contemporary Art & Culture
RESOURCES
Student Life https://www.youtube.com/@uniofstaffsstudentlife/videos
University Careers https://staffs.careercentre.me/Members
University Library https://libguides.staffs.ac.uk/library
Blackboard Virtual Learning Environment will support this module where relevant
Specialist Spaces
Smart Zone
CAD Labs
Print Bureau
Betty Smithers Design collection
University Careers https://staffs.careercentre.me/Members
University Library https://libguides.staffs.ac.uk/library
Blackboard Virtual Learning Environment will support this module where relevant
Specialist Spaces
Smart Zone
CAD Labs
Print Bureau
Betty Smithers Design collection