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

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

Studio Space
Specialist workshop facilities, as appropriate
Library and slide library
Word-processing facilities
Internet access
Lecture Theatre
Seminar Rooms

The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

Bishop, Claire (2005) Installation Art: A Critical History. Tate, London.
Bolton, Richard (1989) The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass.: MIT Press.
Bourriaud, Nicolas (1998) Relational Aesthetics. Dijon: Les presses du reel.
Butler, C. H., L. G. Mark, et al. (2007). WACK! : Art and the Feminist Revolution. Los Angeles Cambridge, Mass: Museum of Contemporary Art; MIT Press.
Hoffmann, Jens, Joan Jonas (2005) Perform. New York, N.Y.: Thames & Hudson.
Bourriaud, N (2009) Altermodern: Tate Triennial 2009. London: Tate Publishing.
Dean, Tacita, and Jeremy Millar (2005) Place. New York, N.Y.: Thames & Hudson.
Harrison, C and Wood, P (2003) Art in Theory, 1900¿2000: An Anthology. Oxford: Blackwell.
Le Feuvre, L and Morton, T (2010) British Art Show 7: In the Days Of The Comet. London: Hayward Gallery Publishing.
Shipps, S (2008) (Re)thinking "Art": A Guide For Beginners. Oxford: Blackwell.
Siegel, Katy, Paul Mattick (2004) Money. New York, N.Y.: Thames & Hudson.
Steiner, Barbara, Jun Yang (2004) Autobiography. New York, N.Y.: Thames & Hudson.
Stallabrass, Julian. 2004. Art Incorporated: The Story of Contemporary Art. Oxford: Oxford University Press
Grosenick, Uta, Burkhard Riemschneider, Lars Bang Larsen eds. 1999. Art at the Turn of the Millennium. Cologne: Taschen.
Grosenick, U; I. Becker (2001) Women Artists in the 20th and 21st Century. New York, Taschen.
Grosenick, Uta, Burkhard Riemschneider eds. (2005) Art Now. Cologne: Taschen.
Hiller, Susan (1991) The Myth of Primitivism: Perspectives on Art. London; New York, Routledge.
Kwon, Miwon (2002) One Place after Another: Site-Specific Art and Locational Identity. Cambridge, Mass: MIT Press.
Rush, Michael. (2003) Video Art. New York: Thames & Hudson.
Steiner, Barbara, Yang, Jun. 2004. Autobiography. London: Thames & Hudson.
Tahir, I., J. Lui, et al. (2011). Video, An Art, A History: 1965-2010: A Selection From The Centre Pompidou And Singapore Art Museum Collections. Singapore, Singapore Art Museum.
Terraroli, V. (2009). 1969-1999: Neo-Avant-Gardes, Postmodern and Global Art. Milano, Skira.

This module will help you develop and realise an individual programme of work based on your experience of theory and practice already established in Level Four. You will be expected to identify a coherent programme of work that should reflect your developing aims and intentions. You will expand your understanding of studio practice through experimentation and speculative enquiry. You will also identify and explore theoretical contexts that support and locate your practical work in the wider context of contemporary art.

You will develop an analytical approach to the discussion and evaluation of practice, recognising that this will be achieved through taking advantage of a communal studio environment that encourages and supports peer-to-peer learning. The module will allow you to locate your studio practice in the context of wider cultural debates and develop models of good practice in research, documentation and presentation of work. You will be encouraged to deploy a wide range of creative practical research methods appropriate to the studio-based environment of fine art practice. You will also utilise theoretical and contextual research methods, including scholarly writing and research, with adequate referencing, to locate your practice within appropriate contextual and theoretical discourses.

A coursework - Art & Design weighted at 70%
A presentation of coursework, with the presentation of all relevant background research undertaken during the semester, including research dossier, sketchbooks and notebooks.
[Learning Outcomes 1 - 6]

An Essay (1500 words) - weighted at 30%
[Learning Outcomes 4-6]

*Students must pass all elements of the assessment criteria

Key Information Set Data:
100% coursework