STUDENTSTUDENT HANDBOOKHANDBOOK

1 CONTENTS

GENERAL INFORMATION 2 BACHELOR OF FINE ART Mission 2 SUBJECT OUTLINES 59 History of the National Art School 2 1st Year Units 59 Organisation and Governance of the School 4 2nd Year Units 68 NAS Leadership Responsibilities 5 3rd Year Units 77 Important contacts 5 AHT Electives 85 Staff of the National Art School 6 MASTER OF FINE ART 96 STUDYING AT THE Course Overview 96 NATIONAL ART SCHOOL 10 Course Structure 96 Student Resources 10 Course Requirements 96 Attendance 12 Student ID Card 13 Personal Electrical Equipment 13 MASTER OF FINE ART Management of Risk of Harm to COURSE OUTLINES 98 Students and Staff 14 MFA Stage 1 / GDFA 98 Copyright 14 MFA Stage 2 107

STUDENT POLICIES WORKPLACE HEALTH AND AND PROCEDURES 15 SAFETY STUDIO GUIDELINES Ethics Policy 15 116 The Process 16 All Departments 116 Student Code of Conduct 17 Ceramics 116 Discipline Policy 25 D r aw i n g 118 Overview of Nas Student Misconduct Procedures 30 Painting 118 Student Grievance Policy and Procedures for Students Photomedia 119 and those Seeking to Enrol 31 Printmaking 120 Informal Grievance 32 Sculpture 121 Enrolment Policy 35 Fee Policy 37 International Student Visas 41 Teaching and Learning Policy 41 Assessment Policy 43

COURSE INFORMATION BACHELOR OF FINE ART 57 Course Rationale 57 Course Structure 57

2 GENERAL INFORMATION

MISSION The first instructor in the art department was the Frenchman Lucien Henry, who had trained at the Ecole The principal mission of the National Art School is to des Beaux-Arts in Paris, and brought many elements be a centre of excellence for the provision of higher of the curriculum of this institution to the art school in education and research, scholarship and professional Sydney, where he taught freehand drawing, design and practice in the visual arts and related fields. modelling. In 1883, the Technical and Working Men’s The National Art School utilises its independent College was taken over by the government-appointed identity and distinctive teaching & learning methods Board of Technical Education. It came to be known to realise this mission through the development of as the Sydney Technical College, and in 1892 the art creativity and visual and cultural awareness in an department moved to the College’s new premises in international context. Ultimo. After the First World War, Sydney Technical College The aims and objectives of the National Art School are: expanded its courses and began to look for another site • To be a centre of excellence for the delivery of a close to the city. In 1919, James Nangle, Superintendent high quality specialist education in studio-based of Technical Education, and Thomas Mutch, Minister visual arts and related fields. for Public Instruction, lobbied to convert the disused • To be at the forefront of learning, creativity Darlinghurst Gaol buildings to an annexe of Sydney and practice in the visual arts, nationally and Technical College, and in 1922, the Department of Art internationally. was moved from Ultimo to the Darlinghurst Gaol site • To provide high quality education that fosters the (then called East Sydney Technical College), occupying acquisition and interrelationship of technical skills five buildings alongside other departments from Sydney with creative invention. Technical College. • To ensure that practice, research and scholarship With the arrival of the flamboyant and influential in drawing is a core visual language and underpins English sculptor G Rayner Hoff in 1923, the art creative development in all aspects of provision. department at East Sydney gained a new impetus, and • To situate all programs of study within the art Hoff helped to establish a five year Diploma course historical, theoretical, cultural and professional in 1926. It was in this year that the name ‘National contexts appropriate to the development of Art School’ was first mentioned in the catalogue for knowledge and understanding of the studio arts. an Exhibition of Art by the students of East Sydney • To promote the widest possible participation and Technical College. Hoff continued as a teacher of diversity of students by recruiting locally, nationally, modelling and sculpture, and set up a large studio in and internationally. one of the converted gaol buildings, until his untimely • To ensure that all academic staff are distinguished death in 1937. in their field as actively practicing artists, scholars The 1950s and 1960s saw a period of consolidation and/or researchers, recognise nationally and at the art school, with swelling numbers of Diploma internationally. students and an enormous influx of evening students. Life-long friendships were formed, and the social life HISTORY OF THE of the school included student revues, group painting NATIONAL ART SCHOOL trips and the legendary art student balls. The opening of The National Art School has been at the centre of the Cell Block Theatre in 1958 saw students become Sydney’s art scene for almost a century, and has involved in the music, dance and theatre productions nurtured the talents of generations of artists, who have which were regularly performed there. studied and worked in studios within the walls of the The focus of the School on the ‘atelier method’ of old Darlinghurst Gaol. teaching, which had evolved during Rayner Hoff’s time, The development of the art school can be traced was reinforced during this period. Drawing formed the back to the Sydney Mechanics’ School of Arts, where core of the program and small classes were taught by the first lecture on the principles of drawing, by John practising artists who were leaders in their fields. Skinner Prout, took place in 1843. In 1854, Joseph The survival of the art school was threatened in Fowles was engaged as a drawing teacher, and in 1873 1974, when a proposal to move the school from the East the Department of Art was set up in the School of Arts Sydney campus was put forward by the Department of building in Pitt Street, offering courses in technical Technical and Further Education (TAFE). An intense and and fine art drawing, as well as training in drawing for heart-felt fight was put up by students and staff, and primary school teachers. marches on Parliament House were organised, but by 3 the beginning of 1975, the School had been decimated, with the Division of Fine Art taken under the umbrella of ORGANISATION AND a new College of Advanced Education called Alexander GOVERNANCE OF THE SCHOOL Mackie College in Paddington (later known as the City Art Institute and now the College of Fine Arts or COFA). Although it appeared that the fight to stay on the site GOVERNANCE had been lost, the art course continued to run at East The National Art School is nationally registered and Sydney as a very diminished ‘School of Art and Design’, accredited as a Higher Education Provider and is which offered a two year certificate - a far cry from the recognized under the Higher Education Support Act heady days of the 1960s. Due to the determination of 2003. The Academic Board is responsible for the the teachers who had stayed on at East Sydney, and the maintenance of academic standards in accordance forming of FONAS (Friends of the National Art School), with the accreditation requirements. the School was gradually rebuilt, and a three year The National Art School is a public company limited Diploma was offered in 1988. by guarantee, with two members, the NSW Ministers This was not enough for the supporters of the for the Arts and for Education. The members appoint National Art School, who believed that independence a Board of Directors with responsibility for the School from TAFE was essential, especially with the and oversight of the leadership of the School. The introduction of the inappropriate ‘competency-based’ Board of Directors operates four sub-committees, training standards in the mid-1990s. Indeed the more the Finance and Audit Committee, the Properties and vocational emphasis of TAFE had been at odds with the Assets Committee, the Performance and Remuneration ethos of the art school for some time. Committee and the National Art School Foundation. After intense lobbying by many well-known figures The National Art School (ABN 89 140 179 111) from the art world, separation from TAFE was finally is recognized by the Australian Taxation Office as a achieved in 1996, when Bob Carr became Labor Charitable Institution, and is endorsed as a Deductible Premier and honoured his promise of independence Gift Recipient under Item 1 for the following funds: for the National Art School. The NAS Bachelor of Fine • National Art School General Fund Art Degree was accredited in 1998, and classes for • National Art School Gallery the new three year course began in 1999. The School • National Art School Library was the only state funded institution to offer a degree The National Art School Gallery and the National Art in fine art. School Library are also endorsed under Item 4, and Bob Carr’s promise included funds for refurbishment of may receive gifts of property under the Cultural Gifts the buildings, and when the other TAFE departments Program. moved off site in 2005, the art school was finally the sole occupant. With input from the NSW Government, PRINCIPAL COMMITTEES many of the buildings were upgraded to include a state- The National Art School operates academically through of-the-art gallery in a converted cell wing, a new library two principal committees: the Academic Board, and in the old gaol hospital, and refurbishment of many of The Executive. Each has its own sub-committees the old studios and the Cell Block Theatre. responsible for key operations within the School. Sub A form of independence had been achieved, but the committee’s of The Executive have responsibility for art school was still funded by the NSW Department of the oversight of WHS; Space planning and Facilities; Education and Training (DET), and as such could not Exhibitions, Collections & Acquisitions; and Personnel claim full freedom to manage itself. & Professional Development. Functions of the In June 2006, three weeks prior to announcing Academic Board are described in the following section. his retirement, Premier Bob Carr announced that Expressions of Interest to transfer the school to one ACADEMIC BOARD of Sydney’s existing universities would be sought. This The Academic Board is the senior academic advisory move was vehemently opposed by supporters of the body of the School. Its responsibilities include school, with a strong campaign and more marches maintaining the highest standards in teaching, on Parliament House, which finally resulted in a task scholarship and research and safeguarding the force being set up to investigate and report on options academic freedom of the School. It is also responsible for the school’s future. This committee, chaired by for overseeing the development of all academic Sandra Yates, met for over a year, and their findings activities of the School, formulating and reviewing resulted in the recommendation that NAS be made a policies, guidelines and procedures in relation to fully independent higher education provider. academic matters. In 2009 the Hon. Verity Firth, the NSW Minister for Education, announced that the art school would be ACADEMIC BOARD SUB-COMMITTEES released from the management of the NSW Department Academic Standards and Development of Education and Training and be registered as a public Committee company by guarantee, with two members, the Ministers The Academic Standards and Development Committee for Arts and Education, with a new Board of Directors is the principal sub committee of the Academic and Director of the School. True independence was Board. It is responsible for the development, delivery finally achieved, and the National Art School continues and monitoring of all National Art School academic to offer fine art degrees with intensive studio-based programs and the maintenance of quality assurance teaching in small classes, producing many successful throughout the School’s programs. students who contribute significantly to Australia’s 4 cultural development. Course Advisory Committee Student Representative Council The Course Advisory Committee provides the primary The Student Representative Council is a student formal mechanism by which the School gains external elected body providing collective representation for professional advice relating to its courses. It provides students with the School. The Council is active in representation of the broader academic, artistic and representing students and providing students with commercial communities as appropriate. opportunities to engage with each other socially and within the community. Board of Examiners The primary mechanism for evaluation and analysis Ethics Committee of student outcome data is the preparation of an The School has a duty to protect the rights, dignity, Assessment Schedule for consideration by the Board privacy and health and safety of all students, staff and of Examiners. The Board convenes at the conclusion visitors. Furthermore the School respects the welfare of of each academic year to review and evaluate all marks animals and the integrity of the environment. To further issued. In conjunction with the Assessment Schedule, these ends the School Ethics Committee monitors and comparative analysis across subjects in each course is advises on the implementation of the School’s ethics provided through the presentation of grade distribution policy. data. Student pass rates are regularly monitored by the Board of Examiners Committee. Any irregularities in pass/fail rates are noted and referred to the Academic Board for consideration.

5 STAFF OF THE NATIONAL ART SCHOOL

DIRECTOR & CHIEF EXECUTIVE OFFICER Steven Alderton BA Fine Art (Griffith)

HEAD OF STUDIES Simon Cooper BA Fine Arts (VIC College, Prahran), GradDip Fine Arts (VCA)

CHIEF OPERATING OFFICER & COMPANY SECRETARY Sue Procter BA (Sydney), MBA (UNE), CPA

ACADEMIC PROGRAM COORDINATORS HSC and Educational Lorraine Kypiotis Dip Ed, MA Fine Arts, MA (Sydney) Outreach Coordinator Undergraduate Coordinator John Bloomfield Dip Paint (ASTC NAS), Grad Dip Education (Newcastle CAE) Postgraduate Coordinator Dr Ian Greig BVA (Hons), PhD (SASA)

CERAMICS Head of Ceramics Lynda Draper, B Ed, Grad Dip Visual Arts, MFA (UNSW), MFA (UNSW) Lecturers Stephen Bird BA (Hons) (Duncan of Jordanstone College of Art) Sandy Lockwood Grad Dip Visual Arts (Ceramics), MVA (Ceramics) (Monash) Tania Rolland BA (Design), MFA (UNSW) Studio Technician David Stockburn NDD (West of England College of Art) Joseph Purtle BFA (Hons) (NAS)

DRAWING Head of Drawing Dr Maryanne Coutts BFA (VCA), Grad Dip (UNSW) PhD (Ballarat) Lecturers Charles Cooper GradDip Prof Art Stud (CAI), MA Visual Art (UNSW) Lynne Eastaway MFA (UNSW) Joe Frost BFA (Hons), MFA (UNSW) Dr Margaret Roberts PhD (Sydney) BA DipEd (LaTrobe), BA (Sydney), BA (Hons)(Sydney ), MFA (UNSW) Studio Technician John Stanfield BFA (NAS)

PAINTING Head of Painting Dr Stephen Little BA Visual Arts (Nepean CAE), Grad Dip Visual Arts, MVA (Sydney), PhD (Lond.) Lecturers Susan Andrews FA Cert (ESTC), GradDip Prof Art Stud, BA Visual Arts (CAI), MA (WSU) Dr Andrew Donaldson BA Visual Arts, PostGradDip Visual Arts, PhD (Sydney) Dr David Serisier BA Eng & Aus.Lit (Sydney), BA Visual Arts (CAI), PhD (UNSW) Studio Technician Paolo larossi BFA (NAS)

PHOTOMEDIA Head of Photomedia Geoff Kleem MFA (COFA UNSW), Grad Dip Education (UTS), Dip Art (Alexander Mackie CAE) Studio Technician Damian Dillon BFA (NAS), MFA (UNSW)

PRINTMAKING Head of Printmaking Peter Burgess DipArt (Ed.) – (Alexander Mackie CAE), MFA (Pratt Institute, NY) Lecturers Maureen Burns BA (Visual Arts), Grad Dip Visual Arts (SCA Sydney), MFA (COFA UNSW) Carolyn McKenzie-Craig BFA Griffith University B(Hons) FA, Griffith University Studio Technician Nina Juniper BA (Fine Arts) (Curtin)

6 SCULPTURE Head of Sculpture Ron Robertson-Swann OAM Cert Sculpture (NAS), PgCert (St. Martins) Lecturers Jim Croke DipArt (AMCAE), DipEd (Sydney), MEd Creative Arts (UNSW) David Horton BFA, MFA (NAS) Studio Technician Simon Hodgson BFA (Hons) (NAS)

ART HISTORY & THEORY Head of Art History & Theory Dr Michael Hill MA, PhD (Sydney) Lecturers Dr Ian Greig BVA (Hons), PhD (SASA) Lorraine Kypiotis DipEd, MA Fine Arts, (Sydney) Dr Georgina Cole BA (Hons), PhD (Sydney) Dr Jamie Tsai BA (Hons), PhD (Sydney) Dr Shane Haseman Dip VA (Prahran), BVA (SCA), MA, PhD (Sydney)

STUDENT SERVICES Registrar Benedict Griffin BA(Hons) (Lond), M Ed (Sydney) Student Services Officer Marina Veg BEd/BA (Sydney) Student Services Administrator Jazmin Velasco BA (WMSU), LLB(PLS) Student Counsellor Michelle Glass BA (Research), Hons Psychology (UNSW)

ACADEMIC SERVICES Academic Literacy Officer Zoe Wilesmith BA (Hons) Sydney, MArtAdmin (UNSW) Student Literary Officer Samantha Thompson BCA (UoW) MA Writing (Research) (UTS)

LIBRARY Library Manager Elizabeth Little JP B AppSci(Inf)(KCAE), B Art Th (Hons), M Art Admin (UNSW) AALIA Librarian Susan Olive Ass.Dip Library Practice (Sydney Institute) BA (LIS) CSU Library Technicians Lana Ryles Dip LIS (Sydney Institute), MFA (NAS) Grace Sagud Dip LIS (Sydney Institute)

PUBLIC PROGRAMS Head of Public Programs, Dr Ella Dreyfus BA Visual Arts (CAI, SCAE) Graduate Diploma Visual Arts Lecturer Photomedia (SCA, Sydney), PhD (UNSW) Public Programs Administrative Joan Cameron-Smith BFA (Hons) NAS MCCL (UNSW) Assistant

GALLERY, ARCHIVE & COLLECTION Gallery Manager & Curator Judith Blackall Dip Design (Ceramics) (SASA), PG Dip (Alexander Mackie CAE) Curatorial Assistant Lisa Tolcher BDes. (CIT), BFA (Hons) (NAS) Archivist & Collections Manager Deborah Beck DipArt (NAS & Alexander Mackie CAE) MA (Sydney)

7 CORPORATE SERVICES Governance & Business Ellen O’Shaughnessy Operations Manager Reception / Admin Assistant Shiling Wu BA (Music) (UMKC), MA (UNSW) Facilities & Operations Christine Myerscough MVA (Sydney) Manager Facilities Administrator Scott Clement BFA (NAS) Facilities Assistant Mark Polak Workshop Manager Jaroslav Prochazka BFA (NAS) Digital Media Lab & John Daly BFA (UNSW) AV Technicians Peter Morgan BFA (Hons) (NAS) Security & Services Officer Louis Greco Campus Assistants Marcel Delgardo Mal Nabogi Campus Grounds Assistant Darwish Khalil Campus Service Assistant Jason Bennett Finance Manager Chloe Wong MAcc (WSU) CPA Finance Clerk Suki Yuen BCom (UNSW) ASA Human Resources Manager Mauricio Ortiz BA (Hons) (Sydney) IT Manager Nhu Pham BE Dip Eng (UTS) IT Officer Duncan Whichelo BComm (UOW) Marketing & Communications Ros Brennan BA Comms (Curtin), Grad Dip Arts Mngmt (Deakin) Manager Marketing Coordinator Danielle Neely BA, MA Museum Studies (Sydney) Graphic Designer Ricardo Felipe BDesSt (UQ) Photographer Peter Morgan BFA (NAS) Head of Development Katy Tyrrell BA (Sydney), MA (Management, Admin) UTS, Grad Cert (Social Impact), (UNSW) Venue Hire & Events Manager Julie O’Reilly BCA (Deakin)

IMPORTANT CONTACTS

Inquiry type Department Telephone

Enrolments, fees, degree course information, student records and information Student Services 9339 8651

General information, switchboard, public program information Reception 9339 8744

Short courses Public Programs 9339 8633

Library – loans, returns, opening hours, fines Library 9339 8620

Emergencies and first aid on campus Security 9339 8726

8 9 STUDYING AT THE NATIONAL ART SCHOOL

STUDENT RESOURCES work is shown. Library staff are members of Arlis/ ANZ (The Arts Libraries Society of Australia and New Zealand), an organisation holding regular meetings ACCESS TO BUILDINGS AFTER-HOURS regarding issues for arts libraries and arts library & WEEKENDS professionals. Students requiring access to buildings and studio areas after-hours must sign the Access Book at the Days Opening Hours During Semester Security Office when entering and leaving the campus Mon-Thur 9am-6pm during after hours and Saturdays. Students who do not Fri 9am-3pm sign in on arrival and departure will be asked to leave the campus by Security. Students requesting to work During vacations opening hours may vary. in studios after hours must always work in pairs. No student is allowed solitary access to the National Art Art books and related materials School buildings after hours. No tools or equipment The art reference and lending collection of the library that are designated as hazardous may be used comprises over 28,000 items. after hours. These items include: For building access on Saturdays students must • Exhibition catalogues register their names in the Access Book no later than • DVDs Friday before 4.00pm to inform Security as to which • Artist Monographs buildings must be opened in the morning. Students who do not register will not be given clearance to access Catalogue access buildings. Access to the library catalogue is linked through the All rules and procedures must be adhered to NAS website. at all times whilst on Campus. All instructions and There are two computers located at the entrance to the requests directed to students by security must be library dedicated to the catalogue. Library staff are also abided by. Student Services will deal with any breaches available to assist students and academic staff with of discipline accordingly. An incident report will be locating materials. completed by security staff and submitted to Student Students are also encouraged to consult material Services to assess the complaint. available at non-lending libraries such as the State Library of NSW, the Shaeffer Fine Art Library of the AFTER HOURS ACCESS University of Sydney, and the Art Gallery of NSW Days During Semester During Vacation Research Library.

Mon-Fri 9am – 9pm During vacations opening hours may Computing, photocopying, Saturday 9am – 5pm vary. and printing facilities Sunday Closed Closed The library offers students access to PCs & MACs with internet access, word processing and other office No access is available on Sundays, public holidays or applications. Saturdays after 12 noon. Photocopying and printing are both available in Please ensure that you have confirmed campus access hours with the timetable available at the Security Office Building 2. the library. The photocopiers and printers operate on a copy card system. Students can purchase and recharge copy cards in the library. If intending to use LIBRARY this equipment, please bring coins as library staff do The National Art School Library houses a specialist not issue change. collection of materials relating to the theory and practice of visual arts. The Library’s holdings comprise Borrowing rights a range of materials available for loan. The journal Students are entitled to borrow up to 15 items. Most collection includes an extensive selection of national items are available for a loan period of 2 weeks. and international titles specialising in the fine arts and Borrowing privileges will be suspended as soon as an related areas. item is overdue and until the item is returned, paid for The Library is housed in Building 14 where facilities or replaced. include study carrels and tables, reading rooms, a Overdue charges and penalties will be incurred for 10 computer room, and an exhibition space where student overdue and lost library items. Students with unpaid overdue/penalty charges will be classed as debtors and any workshop equipment. will not receive results or transcripts. Debtors will also Inductions are organised by individual departments not be allowed to graduate until debts are paid. Debtors to tailor/maximise the best use of the existing may also be prevented from attending classand receiving equipment relevant to the discipline. Inductions are payment for artwork sold at the Graduate Shows. carried out by the teaching or technical support staff from each department. Interlibrary loans The library has access to inter-library loans with the Days Opening Hours During Semester Unilinc library network. Mon-Thur 9:30am-4:30pm

Library Stairwell Gallery Fri 9:30am-4:00pm

The Library Stairwell Gallery is located within the Wed-Thur 4:30-6pm evening access library and is a dedicated student exhibition space. For (Vacation opening hours may vary so please check before the end more information please speak with Library staff. of each semester)

Student Use of National Art School Network, Digital Laboratory Internet & Email, Communication and Wireless Digital Imaging is recognised as a research tool for Services. students and staff and this is supported through the Use of the School’s network, internet and email, provision of equipment and software. The Digital communications and wireless services must be Laboratory (Digilab) is located in Building 11 (Room consistent with the National Art School Information 11.1.19) and provides iMacs, data projectors, scanners Technology and Communications Devices Policy. (both A4 and A3) and colour and b/w laser printers. NAS Communications systems are provided for Apart from standard Mac programs, software includes educational purposes only. It is the responsibility of Adobe Photoshop, Final Cut Pro and Microsoft Office. the student and/or any other authorised users, to be Enquiries regarding the Digilab should be directed to lawful, ethical and efficient in the use of NAS devices John Daly, Digital Lab Technician and/or networks and communications services. To  (02) 9339 8637. access or send any material of an offensive, obscene, pornographic, threatening, abusive or defamatory nature STUDENT SERVICES may result in disciplinary or legal action. The Student Services office is currently located on the Personal information must only be accessed, ground floor of Building 3 (entrance adjacent to the collected and used in accordance with the Privacy Amendment (Enhancing Privacy Protection) Act 2012 Cafeteria). The office assists students with enquiries and related National Art School policies. Copies of regarding admission, progression, course withdrawals, the School’s Policies and Procedures Manual can be fees, student cards, scholarships, prizes, exchange obtained from Student Services. Failure to comply programs, exhibitions, assessment, results and with these requirements may result in disciplinary or graduation. legal action. All enquiries  9339 8651 Students and/or any other authorised users, are reminded of their obligations under the provision of COUNSELLING SERVICES the Copyright Act 1968. Unauthorised sharing and/ The role of the Counsellor is to contribute to the or downloading of copyrighted material may result in development of the School’s students and their disciplinary or legal action. successful study. In order to ensure confidentiality, integrity and The counsellor can provide support and direction in the availability of education services. The School conducts following areas: conducts surveillance and monitoring of its computer • study skills including exam anxiety and time systems in accordance with the Workplace Surveillance management Act 2005. • stress management – balancing study, work and other commitments WORKSHOP • family and relationship concerns The Workshop is located in newly renovated Building • health matters – lifestyle 11. Facilities include a full suite of timber and steel • vocational goals manufacturing equipment. There is also a range of electric and pneumatic hand tools for students to use If a referral is necessary the Counsellor has information to work on the projects in the closely attached project about relevant community resources and government space. There is also an outdoor undercover work area. agencies. Both areas are designed to flow in and out of the The service is free and confidential. main workshop to maximise student accessibility and flexibility with their projects. Counsellor: Michelle Glass All enrolled students have access to these facilities Location: Library Ground Floor through their designated discipline after an induction . Hours: Tuesday and Thursday 10.00am-4.00pm Students are encouraged to broaden their knowledge of  9339 8722 tools and the different processes through the induction 11 process that each student must undertake prior to using STUDENT AMENITIES assistance to students for the duration of their study. Amenities for students are provided in the Student The Pensioner Education Supplement (PES) helps Common rooms. Food preparation outside of these individuals undertake full-time or part-time study. areas is not permitted. Centrelink Contact Numbers: Customer Relations 1800 050 004 DISABILITIES Youth and Student Services 132490 The National Art School has a policy of equity in education and seeks wherever possible to ensure Youth Allowance (for under 25s) maximum participation of students with disabilities. Income support on a means-tested basis is available The School offers a range of assistance including under the Commonwealth Government scheme to educational support, parking provisions and library Australian residents for full-time study in approved assistance. courses. It is advisable to make contact with the relevant Enquiries can directed to any Centrelink office Head of Department or Program Coordinator or the  13 24 90 (Nearest Centrelink 137 Crown St, near Counsellor prior to, or immediately following enrolment, William St Darlinghurst) to discuss your support needs. In accordance with the Disability Standards for Austudy (over 25s) Education (2005), the School will accommodate Income support on a means-tested basis is available ‘reasonable adjustment’ to a mode of enrolment under the Commonwealth Government scheme to and associated fees for any student with a disability Australian residents (age 25+) for full-time study to ensure that the student is able to participate in in approved programs. Austudy information and educational courses and programs of the School on application forms are available from any Centrelink the same basis as a student without a disability who Office  132490. is enrolled in the same course or program, without experiencing discrimination. Abstudy Abstudy offers financial support to Aboriginal and Consideration of requests for such adjustment will take Torres Strait Islander people undertaking full-time into account: tertiary study in an approved degree. To apply for (a) the student’s disability Abstudy fill in the application forms available from (b) the views of the student or the student’s associate, the Centrelink office closest to where you live or the given under Counsellor on campus. For further information section 3.5 of the standards  132317 (c) the effect of the adjustment on the student, including the effect on the student’s: ATTENDANCE (i) ability to achieve learning outcomes and All units of study offered at NAS maintain an (ii) ability to participate in courses or programs and attendance requirement of 80%. This means that if (iii) independence you attend less than 80% of the specified contact (d) the effect of the proposed adjustment on anyone time then you are at risk of failing to meet the required else affected, including, staff and other students outcomes of the course. (e) the costs and benefits of making the adjustment Failing to meet the 80% requirement does not automatically result in failure of the unit, just as PARKING attending more that 80% does not automatically result Parking is not available for students on campus. in passing the unit. However if you attend less than 80% you are certainly at real risk of not passing as you will have SECURITY, EMERGENCIES AND missed significant learning opportunities and a lot of FIRST AID the time needed to appropriately achieve the outcomes Campus Security is located in Building 2 ground expected from a unit of study. The more you miss, floor and the gatehouse at the entrance of Burton St. the higher the likelihood of not being able to evidence Security staff are available for emergencies on achievement of the expected learning outcomes.  9339 8726. Students requiring first aid must contact either a Medical certificates do not excuse absences studio technician, security or facilities staff or report to but provide context for the School to understand the security office in Building 1. Or  9339 8726. your particular situation and help staff identify an appropriate course of action. The problem with FINANCIAL SUPPORT absence is not a generic concern regarding truancy but rather that you have missed learning opportunities that Centrelink are the purpose of the course and this remains true no Centrelink is an Australian Government Statutory matter the reason behind the absence. Agency delivering a range of Commonwealth services to the Australian community. Centrelink offers financial

12 PERSONAL ELECTRICAL FAQ EQUIPMENT I have missed a class/ a small number of classes what should I do? Safety of Students, Staff and Visitors Your first action should be to speak to your relevant For the safety of students, staff and visitors, the lecturers regarding any classes you have missed and following guidelines apply to the use of personal what you may need to do to catch up. If you missed the appliances and School provided equipment, as well as classes due to illness please feel free to provide doctors notifications required of medical and other conditions. certificates as this will provide a context to your absence for the lecturer. It should be noted that staff will do their Equipment best to help individuals to catch up where possible, but All electrical tools have to be tested for any electrical this should not be to the detriment of the learning of other faults before use on campus. Any electrical items that students and is ultimately the responsibility of the absent do not have a valid test tag will be disabled and the student. National Art School accepts no liability for any damage caused by the disabling of the device. I have missed a significant number of classes Students are responsible for having their electrical what should I do? equipment tested and tagged by an electrician prior to Your first action should be to speak to your relevant use on campus. lecturers regarding any classes you have missed and Please note that electric bar heaters are not what you may need to do to catch up. The earlier you do permitted on campus. this the better. If you have been absent across discipline areas it can be of use to discuss your situation with the Permitted equipment and safe usage undergraduate co-ordinator and/or Head of Departments. Refer to detail notes providing health and safety advice on the correct use of National Art School Should I see the School Counsellor? provided equipment and safe usage procedures for All students are welcome to see the School Counsellor if each department. It is a student responsibility to seek they feel they would benefit from discussing their situation instruction and to follow procedures when using such with a professional. However please note the School equipment. If unsure on the safe and correct use of Counsellor does not grant extensions nor can they, or equipment, seek advice from your lecturer before anyone, excuse absences. attempting to use it. I have missed a significant number of classes and it is likely I will fail what should I do? Medical conditions If after talking to your teachers and/or Head of Notification of a medical condition: If you have, or Department you believe it is likely that you will fail, what subsequently develop a medical condition that may happens next depends on the specifics of your situation. adversely affect your safe use of equipment, you must For some an application for reduced study load or course seek advice from your medical practitioner and also leave may be appropriate. If you would like to discuss advise your lecturer before attending class. Such these options you should talk to either the BFA co- conditions may include but are not limited to: ordinator or the Registrar. • sensitivity to chemicals, glues, essential oils and If your situation does not warrant either of those it allergies and reactions to dust and paint materials may be that you eventually fail. If you do fail you will be • pregnancy invited to show cause and the School will work with you to • temporary or permanent disabilities or limited visual determine the most appropriate course of action. and physical movement.

STUDENT ID CARD Mobile phones All students enrolling at NAS are issued with a student Mobile Phones must be switched off during any identification card. The number appearing on the card is period of instruction. Whilst working independently the student identifier used in National Art School records. consideration should be shown to other students and This number should be quoted in all correspondence. staff by ensuring that your mobile phone is on silent The card must be carried on campus and shown and should be taken outside for use. on request. It must be presented when borrowing from the library, when using library facilities and equipment Studios and collection of work and tools for studio practice and when applying for All artwork produced by students and candidates concessions. during the BFA or MFA program is the sole The student to whom the card has been issued must responsibility of the candidate. All students and notify Student Services and the library of its loss or theft. candidates must remove artwork completed during Failure to do so may result in the cardholder being held their candidature from studios and other designated responsible for items issued on the card after its loss or areas at the conclusion of their program. For MFA theft. In the case of a lost or stolen cards a payment of candidates this is one week after they have been $30.00 is required for replacement. assessed and have no further work to be submitted for Student cards will be available after orientation. examination, unless prior approval has been granted by the relevant Head of Department or Postgraduate Coordinator. 13 No responsibility will be accepted for the safekeeping COPYRIGHT of work or for the loss or damage to the work when Copyright is the intellectual property of authors, procedures for its removal were not adhered to by composers or artists which gives them the exclusive the student or candidate. Departments will dispose of right to copy, publish, perform, broadcast or to make an artwork not removed by the required dates to allow for adaptation of their work. Copyright in an original work is new students and candidates to occupy the space. automatic and subsists as soon as the work is created. Security staff will not open studio areas for The law on Copyright law is quite specific and students to collect work after or during assessment needs to be understood by all students with regard to without the prior written permission of the relevant intellectual property and the rights and responsibilities Head of Department. as outlined by the Copyright and Protection of Certain Performances Act 1989. Loss of equipment Under the provisions of the Act, students are Students who misplace or lose borrowed National Art permitted to make single copies of literary, dramatic, School equipment must pay for the replacement of musical or artistic works provided they are required for the equipment. The cost of the item will be added to research or study purposes and provided they do not the student’s fee. Academic records and borrowing comprise more than a reasonable portion of the work. privileges will be withheld until the debt is paid. The A reasonable portion is regarded as not more than Head of Department must be consulted and informed 10% of a work of not less than 10 pages, or one article when equipment has been lost. from a periodical or two or more articles if they relate to the same subject matter. MANAGEMENT OF RISK OF HARM It should be noted that institutions or individuals TO STUDENTS AND STAFF are still liable for prosecution under the Copyright Act The School is required by law to ensure the health and for an infringement of the above copying rights. safety of students, staff and visitors on its premises. In order to meet these legal obligations it is necessary to assess and manage any known risk of violent behaviour. If a student has a history of violence that may pose a potential risk of any type to students, staff or visitors it is a condition of enrolment to advise the School prior to attending the first class. For these purposes ‘violence’ is not restricted to physical acts. It includes any behaviour in the last ten years that seriously interferes with the physical or psychological safety and well being of others such as: • actual violence to any person • possession of or use of a weapon or any item with the intention to cause harm or injury to others • threats of violence or intimidation of others • suspension or expulsion from any school or educational institution for violent or aggressive behaviour.

NAS is committed to offering education free of risk or harm to all members of the School. Following a student’s advice of a potential risk, NAS will carry out an assessment of the risk and, if necessary, provide support and a management plan. Only in exceptional circumstances will a risk assessment lead to exclusion from enrolment. It is the School’s aim’ aim to provide an appropriate, safe environment to suit every student’s needs.

Sexual harassment Sexual harassment by students or staff is totally unacceptable and an unlawful activity. Should you feel you are being sexually harassed contact the Grievance Officer Lorraine Kypiotis  9339 8738

14 STUDENT POLICIES AND PROCEDURES

ETHICS POLICY ethical considerations that need to be discussed, then by simply logging the signed checklist with their The National Art School has a duty to protect the coordinator, ethics approval will granted. rights, dignity, privacy and health and safety of all those

involved with the School. Furthermore the School Those writing proposals should consider the following: respects the welfare of animals and the integrity of • whether the activity involves human subjects the environment. To further these ends the School has (particularly children and vulnerable adults) developed this Ethics Policy which will guide staff and • whether the activity uses human data or human students in the planning of research and conduct which material involves people, animals and sensitive issues. • whether there are serious health and safety The School firmly believes in the freedoms of implications academic inquiry and artistic expression. This policy • whether there is interaction with animals or their is strictly presented to allow these freedoms to be habitats expressed in a manner which does not endanger the • whether there is a risk of damage to the rights, safety and privacy of others and protects the environment reputation of the individual and the School. The role of • whether the impact of the research may be the Ethics Committee is to provide staff and students emotionally damaging with guidance on the best method to achieve their • whether the research is politically or socially academic or artistic aim in a way which adheres to the sensitive Schools principles and public duties. The School expects all students and staff to comply with relevant legislation and guidelines for ethical ETHICS APPROVAL research and conduct issued by regulatory authorities Ethics approval should normally be considered by in accordance with the Australian Code for the any individual whether studying at or employed by Responsible Conduct of Research. the School before engaging in any significant piece It is expected that during the normal course of of research, normally those studying MFA Programs. Bachelor of Arts programmes these ethical issues Ethics approval should also be considered by will be considered in the normal design and review students and staff in any significant piece of work or processes for each course. However for the more public display. In either case completion of the self- specialised and research focused programs (MFA), assessment checklist will indicate whether submission research proposals will need to be assessed and given to the Ethics Committee is necessary. If you are unclear, approval by the Ethics Committee of the Academic please discuss the ethical implications of your work Board. with either your supervisor or line manager The School does not wish to create a lengthy and overly bureaucratic system for ethics approval and so in the first instance the student or staff member will first complete a self assessment checklist to establish the need for a full submission to the Ethics Committee. If the checklist reveals that there are no

15 SUSPENSION In urgent circumstances a student may be suspended to prevent a STEP 1 real or perceived threat to a staff NEGOTIATION: ATTEMPT RESOLUTION member or student. Notify security Staff member attempts to resolve grievance and Director, Head of Academic with student/staff member concerned. When not Studies or Quality Manager. resolved:

STEP 2 DEPARTMENTAL RESOLUTION Report misconduct to Head of Department. Complainant to complete a Staff or Student Allegation or Complaint form and return to the Head of Department (copy to Discipline Committee). When not resolved:

STEP 3 INVESTIGATION: FORMAL COMPLAINT The matter is referred to the Discipline Committee where Student Services shall acknowledge the complaint in writing to the complainant and the student/staff member concerned. The Discipline Committee convene to investigate and make preliminary enquiries. The Committee draws a conclusion or makes recommendations for further action. Committee completes a Staff or Student Allegation or Complaint Action form.

STEP 4 NOTIFICATION The student/staff member is notified of the determination of the Discipline Committee and is given 21 days to appeal the decision or penalty in writing.

STEP 5 OUTCOME The decision of the Appeals Committee is final in the terms of National Art School rules.

THE PROCESS STEP 6 APPEALS Appeals Committee convenes to hear and determine an appeal. The Appeals Committee may uphold, dismiss or alter the penalty or condition imposed.

16 GUIDELINES FOR STUDENTS AND STAFF will be used. Parental and, depending on the age FOR THE APPLICATION OF THE ETHICS of the child, the child’s consent will be necessary POLICY before work can commence. The School also brings to students attention the Life Models relevant legislation on the mandatory reporting of The use of Life Models is subject to the Life Model child abuse. Charter and would not normally need the approval of the Ethics Committee, unless children are involved, or the Grievances and Misconduct context is of a particularly sensitive nature. It is the responsibility of all staff and students to report suspected ethical misconduct. This can either be done Human Material either the Head of Studies, or the Registraror to your The use of human material can in some circumstances supervisor/ line manager. be subject to approval of the Ethics Committee. A Grievances will be dealt with in the normal common sense approach is suggested in assessment manner, consistent with the school’s grievance policy. of the ethical implications of the use of human material All grievances and complaints will be dealt with and ethical sourcing of all material is mandatory. confidentially.

Personal information and Data STUDENT CODE Where research involves collection of personal OF CONDUCT information, approval will need to be sought. This is The Student Code of Conduct defines behaviour to ensure that confidentiality of personal information expected of all National Art School students. It is each is maintained at all times, and data is stored properly. student’s responsibility to know and comply with the this Personal information can be subject to the following Student Code of Conduct. pieces of legislation The aim of The School aims to facilitate the Privacy Act 1988 intellectual personal, social, and ethical development Health Records and Information Privacy Act 2002 of the student. Self discipline and a respect for the Privacy and Personal Informaton Protection Act 1998 rights of others in the School are necessary for the Workplace Surveillance Act 2005 fulfilment of such goals. The Student Code of Conduct When conducting research the Australian Code for the sets forth the standards of conduct expected of Responsible Conduct of Research should be consulted students who choose to study at the School. regarding the management of data. The Code applies to individual students and is used If you plan on recording telephone interviews, you to enforce National Art School policies and regulations. should refer to the State and Federal Laws concerning The adoption of the Student Code of Conduct does not the taping of telephone conversations. prohibit the School from implementing or maintaining Telecommunications Act 1997 (CTH) Listening Devices additional rules to govern the conduct of students. Act 1984 (NSW). Students are responsible for making themselves aware of all aware of all the School’s rules rules and Animals and their habitats regulations pertaining to their rights and responsibilities In cases where animals or their habitats will be directly as students. affected by the proposed work then ethics approval will The Code identifies those behaviours considered need to be sought. Again a common sense approach is unacceptable and not permitted for all students of the suggested in the assessment of the ethical implications National Art School while on campus owned or controlled of work with animals and their habitats. property, while on off campus field trips, or while representing the School in the community. Environment and Sustainability Students who violate these standards will be subject In cases where there will be a significant impact on to disciplinary action. the environment then ethics approval will be needed. Again a common sense approach is suggested in the STUDENT RESPONSIBILITIES assessment of the ethical implications of work upon the Students are expected to accept the following environment. responsibilities and to participate appropriately in the range of experiences which shape their courses of Children study: In ALL cases work or research that involves children • to be self-motivated and self-directed learners (anyone under 18) must be approved by the Ethics • to be responsive and courteous when Committee and is governed by the: Child Protection communicating and dealing with students, staff and (Working With Children) Act 2012. All work should visitors to the School conform to the protocols set out in the Australian • to participate actively and positively in the Council for the Arts Protocols for working with Children. teaching-learning environment, and maintain In cases where your research/work involves steady progress in their academic studies children, it will be necessary to provide information • to comply with workload expectations, and notify for parents and children involved regarding the nature appropriate staff if difficulties are experienced of their involvement. This will include a full declaration • to submit work which is their own of how information about, or images of, the subject • to provide feedback to staff which is honest and fair 17 • to accept constructive criticism • should an accident or injury be sustained or • to deal with differing opinion by rational debate encountered you must fill in an Accident Injury rather than by vilification, coercion, bullying or any Report Form available from Student Services form of intimidatory behaviour Please contact the Head of Department for a more • to treat staff and students of National Art School detailed description of WHS regulations with openness, honesty and courtesy and take an and practices relevant to each department and active role in the promotion of an environment free the School. from harassment and discrimination according to state and federal legislation and National Art School MULTIPLE ENROLMENT policy No student or candidate is permitted to enrol in a • to respect both National Art School and private degree course at the National Art School at the same property time as he/she is enrolled for any other degree at the • to actively consider personal health and safety, and School or in a degree, diploma or certificate at any the health and safety of others, when carrying out other tertiary institution, except with the approval of the duties School. Student Services may withdraw from enrolment • to be aware of opportunities to participate in any student/candidate who is found to be enrolled, institutional decision making without approval, in more than one degree, diploma or • to be aware of, and comply with, National Art certificate course. School policies and rules, including information contained in this handbook ACADEMIC HONESTY • to protect the privacy of others and maintain Academic Honesty is a core value of the National Art appropriate confidentiality regarding personal School. Academic dishonesty or an offence against matters academic honesty includes acts which may subvert or • to use appropriately the relevant services and compromise the integrity of the educational process at resources that the School provides the School. Offences against academic honesty are any • to ensure that information provided at enrolment acts which would unfairly promote or enhance one’s is kept up to date academic standing. The following are forms of academic dishonesty: WORKPLACE HEALTH AND SAFETY Students must adhere to health and safety regulations Plagiarism provided by each department. Failure to comply with Plagiarism is broadly defined as knowingly presenting the following regulations and procedures may result in another person’s ideas, findings or work as one’s misconduct penalties: own by copying or reproducing the work without due • always comply with health and safety instructions acknowledgement of the source. Plagiarism may take from technical assistants and academic staff several forms: • notify appropriate academic staff of any medical • paraphrasing of another’s work, with minor condition you have, or medication you take, the changes but with the essential form, meaning and medical procedure staff should follow to assist you progression of ideas maintained in an emergency, and inform them of how it may • direct duplication, copying another’s work impair your safety or performance (all information • piecing together sections of the work of others into provided will be treated as confidential) a new whole • do not use machinery or equipment if alone in the • producing assignments in conjunction with building, and work always in pairs other people which should be the student’s own • footwear that completely encloses the feet must be independent work worn at all times in workshops and studios • hair must be worn up at all times when using Multiple Submission or Recycling machinery The submission for assessment of work which has • no unaccompanied children are permitted in previously been included towards the satisfactory National Art School buildings completion of another subject or course and credited • students under the influence of non-prescribed drugs towards a higher education degree, diploma or or alcohol are not permitted to use tools, equipment certificate, is not permitted. or machinery The procedures for dealing with academic • protective clothing and appropriate masks in dishonesty are set out in the National Art School workshops must be worn Discipline Policy. In brief, when a lecturer becomes • students may not operate machinery or use tools aware of a case of academic dishonesty, he or she when wearing loose clothing, unrestrained hair will refer the matter to the Head of Department who or jewellery will determine whether to proceed with the matter. • Ventilation requirements, use of odourless solvents, If the Head of Department determines to proceed, and disposal methods of paint and solvents must the matter will be referred to the Head of Academic be observed in painting and drawing studios Studies and Registrar. Should they be of the opinion • animals are not permitted in National Art that the student has been guilty of academic School buildings dishonesty they may recommend: • smoking is not permitted in National Art School • the student to undertake additional assessment in 18 buildings that subject • a fail mark for the assessment NON-ACADEMIC MISCONDUCT • a fail mark for the subject Student Misconduct is conduct which impairs the • the matter to the Academic Board regarding reasonable freedom of other persons to pursue their the possible presentation of a case of academic studies or research, or to participate in the life of the misconduct to the Discipline Committee. School, including, but not limited to, the following: • Aiding and abetting misconduct, knowingly helping, The following section defines behaviours that are procuring, or encouraging another person to considered misconduct. engage in non academic misconduct. • possessing or consuming alcoholic beverages ACADEMIC MISCONDUCT except during events or in circumstances Academic Misconduct includes but is not limited to the authorised by School officials; failing to comply following: with state or the National Art School regulations regarding use, transporting, or sale of alcoholic Aiding Or Abetting Academic Misconduct beverages. Knowingly helping, procuring, or encouraging another • engaging in any act knowingly or recklessly person to engage in academic misconduct. causing serious physical harm to another; or any act which endangers the mental or physical health Cheating or safety of a staff member or student • breach of any rule relating to student conduct in Any dishonesty or deception in fulfilling an academic the National Art School. requirement such as: • failure to give full and accurate particulars of • use and/or possession of unauthorised material or citizenship or residency status at the time of the technology during an examination (any written or initial enrolment, failure to produce evidence of oral work submitted for evaluation and/or grade), residency status if required to do so by staff, and such as, notes, tests, calculators, or computer to give full accurate particulars of any change in programs residency status within 14 days of any such change • obtaining assistance with, or answers from, another • intentionally or recklessly damaging, destroying, person with or without that person’s knowledge for defacing, or tampering with the property of of the purposes of completing an assessment the School or the property of another person • providing assistance with, or answers to, another or entity. person during assessment • possessing, using, distributing, or selling unauthorised copies of an examination, or Direction computer program Disobeying or disregarding an order or direction of a • representing as one’s own, an assessment taken by member of staff, including a direction regarding safety. another person • taking an assessment in place of another person Discrimination • obtaining unauthorised access to the computer Discriminating or inciting hatred towards, serious files of another person or agency, and/or altering or contempt for, or severe ridicule of, a person or group destroying those files of people on the grounds of the person’s age, race sex, gender, sexuality, marital status, physical or intellectual Fabrication disability, or religion. The falsification of any information or citation in an • dishonesty and misrepresentation, knowingly academic exercise. and/or recklessly providing false written or oral information including false identification to staff, Plagiarism Department, and/or staff; forgery, alteration, or misuse of School documents Includes: • Disruption/obstruction knowingly and/or • submitting another’s published or unpublished recklessly disrupting, obstructing, or interfering work, in whole, in part, or in paraphrase, as one’s with staff or students,classes and functions or own without fully and properly crediting the activities or the pursuit of the School’s mission, author with footnotes, citations or bibliographical including but not limited to teaching, research, reference administration, disciplinary proceedings, or other • submitting as one’s own, original work, material School activities. obtained from an individual or agency without reference to the person or agency as the source of the material Disturbing The Peace • submitting as one’s own, original work, material Knowingly and/or recklessly disturbing the peace that has been produced through unacknowledged of the School, including, but not limited to, disorderly collaboration with others without release in writing conduct, failure to comply with an order to disperse, from collaborators fighting, quarrelling, and/or being intoxicated.

Drugs Or Narcotics Manufacturing, distributing, selling, offering for sale, or possessing any illegal drug or narcotic (except in the use 19 of substances prescribed by a licensed physician). Failure To Comply Or Identify Probation, Violation Of • failing to comply with the directions of an NAS Violating the Student Code of Conduct while on official or any law enforcement officer acting in National Art School disciplinary probation or violating the performance of their duties and/or posted or the specific terms of that probation will be cause for written rules including failure to evacuate during an additional penalties. emergency and/or failing to identify oneself to any of these persons when requested to do so. Property Or Services • failing to comply with posted penalties imposed in • unauthorised use or possession of property or accordance with the procedures described herein resources of National Art School or of a staff may be basis for additional penalties. member or other person • removal of or damage to property with- out False Charges/Statements authorisation from a member of staff. Knowingly making false charges or allegations including testimony at National Art School discipline/ Safety Equipment, Misuse Of misconduct hearings. Unauthorised use or alteration of safety devices, fire alarms, fire extinguishers or other emergency False Report Of Emergency equipment is prohibited. Knowingly causing, making, or circulating a false report or warning of a fire, explosion, crime or other Smoking Policy, Violation Of emergency, e.g. activating a fire alarm. No smoking on National Art School premises

Harassment Stalking Conduct that has the purpose or foreseeable effect of Engaging in a course of conduct that is directed unreasonably interfering with an identifiable individual’s towards another person if that conduct would cause a work or academic performance or of creating an reasonable person to fear for their safety. intimidating, hostile or offensive work or learning environment for that individual. Stolen Property Unauthorised possession of property known to be Identification, Misuse Of stolen and/or that may be identified as property of the Unauthorised transferring, lending, presenting someone School or any person or entity. else’s, borrowing or altering National Art School identification or any other record or instrument of THEFT identification. Theft of the property or services of the School or any person or entity. Information Technology, Misuse Of Theft or abuse of information technology, e.g. computer, Trespass Or Forcible Entry electronic mail, voice mail, telephone, fax, including but Unauthorised trespass, or forcible entry into any not limited to: National Art School building, structure or facility, or onto • unauthorised entry into a file to use, read or change School property. the contents, or for any other purpose • unauthorised transfer or distribution of a file NAS Keys, Misuse Of • unauthorised use of another individual’s identification Unauthorised use, distribution, duplication or possession and password of any key(s) issued for any School building, studio, • use of information technology to interfere with the facility, or room. work of another student, department member of School official NAS Policies Or Rules, Violation Of • use of information technology to send obscene or Any violation of published National Art School policies threatening messages or rules is a violation of the Student Code of Conduct • use of information technology to interfere with and failure to comply with a provision of this Policy or normal operations of School systems with an order or direction given under such a provision. Law, Violation Of PENALTIES FOR MISCONDUCT Violating any criminal law on campus and off-campus Students found to be in violation of the Student Code activities where the foreseeable effect is to interfere of Conduct will be subject to misconduct penalties. with National Art School organisational objectives, Penalties shall be imposed according to the severity of mission or responsibilities. At all times, any directions or the misconduct. In all cases, the School shall reserve actions determined by NAS are superseded by those of the right to require counselling of students as deemed any applicable State and Federal Laws. appropriate. The following are definitions of disciplinary Menacing penalties that may be imposed as a consequence Knowingly causing another person to believe that the of misconduct. Each penalty may be separately or offender will cause serious physical harm to another cumulatively applied should the behaviour call for the person or their property. imposition of a more severe penalty. 20 Withdrawal from Class process. A hearing shall be scheduled by the Discipline When a member of staff believes a student’s behaviour Committee to determine if the interim suspension shall is inappropriate and is repeatedly disrupting the class, remain in effect, be modified, or be revoked pending a or is causing or encouraging others to do so, a staff disciplinary hearing. member may withdraw the student from class after negotiation is unsuccessful. Should the behaviour Disciplinary Exclusion persist, a complaint will be lodged with the Discipline Disciplinary expulsion permanently prohibits the student Committee for investigation. from attending the School and campus or property for a specified period of time. The Discipline Committee shall Disciplinary Reprimand (Warning) determine the effective beginning and ending dates A warning is an official (written notification) reprimand of the exclusion. Students placed on disciplinary to the student, that his/her behaviour is unacceptable, exclusion shall be required to apply for readmission after effective for a specified period of time. The warning the period of exclusion has elapsed. period provides a time for the student to reflect Exclusion is imposed when other penalties are upon the offence and to consider the responsibilities deemed ineffective to deal with the severity of the that go with being a student of the National Art conduct committed and/or in cases of aggravated School. A warning gives notice that any subsequent or repeated violations. Exclusion may also carry offence under this policy may result in more serious conditions that must be satisfied prior to future re- consequences. admission to the School.

Disciplinary Probation Disciplinary Expulsion Disciplinary probation permits the continuation of Disciplinary expulsion permanently prohibits the student enrolment at the School but but imposes specific from attending the School and from being present on restrictions and/or extra requirements or guidelines any School campus or property. It permanently cancels to be placed on the student for a specified period of the enrolment of a student at the National Art School time. Restrictions may vary with each case and may and the withdrawal of all rights and privileges as a include restriction from participating in some class student of the School, including the right to re-enrol as a activities, restrictions in campus areas, or may involve student and the right to enter or be on School grounds. other requirements not academically restrictive in Expulsion therefore is reserved for the most serious nature which are consistent with the philosophy of offences. Expulsion is required in certain violations providing constructive learning experiences as a of drug policies, harassment and in cases of falsified part of the probation. A student may be required to admission applications and information to the School meet periodically with designated staff. Any further and repeated violations of NAS discipline policies. misconduct on the student’s part during the period of probation may result in disciplinary suspension or Psychological Evaluation and Counselling disciplinary expulsion from NAS. Requests for psychological evaluation may be made by the Discipline Committee if, in their judgement, Disciplinary Suspension a student’s behaviour as shown by evidence, is Disciplinary suspension prohibits the student from unexplained or appears beyond the actions of a attending the School and from being present without reasonable person informed of National Art School permission of the Head of Academic Studies or policies, or if the student’s behaviour suggests a threat Registrar on campus or property for a specified period of personal safety either to self or to the larger School of time. The Discipline Committee shall determine the community. Such evaluation is undertaken with the effective beginning and ending dates of the suspension. following conditions: Students placed on disciplinary suspension shall be Following the penalties imposed the student required to show cause for re-admission to the academic may be required to submit evidence of psychological program. evaluation and recommendation as to their readiness The suspension restricts a student’s physical access to re-enrol under existing academic conditions. Such to campus if deemed necessary, in order to: evaluation will be at the expense of the student and • maintain order on School property and campuses through external agencies to the School. • preserve the orderly functioning of the School and A student involved in misconduct procedures, the pursuit of its mission who believes his/her behaviour was attributable to a • stop interference in any manner with the rights disability, may request a deferral of penalties, pending of students, staff and the public while on School presentation of medical documentation of the owned or controlled property, while on field trips disability and an explanation of its claimed relevance and/or while representing the National Art School to the behaviour at issue. This request for deferral • stop actions that threaten the health, safety or must be made prior to final action being taken in the integrity of any person within the School or the disciplinary process. proper functioning of any School activity • stop actions that destroy or damage property of the Other Disciplinary Penalties School or of any member of its community. Other penalties may be imposed by the Discipline Committee with or without disciplinary probation, This shall be a temporary suspension which may be including, but not limited to: 21 imposed pending the application of the disciplinary • a fail grade for the relevant subject for charges pertaining to academic misconduct in assessment National Art School Grounds or examinations Includes all land, buildings, premises and other property • withdrawal or restrictions of borrowing privileges owned, leased or otherwise used by the School, or any for the following: department of the School, and including all buildings • misuse of Library facilities located on School grounds. • computer access, equipment and tools • fine not exceeding $1000 for the following: Negotiation • damage toSchool property Is the process of developing a solution or agreement • misuse of Library facilities through discussion and/or correspondence with • misuse of computing, communications another person or persons. facilities and studio equipment Offensive conduct All students who enrol and sign an enrolment form Includes but is not limited to the following: agree to abide by all rules and regulations of the • inappropriate behaviour School and are aware of the penalties imposed on • destruction of property students who violate the Student Code of Conduct and • using offensive language other rules. • being under the influence of alcohol • being under the influence of a drug (other than DISCIPLINE POLICY medication that has been prescribed by, and taken in accordance with the instructions of, a registered medical practitioner) DEFINITIONS • harassment. Appeal Means an application for corroboration, vindication or review of a decision. Probation Permits the continuation of enrolment or work subject to a period of good behaviour under supervision. The Breach of Discipline probation period may vary from student to student. Means conduct that impairs the reasonable freedom of any person (staff or student) to pursue his or her studies, research or work at the School or to participate Property in the activities of, or with the School, or conduct that Includes real, personal, intellectual and shared property is prejudicial to the management of the School or any in any (including electronic) form. part of it. Student Academic Misconduct Exclusion Includes but is not limited to: Means the cancellation of enrolment of a student and • breach of such rules or guidelines relating to the withdrawal for a specified time of all rights and student academic conduct as may be prescribed by privileges as a student, including the right to re-enrol as departments, Boards or the Director a student and the right to enter or be on National Art • misconduct relating to assessment, review or School grounds. examinations; and any other conduct (the general nature of which has been made known to students) regarded as student academic misconduct Expulsion according to current academic usage Means the cancellation of enrolment of a student and • falsifing, or attempting to falsify, a testamur, result the withdrawal of all rights and privileges as a student, notice, employer report or any record relating to the including the right to re-enrol as a student and the right results of an examination or other form of academic to enter or be on National Art School grounds. assessment • Submitting one’s own, original work/material for Grievance Officer assessment that has been submitted for another Is a staff member who provides friendly, confidential subject, course or program at the same institution support and non legal advice for staff and students for or another educational institution problems or potential grievances. A Grievance Officer • failing to pay any fee or charge owing to the School does not provide representation. Student/Staff Misconduct Investigation Includes academic misconduct and also encompasses Is the collection of evidence, conduction of interviews conduct which impairs the reasonable freedom of and the presentation of evidence in a reasonable, fair other persons to pursue their studies or research or to and balanced manner. The investigator/s must draw a participate in the life of the School, as defined in the conclusion and if appropriate, make recommendations code of conduct. for resolution. Suspension Member of staff Means a prohibition from attending the School and Means a person employed (whether full-time, part-time from being present without permission of the School or casual) by the School and includes academic and Discipline Committee, Head of Academic Studies, 22 general staff. Registrar, security or other designated authority on School campus or property for a specific period of It is suggested that the parties: time. • state the cause of their concern • exchange facts and beliefs Unlawful Activity • clarify events Includes any of the following: • listen • using, possessing or supplying any prohibited drug, • apologise for any behaviour that may have substance or weapon, distressed the other person • stealing the property of another person. • explain their point of view

Warning • consider the other person’s point of view An official reprimand effective for a specified period • recognise that this is an opportunity to change of time. The warning period provides a time for the behaviour that is perceived as unsuitable, or is student to reflect upon the offence and consider his/ hurtful to another. her responsibilities as a student or staff member of the If negotiation does not succeed or is not appropriate, School. A warning gives notice that any subsequent then a complaint may be lodged. offence may result in more serious consequences. DEPARTMENTAL RESOLUTION POWERS OF AUTHORITY If an attempt to resolve the grievance by negotiation with To prevent or terminate a clear and present threat, the student or staff member is unsuccessful, the staff a breach of discipline, or the proper functioning of member must report the complaint to the relevant Head of a class, the Discipline Committee, Director, Head of Department for investigation. Studies, Library Manager, Chief Operating Officer, An allegation or complaint must be made in writing Quality Manager, security may suspend or remove a (wherever possible) on a Staff or Student Allegation student or staff member from the School’s grounds, a or Complaint form. It is preferred that the complaint class, workshop or library and/or in front of Security. includes the complainant’s name and signature as the A staff member may impose removal or suspension procedure will be difficult if the complaint is anonymous, of a student from one or more classrooms or workshops or if the complainant requests that their identity be if the breach of discipline has occurred in the presence withheld. The form must be completed and returned to of, or relates to, the classes, work or duties of the person the Head of Department. exercising the power. The form will be kept confidential at all times, The Discipline Committee is an appointed only members directly involved will have access to committee for the School which may impose any information submitted on the form. penalties for breaches of discipline and misconduct by The National Art School follows the standards students and staff at the School. as set out in the Privacy and Personal Information Protection Act 1998 and the NSW Department of Education and Training Privacy Code of Practice. NEGOTIATION – ATTEMPTING RESOLUTION These guidelines set out the standards to follow Negotiation is the process of developing a when collecting, storing and disseminating personal solution or agreement through discussion and/or information. correspondence with another person or persons. The Head of Department must: When a problem with or between a staff member/s • identify the issues raised in the allegation or and student/s arises and the matter is not deemed complaint serious and/or warrants investigation, attempts • interview the complainant should be made to resolve the problem before lodging • obtain witness statements if appropriate a complaint. The staff member or student may wish • interview the student or staff concerned and to discuss their concerns with the Grievance Officer document their responses (See Grievance Officer Role). Prior to making a • prepare a report containing findings and a complaint the complainant should raise their concern conclusion on each issue and recommendations, if with the student/s or staff at an appropriate time and appropriate place, and seek resolution. • arrange a negotiation meeting with the parties separately or jointly to achieve resolution Exceptions to this might be for one of the following • document the outcome on a Staff or Student reasons: Allegation or Complaint Action form and notify all • matter is serious and should be referred to the Head parties in writing. of Department The negotiation process should be completed within 10 • one party is fearful or intimidated by the working days. other party. The negotiation is complete when the parties resolve their differences or agree on a future course of In these two cases removal from class or suspension action, or the complaint is withdrawn, or a compromise may be given by the lecturer or Head of Department. is agreed upon. Both parties need to recognise that there is a The student may be given a warning in the form of problem, and be conciliatory. Resolution may require a written statement advising the student that student compromise on both sides. misconduct has been committed and that further 23 misconduct may result in more severe disciplinary student/staff concerned outlining the complaints action. made against the student or staff member. The If resolution cannot be achieved in a student student or staff member is given 14 days to respond matter and further misconduct has occurred, the Head to the complaint. of Department will refer the matter to the Discipline Following this response, a full investigation into Committee. In a staff matter the Head of Department the matter is conducted. The Discipline Committee/ will refer the matter to the Human Resources Manager Human Resources Manager will identify the issues to (HRM). be investigated. These may be contained in the original complaint or allegation or they may come to their INVESTIGATION attention during the course of the investigation. The The Discipline Committee/ Human Resources Committee/HRM will collect documentary evidence Manager assesses the allegation or complaint to such as letters, memos, hard copy of emails and determine one of the following appropriate procedures computer files, etc and obtain witness statements by referred to by the Head of Department: seeking written signed statements from witnesses or • NEGOTIATION procedure is used for a complaint by interviewing them and preparing a statement for about a person that is not about an alleged serious them to sign. The complainant will be interviewed at this breach of discipline, policy or procedure. stage to discuss the information before them. • INVESTIGATION procedure is used for a complaint Following this interview the Discipline or allegation about a person that is about an Committee/HRM may interview the student/staff alleged serious breach of discipline, policy or member and document their responses or obtain a procedure statement from them. • SUSPENSION is used to prevent or terminate a The Committee/HRM will prepare a report clear and present threat by a student containing findings and a conclusion on each issue • REMEDY & SYSTEMS improvement procedure and recommendations and complete the Staff and if appropriate Student Allegation or Complaint Action form. The report must include all relevant findings, including The procedures for investigation ensure a competent the evidence both for and against a particular and fair outcome. The Discipline Committee conclusion and determine (if appropriate) a penalty comprising of the Head of Academic Studies, for the breach of discipline. Registrar and one other staff member, (one male and female is represented at all committee hearings) The Discipline Committee/HRM: collects evidence, conducts interviews as necessary • may appoint one or more appropriately qualified and presents the evidence for and against a particular persons to assist on any maker or makers of law, conclusion. The Discipline Committee must draw a procedure or technical expertise conclusion and if appropriate, make recommendations • shall record the evidence given before it for further action. • shall record the reasons for its determination This procedure may result in a recommendation that and for any penalty that it imposes, including its disciplinary action be considered. In straightforward findings upon any material issue of fact matters where investigation is not needed, the • where there is an opinion that one or more Discipline Committee may initiate disciplinary action complaints have been substantiated a decision without the INVESTIGATION procedure. may include any one of the following penalties by Any student, employee or volunteer may make a the Discipline Committee: written complaint or allegation of student misconduct to - a fine, not exceeding $1000 Student Services. A complaint against a staff member - suspension, exclusion or expulsion must be submitted to the Human Resources Manager. - any other lesser penalty which may be Where a complaint is so made and negotiations appropriate have not been successful, or where extension - recommendation for psychological/psychiatric is sought of a suspension already imposed, the evaluation. Discipline Committee may suspend a student for such a period, not exceeding 14 days, pending investigation Note: The timeframe is not specified in the Investigation and determination of the relevant allegation. The Procedure as it may vary due to a range of factors suspension may be renewed by the Committee for a including: further period, not exceeding 14 days, if continuing • the number and complexity of the issues grounds are shown. • the emergence of additional issues as the If the student has not had an opportunity in advance investigation proceeds to show cause to the Committee why such a • the number of witnesses to be interviewed. suspension or further suspension should not be The complainant is notified of the outcome, and made, he or she may apply to the Committee to provided with written reasons for the decision reached. quash the suspension. A penalty imposed has no effect unless the Upon receiving a complaint (Staff or Student designated officer, Head of Academic Studies or Allegation or Complaint Form) Student Services/ Registrar causes a written notice to be served on the Human Resources Manager (HRM) shall student/staff member concerned within 21 days after acknowledge the complaint or allegation (within 5 the date of the Discipline Committee convening. working days) in writing to the complainant and the 24 A notice must include the designated officer’s • suspended from an examination or assessment finding in relation to the breach of discipline, and all by the Head of Studies and Registrar, by a of the following: member of the academic staff or by any person • details of any decision, and the reasons for that for the time being in charge of the examination decision, and or assessment. • details of any penalty imposed on the staff/ student, and A suspension imposed on a student under this Rule • a brief summary of the reasons for the finding does not preclude the imposing of a penalty of and for the imposition of the penalty concerned, misconduct. Any exercise of power conferred by this and Rule shall be reported in writing immediately to the • a statement to the effect that the staff/student Director, Head of Academic Studies or Registrar. has a right of appeal against the finding and • does not preclude the laying of a penalty of penalty, and misconduct • a brief summary of the appeal procedure. • any exercise of power conferred by this paragraph shall be reported in writing A penalty imposed takes effect on the day following immediately to the Director, Head of Academic the day on which the notice is served on the staff/ Studies or Registrar. student, except as provided by Suspension in Urgent Circumstances. Exclusion Disciplinary Exclusion shall prohibit the student from BREACH OF DISCIPLINE PENALTIES attending the School and from being present on any Student Services may issue guidelines for the campus or property for a specified period of time. The establishment of: Discipline Committee shall determine the effective • the manner in which allegations or complaints of beginning and ending dates of the exclusion. student misconduct are to be made and Students placed on disciplinary exclusion shall be • the manner in which inquiries into alleged required to apply for readmission after the period of breaches of discipline are to be conducted. exclusion has elapsed. Exclusion is imposed when other penalties are Mitigating and aggravating factors may be deemed ineffective to deal with the severity of the considered when determining what penalties to conduct committed and/or in cases of aggravated impose upon a student. Factors to be considered or repeated violations. Exclusion may also carry may include the individual’s prior disciplinary record, conditions that must be satisfied prior to future the nature of the offence, the severity of any re-admission. damage, injury or harm resulting from the violation, the payment of restitution to the School or to any Expulsion victims, or any other factors deemed appropriate Expulsion permanently cancels the enrolment of a under the circumstances. student at the School and the withdrawal of all rights and privileges as a student of the School, including Suspension in Urgent Circumstances the right to re-enrol as a student and the right to The powers conferred by this Rule are to be used only enter or be on School grounds. to prevent or terminate a clear and present threat by Expulsion therefore is reserved for the most a student concerning National Art School property, serious offences. Expulsion is required in certain academic instruction, assessment, an examination, the violations of drug policies, harassment and in cases physical safety or integrity of any person within the of falsified admission applications and information to School or the proper functioning of any School activity the School. or a member of staff believes that a student has committed a serious student misconduct. Withdrawal from Class When a member of staff believes a student’s Under this Rule, a student may be: behaviour is inappropriate and is repeatedly • suspended from part or all of School grounds by disrupting the class, or is causing or encouraging the Director, Head of Studies or Student Services others to do so, a staff member may withdraw for such a period not exceeding 14 days pending the student from class should negotiation be investigation and determination of the relevant unsuccessful. The staff member must complete a allegation or allegations Staff or Student Allegation or Complaint form and • suspended from the National Art School Library submit the form to the relevant Head of Department by the Director, Head of Studies, Registrar or for Department records. Should the behaviour persist Library Manager in following classes the complaint should be lodged • temporarily suspended from one or more with the Discipline Committee for investigation. classrooms, laboratories, studios or darkrooms by a member of the academic staff or any Probation member of staff in charge of a class Probation permits the continuation of enrolment • suspended from the use of tools and equipment, at the School but imposes certain restrictions, one or more computing or communications requirements and guidelines on the student for a 25 facilities by a member of the academic staff specified period of time with a continuing review of the student’s behaviour with the terminal date NOTIFICATION OF PENALTY of which coincides with the official ending of an A penalty imposed has no effect unless the academic semester. Any further proven violations of designated staff member, Head of Academic Studies National Art School rule, while under probation may or Registrar causes a written notice to be served on result in the student’s suspension or expulsion. the student concerned within 21 days after the date The notification of an adverse determination to a Warning student shall include notice of the student’s right of A warning is an official reprimand effective for appeal under the next paragraph. a specified period of time. The warning period provides a time for the student or staff member APPEALS to reflect upon the offence and to consider the A student may lodge an appeal against any of the responsibilities that go with being a student following: of the National Art School or staff member. A • a determination that the student is guilty of a warning gives notice that any subsequent offence breach of discipline under this policy may result in a more serious • a penalty imposed on the student in respect of consequences because of the warning. the breach • an amount of compensation (not exceeding Psychological Evaluation and Counselling $1000) ordered to be paid by the student. Requests for psychological evaluation may be made by the Discipline Committee if, in their judgement, The appeal must be lodged within twenty-one days the student’s behaviour as shown by evidence, is after the date on which the Breach of Discipline unexplained or appears beyond the actions of a Notice is served on the student. reasonable person informed of the School’s policies, A student lodges an appeal by giving written or if the student’s behaviour suggests a threat of notice to Student Services. personal safety either to self or to the larger NAS The notice must be signed by the student/staff community. Such evaluation is undertaken with the member and must specify all of the following: following conditions: • the determination, penalty or compensation • Following the penalties imposed the student may amount against which the appeal is lodged be required to submit evidence of psychological • the grounds of the appeal evaluation and recommendation as to their • the student’s residential address. readiness to re-enrol at the School under existing academic conditions. Such evaluation will be at The notice may, if the student wishes, include a the expense of the student and through external nomination for a member of staff of the student’s agencies to the School choice to sit on the Appeals Committee. • A student involved in misconduct procedures, Within twenty-one days after a student/staff who believes his/her behaviour was member has lodged a notice of appeal, Student attributable to a disability, may request a Services must cause the student/staff member to be deferral of penalties, pending presentation of notified in writing of the place, date and time for the medical documentation of the disability and hearing of the appeal. an explanation of its claimed relevance to the behaviour at issue. This request for deferral Effect of an Appeal must be made prior to final action being The lodging of an appeal suspends any penalty: taken in the disciplinary process. against which the appeal is made or arising from the determination against which the appeal is Other Penalties made. Other penalties include receiving a fail grade for The suspension takes effect: except as provided the relevant subject for allegations pertaining to by above when the appeal is lodged or in the case academic misconduct in assessment or examinations. of the exclusion of a student from class or campus, Withdrawal or restrictions of borrowing privileges for at the end of 28 days after the date on which the the following: appeal is lodged. • misuse of Library facilities The suspension ceases to have effect if the • computer access, equipment and tools. appeal is withdrawn or determined. The lodging of the appeal does not affect the Fine not exceeding $1000 for replacement of the withdrawal of privileges nor the withholding of any following: testamur, academic transcript in respect of • damage to property the student. • misuse of Library facilities • misuse of computing, communications facilities Appeals Committee and studio equipment. The School must convene an Appeals Committee to hear and determine an appeal. A staff member acting under this Rule must complete a An Appeals Committee is to be constituted by 3 Staff or Student Allegation or Complaint form and Staff members. or Student Allegation or Complaint Action form and The members of the Appeals Committee must 26 submit to the Discipline Committee of any action taken. include: • a member of staff nominated by the student in the identify any student/staff penalties or any student/staff notice of appeal or if no such nomination is made or who was involved as a witness. if the nominated person refuses to sit on the Appeals Committee, a member of staff nominated by Head of GENERAL Academic Studies or Registrarof NAS No person with a direct personal interest or involvement • a person nominated by the complainant. in an allegation shall exercise any of the powers conferred • The Committee must include a gender balance. by this Policy to determine an allegation of student or A staff member who issued any notice in respect of staff misconduct or to impose a penalty or a period of the matter and the subject of the appeal, is ineligible to be suspension. a member of the Appeals Committee. All proceedings shall be conducted fairly and in accordance with natural justice, but shall not be subject Procedure at Appeal to the rules of evidence. A student and staff member An Appeals Committee may determine: the procedure to shall be presumed innocent unless and until guilt is be followed by the Committee and the persons who may freely admitted or is proved by clear and convincing be present during proceedings before the Committee, evidence or to the Committee’s satisfaction. and the witnesses (if any) who may be called before the Students and staff must appear personally at the Committee. hearings of an investigation. They may, if they so wish, be Neither of the following persons is entitled to call accompanied by an advocate who the student or staff witnesses to appear at a determination of an appeal: member may consult but at no stage may the advocate • the student or staff member who is the appellant address the committee directly. • the staff member who made the determination in Students lodge appeals to Student Services in writing, respect of which the appeal was lodged. and staff with the Head of Academic Studies. Students and staff are entitled to due notice of any However, the student concerned and the staff member allegations of misconduct made against them. Complaints may each nominate a staff member to represent him/her and allegations may be amended at any time before their before the Appeals Committee making the determination. determination, provided the student and staff member are An Appeals Committee must give the student or staff given adequate notice in writing within 14 days. member concerned or the student’s nominee (if any) and A record or report of proceedings under this the staff member or the staff member’s nominee (if any) Resolution shall form no part of the student’s official an opportunity to be heard. academic transcript. The student or staff member concerned or the No information relating to such proceedings or to the student’s nominee (if any) and the staff member or the circumstances giving rise to them shall be divulged by the staff member’s nominee (if any) have the right to be School to persons (other than the officers involved) not present before the Appeals Committee at any time when immediately involved in the proceedings. a witness is present before it. An Appeals Committee is not bound by the rules or GRIEVANCE OFFICER ROLE practice as to evidence and may inform itself in such a The Grievance Officer is an ordinary staff member of manner it considers appropriate. the School. They are available to help anyone who has, Minutes must be kept of the Appeal Committee’s or thinks they may have, a grievance. The Grievance proceedings in such form as the Committee determines Officer can provide confidential advice about the best and a copy of the record must be provided by the way to tackle a problem and to recommend where Appeals Committee to the student/staff member more help can be given. The Grievance Officer is not concerned at his or her request without charge. allowed to investigate or otherwise attempt to resolve The Appeals Committee may determine an appeal the grievance. even if there is no appearance before the Committee by The Grievance Officer will obtain full information or on behalf of a party to the appeal. from the complainant about the grievance, explain how the grievance procedure works (including what can be Determination by Appeals Committee done to protect the complainant from victimisation), An Appeals Committee may, in relation to an appeal: and refer them to people who can provide support or • uphold the appeal or representation. • dismiss the appeal or When the grievance involves an allegation of a more • alter a penalty, compensation amount or serious nature the Grievance Officer recommends the condition imposed. matter to senior management in writing.

The decision of an Appeals Committee STUDENT MISCONDUCT PROCEDURES FOR is final. STAFF Written notice of the Appeal Committee’s decision must Step 1 be served on the staff/student concerned as soon as is • The staff member should attempt to resolve the reasonably practicable. grievance with the student(s) concerned within a Once a year, a written report on the matters reasonable time frame.* brought to a conclusion or heard by the Discipline • The staff member should: Committee shall be submitted to the Academic Board. - state the cause of their concern The report shall outline the nature of the allegations - exchange facts and beliefs 27 brought and the determinations reached, but shall not - clarify events - listen In this circumstance security and the Director, Head - provide the student or staff member with of Academic Studies or Registrarmust be contacted an opportunity to change behaviour that is immediately. perceived as unsuitable. Other Misconduct • Should this not succeed or if not appropriate, then For other misconduct, the Discipline Committee, in a formal complaint must be lodged to the Head of receiving a report(s) concerning an alleged breach of Department for investigation. discipline by a student or staff member from a Head of Department, will initiate preliminary enquiries from *In urgent circumstances a student may be suspended all parties concerned, collecting evidence, conducting to prevent or terminate a clear and present threat interviews as necessary and present the evidence for and to a staff member or student. In this circumstance against a particular conclusion. security and the Director, Head of Academic Studies or The Committee, must draw a conclusion and if Registrarmust be contacted immediately. appropriate, make recommendations for further action. Where the Committee is of the opinion that one Step 2 or more allegations have been proved and that one or • When an attempt to resolve the grievance with the more of the penalties set out below are appropriate to student or staff member is unsuccessful, the staff the occasion, the report of the Committee may contain member must report the breach of discipline to the a recommendation as to the appropriate finding(s) and relevant Head of Department for investigation. accompanying penalty(ies). • The Subject Leader must supply a Staff or Student The Committee on the advice of relevant staff Allegation or Complaint form for the staff member to members and witness reports, shall summarily dismiss complete and return to the Head of Department with any one or more of the allegations. a copy to the Discipline Committee. In respect of any allegation or allegations not • The form must include: so dismissed, determine that the finding(s) and - details of the student/staff concerned accompanying penalty or penalties recommended by - nature of the complaint the Discipline Committee should apply. - date, time and place of the incident • A penalty which the Discipline - detailed description of the breach of • Committee may impose shall take one of the discipline following forms: - a witness report if appropriate - expulsion - signature from the staff member. - exclusion from NAS for up to 2 years without • The Head of Department must: automatic re-admission - identify the issues raised in the allegation or - suspension complaint - caution or warning - interview the complainant - probation - obtain witness statements - reprimand - interview the student concerned and - severe reprimand document their responses; - reduction in marks - prepare a report containing findings - failure in one or more subjects and a conclusion on each issue and - compulsory psychological evaluation or recommendations, if appropriate counselling for a specified time - arrange a negotiation meeting with the parties - withheld results and testamur separately or jointly to achieve resolution - fines. - document the outcome on a Staff or Student Allegation or Complaint Action form and notify Step 4 all parties in writing. • The determination by the Discipline Committee • The negotiation process should be completed will not take effect unless and until the report, within 10 working days. together with notification of any allegations has • The negotiation is complete when the parties been given to the student/staff member and the resolve their differences or agree on a future student/staff member has within 21 days accepted course of action, or the complaint is withdrawn, or a the determination by notice in writing to Student compromise is agreed upon. Services. • If resolution cannot be achieved, the Head of • The notification must include: Department will refer the matter to the Discipline - the Discipline Committee’s finding in relation Committee for investigation and resolution. to the breach of discipline - details of the decision and the penalty Step 3 imposed on the student/staff member Serious Misconduct - a brief summary of the reasons of the Suspension in urgent circumstances for serious finding and for the imposition of the penalty misconduct may be used to prevent or terminate a clear concerned and present threat by a student/staff member concerning - a statement of the student’s right to appeal School property, academic instruction, assessment, against the finding and penalty the physical safety or integrity of any person within the - abrief summary of the appeal procedure. School or the proper functioning of any School activity. 28 Step 5 • The Appeals Committee shall convene to hear and determine an appeal. The Committee will consist of: - a staff member nominated by the student or staff member - a staff member nominated by the Head of Academic Studies, Registrarand complainant - a staff member not involved in any of the proceedings. The Appeals Committee shall record the evidence given before it, and record the reasons for its determination and for any penalty that it imposes, including its findings upon any material issue of fact. • Where the Committee finds that the allegation is substantiated, it may decide to impose no penalty or it may impose any one or more of the following penalties: - a fine, not exceeding $1000 - suspension, exclusion or expulsion - any other lesser penalty which may be appropriate. • The Committee may, in relation to an appeal: - uphold the appeal - dismiss the appeal - alter the penalty or condition imposed.

Step 6 • The decision of the Appeals Committee is final. • Notice of the Appeals Committee’s decision is served on the student/staff member concerned as soon as is reasonably practicable.

29 OVERVIEW OF NAS STUDENT MISCONDUCT PROCEDURES

SUSPENSION In urgent circumstances a student may be suspended to prevent a STEP 1 real or perceived threat to a staff NEGOTIATION: ATTEMPT RESOLUTION member or student. Notify security Staff member attempts to resolve grievance and Director, Head of Academic with student/staff member concerned. When not Studies or Quality Manager. resolved:

STEP 2 DEPARTMENTAL RESOLUTION Report misconduct to Head of Department. Complainant to complete a Staff or Student Allegation or Complaint form and return to the Head of Department (copy to Discipline Committee). When not resolved:

STEP 3 INVESTIGATION: FORMAL COMPLAINT The matter is referred to the Discipline Committee where Student Services shall acknowledge the complaint in writing to the complainant and the student/staff member concerned. The Discipline Committee convene to investigate and make preliminary enquiries. The Committee draws a conclusion or makes recommendations for further action. Committee completes a Staff or Student Allegation or Complaint Action form.

STEP 4 NOTIFICATION The student/staff member is notified of the determination of the Discipline Committee and is given 21 days to appeal the decision or penalty in writing.

STEP 5 OUTCOME The decision of the Appeals Committee is final in the terms of National Art School rules.

STEP 6 APPEALS Appeals Committee convenes to hear and determine an appeal. The Appeals Committee may uphold, dismiss or alter the penalty or condition imposed.

30 STUDENT GRIEVANCE POLICY the complainant initiates a formal complaint in writing AND PROCEDURES FOR to Student Services, their Manager, Head, School STUDENTS AND THOSE SEEKING Executive, or Board member. TO ENROL Grievance is any type of problem, concern or complaint about the National Art School, its environment, or its operations. This includes, but is not POLICY STATEMENT limited to, bullying, discrimination, harassment, sexual The National Art School (NAS) is committed to harassment, victimisation, vilification, breaches in the creating and maintaining a culture where all Students, use pf personal information, and academic concerns or Staff, and external stakeholders feel safe, and are complaints. encouraged, to raise concerns about unacceptable practice or conduct. Grievance Officer is a staff member of NAS who a. All Students and Staff have the right to a safe provides confidential advice when a person has a study and work environment and be treated grievance and recommends the appropriate staff with dignity and respect member who can assist in addressing the grievance. In b. The National Art School will provide a formal or serious grievance situation, the Grievance procedures through which Students and Staff Officer is not permitted to investigate or otherwise can have their complaints and grievances attempt to resolve the grievance. addressed. Harassment is when someone feels intimidated, c. All Students and Staff have the right the insulted or humiliated because of their race, colour, right to use the following procedures if they gender, national or ethnic origin, disability, sexuality believe they have a legitimate complaint/ or any characteristic specified under human rights grievance that can be dealt with under these legislation. It may also refer to working in a hostile or procedures. intimidating environment. The behaviours can be overt NAS will seek to ensure that all grievances are or subtle, verbal, non-verbal or physical. dealt with fairly, seriously, constructively, promptly and with due regard for confidentiality. Informal Complaint is when the complainant attempts to resolve a grievance directly with the party Responsibilities involved (resulting in an informal resolution). The Director of the School/CEO has overall Lodgement in a grievance process is the point at responsibility for the implementation and review of this which the complainant notifies an appropriate member Policy and Procedure. of staff of a grievance. Note that the CEO and Head Student Services is responsible for the provision of Studies have the discretion to waive any lodgement of advice, promulgation, and the administration of this periods detailed in this document. policy to Students. Procedural Fairness Human Resources is responsible for the provision is the right to a fair hearing, of advice, promulgation, and the operational case including the opportunity to present one’s case, the management of this policy for Staff. right to have any material considered by an unbiased, impartial decision maker and the right to have any final decision based in logically probative evidence. Definitions Academic Grievances relate to student progress, Respondent is the individual(s) against whom the assessment, curriculum and awards in a course of complaint/grievance is made. study. Serious Complaints are deemed as such when: • A criminal offence may have been committed; Bullying is unreasonable and inappropriate behaviour and/or that intimidates, offends, degrades, insults or humiliates • The nature of the complaint poses a risk to anyone. This behaviour can be physical or psychological. the student/s or staff; and/or Complainant is the person(s) with the complaint or • A number of complaints of a similar nature grievance. have been received against a respondent. Confidentialityis limiting disclosure of information Sexual Harassment is any unwanted, unwelcome or relating to a grievance only to those who are legitimately uninvited behaviour of a sexual nature that results in a involved in the grievance and any appropriate staff in the person feeling humiliated, intimidated or offended. It process of resolving the grievance. can involve physical or other contact or verbal remarks of a sexual nature. Discrimination is being treated less favourably than another person or group because of a specified Staff or Staff Member is any employee of NAS and attribute such as race, colour, national or ethnic origin, includes any visiting staff, contractor, or consultant to gender, pregnancy, relationship status, carer status, NAS. age, disability; sexuality, union affiliation, religious Student means any person enrolled in, or in the or political conviction, or any other characteristic process of enrolling in, a course of study at NAS specified per current Australians laws. whether part time or full time, on exchange, in studies Formal Complaint is when an informal approach abroad, or cross institutional study. to resolve the grievance has been unsuccessful and 31 Victimisation includes threats or intimidation, as a result of the complainant taking action under NAS Assessment policies or because they have supported someone Where the complainant seeks the advice of a staff else who has taken action under NAS policies. Unfair member (hereby a Grievance Officer), an initial treatment may include adverse changes to a work or assessment will be made regarding the validity and study environment, denial of access to resources such severity of the complaint. as work opportunities or training, or ostracism. This initial assessment is used to advise whether a grievance conforms to the requirements regarding PROCEDURE: STUDENT COMPLAINANT timeliness, eligibility and scope. The assessment This procedure applies to all enrolled students, and also advises at what stage the complaint should be those seeking to enrol; covering academic and non- addressed and whether the grievance can be resolved academic grievances regardless of the location of informally or if a formal complaint should be submitted. where the grievance has arisen, or the level/mode in which study is undertaken. Grievances should be Informal Grievance made in a timely manner, as delayed notification of The process of addressing student/academic a grievance may affect the quality of investigations. grievances offers informal resolution as an option at A breach of any Code of Conduct may result in any point, with the agreement of all parties. disciplinary action. The complainant should raise their concerns with the person or persons involved normally within ten (10) working days of the incident. This can be done verbally (phone or face to face), in writing (letter or email), or via an appropriate member of staff such as a Lecturer or Student Services (hereby the Grievance Officer). The parties involved will then attempt to reach a satisfactory resolution of the matter. Resolution should be undertaken expeditiously and within ten (10) working days of the complaint being raised. Should the respondent not accept the complaint or the complainant is dissatisfied with the outcome of the informal process, the complainant may consider the formal complaint process.

INFORMAL GRIEVANCE

Grievance is Grievance Officer not accepted by Complainant raises recommends respondent and/or grievance with the appropriate avenue the complainant is Grievance Officer for discussion/ dissatisfied with the resolution outcome

Complainant clarifies grievance Complainant with Respondent initiates the formal and negotiates process (See 3.3 mutually agreed Formal Grievance) outcome, resolving the complaint

Grievance is Complainant not accepted by raises concern respondent and/or directly with the the complainant is person involved dissatisfied with the (Respondent) outcome

32 Formal Grievance to investigate will be at the discretion of the Head of After discussion with a Lecturer or Student Services Studies, or if the Head of Studies is the subject of the (hereby the Grievance Officer), a formal grievance can grievance, the Director of the School. be initiated where: At all stages, reasons and full explanations must • A resolution through the informal process has be provided in writing of decisions and actions taken not been achieved; or as part of the procedures to both complainant/s and • The complaint is deemed to be of a serious respondent/s. nature; or The complainant and/or respondent have the right • The complainant initiates the formal process. to be accompanied and assisted by a third person A formal complaint must be made in writing and (such as NAS staff member, family member, friend or submitted to Student Services. The grievance must be counsellor etc) if they so desire. lodged no later than twenty (20) working days after the Where a member of staff is unable to complete incident has occurred. their role within the scope of this Policy due to The grievance needs to contain sufficient involvement in the complaint or other conflicts of information to substantiate the grievance and allow for interest occur another member of staff will be selected the grievance to be investigated. Vexatious or trivial to fulfil this role. complaints may be subject to disciplinary action under the NAS Student Discipline Policy and the decision

FORMAL GRIEVANCE

Within 5 working Grievance Officer Complainant days the diagnoses submits formal complainant will appropriate avenue grievance with the receive a written for investigation Student Services response regarding next steps

Relevant Program Coordinator investigates the incident and proposes a course of action

The Head of The Head of Studies denies the Studies endores proposed course proposed course of of action and takes action and informs another form of all parties in writing action

Program Coordinator notes in writing the outcome of the formal process and submits to Student Services for confidential filing

33 Serious Grievances The Appeals Process All complaints of a serious nature MUST be The Committee must give the complainant and investigated through the formal process at 3.3. A respondent concerned or their nominees (if any) complaint is deemed serious when: the opportunity to be heard. The complainant and • A criminal offence may have been committed; respondent have the right to be present before the and/or Committee at any time when a witness is presented • The nature of the complaint poses a risk before it. The complainant and/or respondent have the to students, staff, members of the public; right to be accompanied and assisted by a third person and/or (such as NAS staff member, family member, friend or • Three (3) or more complaints of a similar counsellor etc) if they so desire. nature have been received against this Minutes will be kept of the Committee’s meetings respondent. and the Committee must provide a copy of the record Where a criminal offence may have been to the complainant/respondent at request and without committed, the Head of Studies and Security must charge. be notified immediately with the knowledge of the Written notice of the Committee’s decision, complainant, who must then notify the appropriate including a full explanation for the decision, must authorities. be served on the parties concerned within ten (10) working days of the hearing. Appeals A complainant may lodge an appeal on the grounds of External Appeal lack of procedural fairness in the investigation process. If not satisfied with a decision of the Appeals An appeal is lodged by giving written notice to Committee the complainant may request that the the Registraror the Head of Studies. The appeal must matter be dealt with through an external dispute be lodged within fifteen (15) working days after the resolution process provided by TAFE Directors grievance outcome has been received, be signed Australia Ltd (TDA). by the party undertaking the appeal, and clearly Contact details for TAFE Directors Australia Ltd specify the grounds of the appeal. The notice may are as follows: also nominate a staff member to sit on the Appeals Committee. Sydney Institute of TAFE NSW A response notice must be served within fifteen Turner Hall Ultimo College BG. 01, (15) working days after the appeal notice is received, 731-695 Harris Street, detailing the place, date, and time for the hearing of Ultimo NSW 2000 the appeal, which must take place within thirty (30) working days of the appeal lodgment date. PO Box 707 Broadway NSW 2007 Phone: 02 9217 3180 Appeals Committees www.tda.edu.au The National Art School convenes an Appeals Committee (“the Committee”) to hear and determine Complaints will normally be addressed within 10 an appeal. The Committee is constituted by 3 working days. members and must include: If TDA makes recommendations in relation to a 1. A member of staff of the National Art School grievance they have reviewed, TDA will forward those nominated by the party undertaking the recommendations to Director of the National Art appeal in the notice of appeal, or, if no such School within ten (10) days of commencement of the nomination is made or if the nominated review. NAS will ensure that recommendations are person refuses to sit on the Appeals implemented within ten (10) working days of recept of Committee, a member of staff of the National such recommendations, if practicable. Art School nominated by the Executive of the School; 2. The Director of the School/Chair of The Academic Board; 3. A member of staff of the National Art School nominated by the opposing party in the grievance where one is specified, or, if no such nomination is made or if the nominated person refuses to sit on the Appeals Committee, a member of staff of the National Art School nominated by the Executive of the School; 4. A gender balance. A staff member, who issued any notice in respect of the matter and the subject of the appeal, is ineligible to be a member of an Appeals Committee

34 ENROLMENT POLICY Commencing International Undergraduate and Postgraduate Students The Enrolment Policy document outlines the conditions NAS will not consider a commencing international under which students will be considered to have a student enrolled until the completion of the following: valid enrolment. This policy applies to all students who • application for admission are intending to enrol or who are currently enrolled in • accepted the offer of admission to a specified undergraduate or postgraduate programs at NAS. program according to the prescribed instructions This policy has been developed in line with • provision of documentation for proof of nationality, requirements of the National Protocols, National passport and visa Guidelines, Australian Qualifications Framework, • provision of documentation for proof of identity; National Code for Registration Authorities and • payment of enrolment deposit Providers of Education and Training to Overseas • full payment of compulsory fees for the year and Students and the Education Services for Overseas Overseas Student Health Cover Students Act 2000. • selection of subjects according to the rules of the course CONTEXT • enrolment in a full time load (60CP) NAS Student Services office provides a range of services • submission of a declaration to be bound by the rules and support for the NAS community of students and and policies of NAS staff through academic program promotion, recruitment, • registered enrolment and completed the required admissions, academic advising, student support services, statistical information timetabling, progression, graduation and general • completed any other required procedures required by academic administration. NAS All students must be formally enrolled in order to participate in classes and other educational Personal and Address Details activities and satisfactorily complete all requirements Students are responsible for ensuring that NAS has up for a degree at NAS. Students are advised that it to date personal, contact and address details during their is their personal responsibility to ensure that they period of enrolment. NAS will not accept responsibility for are correctly enrolled and advise Student Services official notifications not been reached when a student has in writing of any changes. Failure to advise Student not notified Student Services in writing. Services about an incorrect record by the approved census dates can result in both academic and Deferment financial penalties. Requests to defer an offer of admission or initial enrolment will be assessed on a case by case basis. Normally a ENROLMENT deferment is granted under exceptional circumstances. Commencing Domestic Undergraduate and Applications must be made in writing prior to the census Postgraduate Students date. Students not permitted to defer must lodge a new Commencing students are required to enrol as specified application for admission at the time appropriate to their in the enrolment instructions included with their offer. intended commencement of the program. Students are expected to maintain accuracy of their enrolment details using approved forms of Temporary Visa Holders communication either in writing or on appropriate An international student is a student who is not a citizen student course forms. Verbal amendments to or permanent resident of Australia. enrolment details are not accepted. An international student is: NAS will not consider a commencing student enrolled • a temporary resident visa holder (www.immi.gov.au) until the completion of the following: or • application for admission • not an Australian citizen or • accepted the offer of admission to a specified • not a full permanent resident in Australia or program according to the prescribed instructions • not a New Zealand citizen. • provision of documentation for proof of Australian Citizenship An international fee-paying student holds a permit for • provision of documentation for proof temporary entry to Australia. For example, if their status of identity is: overseas student • full payment of compulsory fees for • permanent resident of New Zealand the year • diplomat • selection of subjects according to the rules of the • temporary resident who hold permits for work course purposes • submission of a declaration to be bound by the rules • applying for permanent residency and policies of NAS • refugee • registered enrolment and completed the required • a dependent of any of the above. statistical information

• completed any other required procedures required by All temporary visa holders must pay the full international NAS tuition fee for the course. 35 Confirmation of Enrolment When an enrolment quota applies preferences are When a student has registered their enrolment and paid given in the following order: fees. A copy of the enrolment form is provided to all students and confirmation of payment for the course. Studio Specialisations Failure to correct inaccurate information may have • continuing students according to First Year serious financial and academic consequences for studio elective mark students. • approved course leave students • approved reduced study students given approval Continuing Undergraduate / Postgraduate for the Studio Specialisation Domestic and International Students • approved show cause students repeating subjects All students are required to formally enrol for the • advanced standing applicants academic year in a program of study in accordance • late enrolment students with the rules of the course in which they are enrolled. Continuing students will be considered enrolled on First Year Studio Electives completion of the following requirements: • First Year Studio Introduction mark • completion of a Provisional Enrolment form by the due date Art History and Theory Electives • enrolling in subjects for two semesters where all • Third Year students prerequisites, co-requisites have been met • Second Year students • valid enrolment by the census date or the student • date of received application will be regarded as withdrawn from the course Students who have not gained approval from the Head • payment of all compulsory fees and charges by of Department may be involuntarily withdrawn from the the prescribed date for their enrolment to be valid. subject without notice. Students who have not formally Failure to pay fees by the prescribed date will lead withdrawn from subjects and have ceased attending to termination of enrolment class will fail the subject.

Late Enrolment Pre-requisites and Co-requisites Late enrolment is defined as the completion of any Students are responsible for ensuring that any enrolment requirements after the deadline specified specified pre-requisites and co-requisites have been by Student Services. Student Services will consider all met. Details are provided in the Student Handbook applications for late enrolment and may: under relevant disciplines. Student Services may • approve the late enrolment without penalty cancel a student’s enrolment in a subject where the (exceptional circumstances only) or prerequisite or co-requisite has not been met. • approve the late enrolment and impose a late fee or • refuse the late enrolment. Student ID Card The student identification card displays a student’s Late fee penalties are determined each year and photograph, name, student number and course details. published in the Student Handbook, and are subject to Student Services will issue a student card to all change. students who enrol in a NAS degree course. Students need to attend orientation and present a passport size Variations to Enrolment photograph to Student Services in order for a student Students must ensure that they update their records card to be issued. by the census dates with Student Services if a change The student identification card is used for: is made to subjects in their course of study. Students • student identification on campus and in final wishing to vary subjects must complete a Subject examinations Variation form and approval must be obtained from • registration to the Library network Head of Department as permission is not automatic. A • identification of eligible student travel concessions copy must be submitted to the Head of Department, • access to secure access areas on campus Student copy and original held in Student Services. • borrowing of tools and materials in studio It is the student’s responsibility to ensure that when disciplines. varying their enrolment that they retain the prescribed credit point load to complete the requirements for The student card is a compulsory form of identification their year of study and satisfy the prerequisites for for students of NAS on campus. Students should carry that year. their card with them when on campus and exhibit it Applications to vary enrolments will not be upon request by NAS staff members and security. accepted after the approved census date for A student’s enrolment is not complete unless they the semester. have had their student card issued. Student cards are made available for collection on orientation day. Restrictions on Subject Enrolments Students who have their enrolment completed by a NAS may impose enrolment quotas on particular Proxy (by another person on their behalf) must arrange subjects when there are space and resource restraints. for their student card at the commencement of the Quotas may be modified by the Head of Department on course. the advice of the Head of Academic Studies. 36 Cardholders should not let other people use their be stored with due regard for appropriateness, efficiency card and should report lost, stolen or damaged cards and security. In particular, confidential and sensitive immediately to the library and security. Charges apply records should be stored and accessed appropriately. for the replacement of student cards. Disposal Date of Enrolment Student Services and Departments should mange For enrolment: their student records in accordance with the Students • new students must complete and sign an Record Disposal Schedule. Student Records should be enrolment endorsed by the enrolling officer disposed of in accordance with the retention schedule. • continuing students must complete and sign a At the expiration of their currency, records should be Provisional Enrolment form and an Enrolment destroyed, transferred to Student Services or added to Form endorsed by the enrolling officer the archives. • pay all course fees upfront. FEE POLICY Students are not entitled to attend classes, until these All fees are charged according to the units being studied procedures are completed. and are payable annually on initial enrolment into the course and then for subsequent years at the rate Exceptional Circumstances applicable at the time of re-enrolment. Exceptional circumstances are occurrences beyond a Fees are reviewed annually and may increase. student’s control, which may affect their studies in the duration of the course. For example: medical condition, Payment of Fees jury duty, family bereavement, natural disaster etc. Tuition fees are calculated and payable at the time of Certified and acceptable documentary evidence must enrolment or re-enrolment. All students are provided be submitted with any application to alter any stage with details of fees and deadlines in enrolment packs of enrolment in the course to Student Services for and current fee schedules are available from Student approval. Services. Students who are not seeking FEE-HELP support are normally required to pay the full fee Enrolment by Proxy prescribed for the year in which they are studying, as Enrolment by Proxy is where a student is unable to indicated in their offer letter or re-enrolment form at the attend enrolment personally and nominates another time of enrolment. person (proxy) to attend enrolment and act on their A late enrolment penalty fee of $100.00 will behalf. be applied to all enrolments after the published The person nominated to act on the student’s deadline. Failure to pay fees according to the payment behalf must provide a signed letter of authority guidelines may result in a student’s enrolment being from the student with a certified copy of a passport cancelled. or driver’s license (documentation with photo Students who fail to pay a fee and who are identification) for enrolment purposes. indebted to the NAS will not be permitted to attend classes, receive a Transcript of Academic Record and Audit Requirements for Enrolment Forms Testamur and will not be permitted to graduate until Enrolment forms are accountable documents and must outstanding fees or charges have been paid. be treated the same as other financial records, by complying with Treasury Regulations and Guidelines. Applying for FEE-HELP They must be retained in the office for 2 years after To apply for a FEE-HELP loan, you will need a tax file audit, then transferred to Archives for 4 years, then number (TFN) and a Request for FEE-HELP assistance destroyed. form (this is only available from NAS). Before you sign and submit your form you must read the FEE-HELP RECORDS MANAGEMENT information booklet. The form will ask you to provide Student Services manage the retention of student files. your tax file number. If you don’t have a TFN, you can Some student records are available electronically since give NAS a Certificate of application for a TFN. This 1976 on the Student Information System (PEPi). NAS certificate is available from the Australian Taxation Office has policies and practices in place to protect student (ATO) after you have applied for a TFN. Contact the ATO information, to gain student permission for the release on 13 28 61 for TFN information. of information and to ensure access by clients to their You must submit the signed and completed form personal records. to NAS before the census date. If you do not submit NAS is committed to keeping full and accurate your form on or before the census date, you will not be records and managing records effectively, to meet its eligible for a FEE-HELP loan, and you will be liable to own business needs. pay tuition fees upfront. This policy sets out the School’s management Note: You have six weeks from the census date principles on the creation, maintenance and disposal of of a unit to correct any errors on your form that would student records. prevent you from being eligible for FEE-HELP. To be eligible for FEE-HELP assistance for a unit Storage and Access of study, you must: All records in Student Services and Departments should • meet the citizenship or residency requirements 37 • be enrolled in a unit that meets the course Reduced Study Load requirements Where applications for reduced study load have been • not have exceeded his or her FEE-HELP limit approved before the census date refunds may be • be enrolled in the unit on or before the census date granted and FEE-HELP debt will not be incurred for for the unit and remain so enrolled at the end of the subjects not taken. census date Where applications for reduced study load have • meet the Tax File Number (TFN) requirements been approved after the census date refunds and • have completed, signed and given to an appropriate re-crediting of FEE-HELP balances may only be officer of NAS a Request for FEE-HELP assistance granted in exceptional circumstance. Please read the form on or before the census date. NAS Fee-Help Review & Refund Policy for further information. Loan fee and amount of FEE-HELP debt Where applications for reduced study load are for If the loan relates to FEE-HELP assistance for a unit the next Academic year tuition fees for that year will of study that forms part of an undergraduate course of be calculated according to the units to be studied in study, the amount of the FEE-HELP debt is the amount during the year. of the loan plus 25% and is incurred by the student immediately after the census date for the unit. Course Leave Where applications for course leave have been Reasonable Adjustment and Protected Fee approved on or before the census date refunds will be Enrolments granted and FEE-HELP debt will not be incurred. The School will make reasonable adjustments to the Where applications for course leave have been tuition fees, fee policy and procedures to enable a approved after census date refunds and re-crediting student with a disability to participate in education of FEE-HELP balances may only be granted in on the same basis and cost as a student without a exceptional circumstance. Please read the NAS Fee- disability. Help Review & Refund Policy for further information. The School may make reasonable adjustments Where applications for course leave are approved for to tuition fees charged in order to protect continuing the next Academic year tuition fees will applied in the enrolments from significant changes in fee levels. normal fashion.

Non Payment of Fees Exceptional circumstances in this context are Failure to pay tuition fees or submit a Request for occurrences that: FEE-HELP assistance form according to payment were beyond your control; guidelines and deadlines will result in a student’s and enrolment being cancelled unless they have did not make their full impact on you until on or after exceptional circumstances (see below). Should a the census date(s) of the unit(s) in question; student enrol late, a $200 penalty fee may be levied. and Students indebted to the NAS will not be issued with were such that they made it impracticable for you to academic transcripts or any other official credentials complete the requirements for the unit(s). and will not be permitted to graduate. All outstanding debts are recorded on the student information system. The recovery of outstanding fees INTERNATIONAL STUDENTS is the responsibility of Student Services. Students who are indebted to NAS will receive a statement Total Refunds of outstanding charges in each semester (after the A total refund may be made to an applicant/student census dates) requesting payment. with a withdrawal penalty fee of $200 in the following When a debt is outstanding for more than 90 days circumstances: after the payment deadline, Student Services will an offer of a place is withdrawn forward the student a reminder letter for payment with National Art School is unable to provide the course a warning that their enrolment will be cancelled and if Notice of withdrawal due to exceptional circumstances they remain indebted beyond a date determined by the and prior to the commencement of the academic year Registrar, that their enrolment be cancelled and that student fails to meet degree progression rules and they be denied permission to re-enrol. not permitted to re-enrol who has paid in advance of exclusion notification Withdrawal from the Course Partial Refunds (half the tuition fee) Withdrawal from the Course/Units of Study Please note: The guidelines for partial refunds apply Where notification of withdrawal is received before the equally to commencing students and continuing census date for the Unit of study, NAS will refund any students. Partial refunds may be made to an applicant/ tuition fees paid and the student will not incur a FEE- student in the following circumstances: HELP debt. withdrawal from an offer of a place prior to Friday of Where notification of withdrawal is received after Week 2 the census date NAS is not able to refund any of the tuition fees, except under exceptional circumstances 38 as identified in this policy. Grounds for Refunds defined by a Ministerial Determination and an Australian A notice of withdrawal due to exceptional Taxation Office (ATO) Ruling. circumstances may be accepted as grounds for Tertiary courses are GST-free as they meet the either a total or partial refund of fees, subject to the national accreditation requirements for a tertiary provision of acceptable documentary evidence in course in accordance with the relevant Ministerial support of the application for a refund. Exceptional Determination. circumstances may include: NATIONAL ART SCHOOL Inability to obtain a student visa; FEE-HELP REVIEW POLICY Illness or disability; This policy was approved by the NAS Board of Directors Death of a student or close family member (parent, on the 30th August 2011. sibling, spouse or child); or A student may apply to National Art School (NAS) Political, civil or natural event which prevents full to have their FEE-HELP balance re-credited if they payment of fees; withdraw from or do not complete a course/unit. This Change of visa status (conditions apply). application must be made within 12 months of the withdrawal date or where they have not withdrawn There are no refunds to students in the following within 12 months of the end of the period of study. circumstances: To apply to have their FEE-HELP balance withdrawal from a course after Friday of Week 3 re-credited the Review Application Form and all a visa is cancelled supporting material must be lodged with Student This student refund agreement, and the availability of Services. A student must demonstrate that there complaints and appeals processes, does not remove were exceptional circumstances and provide certified the right of the student to take action under Australia’s supporting documentary evidence. NAS considers consumer protection laws. exceptional circumstances to be occurrences beyond a student’s control, which may affect their ability to Fees Refunds for International Students who study in the course. For example, medical condition, obtain Permanent Residency family bereavement, natural disaster, etc, may be An international student who is granted permanent considered as exceptional circumstances. resident status in Australia will be eligible to pay local full fees applying to domestic students. Procedure Permanent resident status is recognised from the date Upon receipt of application for FEE-HELP Review, in stamped on the student’s passport, not the date on the first instance, the Registrar will be responsible for which the application for status is made. calling a committee to consider the application. The If the student has already paid the tuition fees applying committee normally consists of the: to international students, a total refund of these fees will • Registrar be payable to the student if, in the first year of enrolment • Head of Studies the student has obtained permanent resident status by the census date for that unit. The committee will be responsible for making decisions If the student obtains permanent resident status about the re-crediting of a student’s contribution after the census date in a semester, the student amount and the re-crediting of their FEE-HELP will be classified as an international student for the balance and removal of FEE-HELP debt. The remainder of that unit. From the following semester, Registrarshall inform the applicant of the decision the student will be classified as a permanent resident of the committee normally within two weeks of the and will be liable to pay full fees applying to domestic conclusion of the meeting. students. If the decision is made to re-credit the FEE-HELP The student must submit a certified copy of their balance, NAS will notify the Department of Education, passport as evidence of their changes status or a letter Employment and Workplace Relations (DEEWR) from the Department of Immigration and Citizenship through the HELP Variations File. NAS will repay to the granting permanent tresidency to StudentMethods of Commonwealth any FEE-HELP assistance NAS has Payment NO FEES can beaccepted in cash. received on the student’s behalf. DEEWR will inform the Australian Taxation Office, who administers FEE- Accepted methods of payment: HELP, that the debt has been removed. Personal or bank cheque (made payable to the National Art School) Right to Appeal a decision Money order A student has the right to appeal to the Director of the Visa School to revoke a decision not to re-credit the student’s Mastercard FEE-HELP balance. The time limit for applying for a review Eftpos of a decision is 28 days from the student receiving notice of Direct Bank Transfer the decision. The student must state the reasons why he or she is appealing the decision. Goods and Services Tax (GST) The Director will acknowledge receipt of the appeal The GST legislation provides that the supply of an within 14 days. The Director will re-visit the evidence education course is GST-free. Tertiary courses are supplied and review the decisions made by the committee. 39 The Director will advise the applicant of the result of Scheme (Higher Education) will provide this Offer the appeal in writing within 30 days of the receipt of the within twenty Business Days after it knows, or should appeal. The Director should state the reasons for the now by reasonable enquiries that the National Art outcome and inform the applicant of their right to appeal School has ceased to provide the course or study. to the Administrative Appeals Tribunal (AAT) if they are The course/s of study for which National Art unsatisfied with the result. School has TDA Tuition Assurance Scheme (Higher The Director will also advise the student of the contact Education) membership is/are: details, address of AAT and the likely costs of lodging an • Bachelor of Fine Art appeal to the AAT. When notified NAS will supply DEEWR • Master of Fine Art with all documentation relevant to the appeal within 5 working days. A student may choose either: The Course Assurance Option Statement of Tuition Assurance Under the course assurance option, a student will be Under the provisions of the Higher Education Support offered a place in a similar course of study by TDA Act 2003 (HESA) and the associated Higher Education Tuition Assurance Scheme (Higher Education). If the Provider Guidelines National Art School is required to student accepts this option, TDA Tuition Assurance provide a tuition assurance arrangement for persons, Scheme (Higher Education) will make all necessary other than overseas students*, who are enrolled in higher arrangements to ensure a student is able to enrol with education courses it offers. This requirement is to protect the Second Provider in the similar course of study. This students in the event that National Art School ceases to offered course will lead to the same or a comparable provide a course of study in which a student is enrolled. qualification without any requirement on the part of The meaning of ‘ceasing to provide a course of study’ the student to pay the Second Provider any student is set out in the HEP Guidelines at: www.comlaw.gov. contribution or tuition fee for any replacement units au/comlaw/management.nsf/lookupindexpagesbyid/ (that is, units that the student had commenced but not IP200510176?OpenDocument completed because the course ceased to be offered). A In the event that National Art School ceases to provide student will receive full credit from the Second Provider a course of study in which a student is enrolled the for any units of study successfully completed at National student is entitled to a choice of: Art School. a) an offer of a place in a similar course of study with The Second Provider nominated by TDA Tuition a Second Provider without any requirement to pay the Assurance Scheme (Higher Education)may have Second Provider any student contribution or tuition fee different contribution amounts or tuition fees to the for any replacement units (this is known as the “Course amounts or fees the student would have paid for units Assurance Option”); of study which were part of the course of study the OR National Art School ceased to provide but which the b) a refund of his or her up-front payments for any student had not yet started studying. unit of study that the student commences but does not A student is not obliged to enrol in a course of complete because National Art School ceases to provide study with a Second Provider offered by TDA Tuition the course of study of which the unit forms part (this is Assurance Scheme (Higher Education) under the known as the “Student Contribution/Tuition Fee Course Assurance Option. However, if he/she enrols Repayment Option”) with any other provider there is no obligation on that National Art School has met the tuition assurance provider to offer full credit transfer for the units of requirements of the HESA through its current study completed with the National Art School or to membership of the TAFE Directors Australia (TDA) offer replacement/s unit free of charge. Tuition Assurance Scheme (Higher Education). OR Contact details for TDA Tuition Assurance Scheme The Student Contribution/Tuition Fee (Higher Education) are: Repayment Option TAS Administrator Under the Student Contribution/Tuition Fee Repayment TAFE Directors Australia Option, TDA Tuition Assurance Scheme (Higher PO Box 707 Education) undertakes to pay the student the total of any BROADWAY NSW 2007 up-front payments already paid by the student for any units Tel: (02) 9217 3180 of study the student has commenced but not completed Email: [email protected] because the course ceased to be offered. Students Web: www.tda.edu.au selecting this option will also have their SLE or FEE-HELP balance/s re-credited for the uncompleted units. If National Art School ceases to provide a course of study, TDA Tuition Assurance Scheme (Higher Publication Education)will send a student enrolled in the course The method this Statement of Tuition Assurance will of study a Written Tuition Assurance Offer (the Offer) be made public to students will be on National Art advising the student of the options available under the School’s website (www.nas.edu.au). National Art School tuition assurance requirements. will also advise students about where the Statement of The Offer will include directions that the student Tuition Assurance may be obtained from as part of their must follow in order to notify TDA Tuition Assurance enrolment information. Scheme (Higher Education) of the choice they have *See Education Services for Overseas Students 40 made for each affected unit. TDA Tuition Assurance Act 2002 for the definition of overseas student. INTERNATIONAL educational environment that is accessible, equitable, STUDENT VISAS courteous, responsive to the diverse needs of individuals within both the staff and student cohorts, All international students must obtain a valid student and adaptive to the expectations of the professional visa from an Australian Embassy or consulate for the and broader communities of the School. duration of their degree. The academic staff of NAS contributes to the enhancement of quality of teaching at the school STUDENT VISA REGULATIONS through a range of activities and experiences. All A student visa is granted subject to the following staff is required to be actively engaged in scholarly conditions. The student: and/or professional activity in their specialist field, • must satisfy course requirements and maintain a thus bringing relevance and current knowledge to valid enrolment their teaching. • is required to study full-time while in Australia Students of NAS contribute to the enhancement of • must have sufficient funds to cover his/her tuition the School’s educational environment by bringing diverse fees and expenses in Australia aspirations, skills and experiences to the teaching and • can apply to work after they have commenced learning community. Students are encouraged through their studies (There is 20 hours per week work curriculum design and delivery to be actively engaged in limitation and work must not interfere with their learning throughout all subjects. studies during the academic year.) Quality Teaching and Learning relies not only upon • must pay and maintain compulsory health the individual contributions of staff and students but insurance to cover their stay in Australia also relies upon the provision of educational resources • notify the Department of Immigration & Multicultural to support teaching staff in the delivery of teaching, Affairs of any change in status, transfer to another and to support students in their learning. institution or course withdrawal NAS seeks to provide teaching and learning • must ensure that their visa is current at all times resources that are reliable, accessible, ‘fit for and extend it before it expires. purpose’ and reflective of current ‘best practices’ relative to scholarship, professional expectations, and Providing your home address Workplace Health & Safety standards. You must advise NAS of your home address within seven The NAS Teaching and Learning Policy reflect all days of arriving in Australia. Also, if you change your current legislative requirements related to the provision address during your stay in Australia, you must advise of Higher Education in Australia. your education provider within seven days. Note: Your education provider needs your home DEFINITIONS address so they can contact you if you do not satisfy the Teaching requirements of your course. If they cannot contact you, Teaching includes all activity designed to enable this could result in your student visa being cancelled. students’ learning and their personal and professional development. Teaching draws upon professional Financial Capacity and academic experience and knowledge, and is You must maintain enough money to pay for travel, informed and revitalised by scholarship, research and tuition and living expenses for yourself, your spouse professional practice. Teaching includes the design and and your dependent children for the duration of your implementation of curriculum materials for all modes of stay in Australia. delivery.

School age family members Learning Any family members of school age (between 5 and Learning includes all activity where students acquire 18 years) living in Australia must attend school and apply new knowledge and skills. Learning enables in Australia. students to make informed decisions and develop problem-solving strategies. Learning is a lifelong and Health Insurance renewable process. You must maintain health insurance for you and your family members while in Australia. Failure to comply RESPONSIBILITIES with the conditions of your visa will result in deportation. National Art School Academic Board Information regarding student visas can be The NAS Academic Board is responsible for: obtained from: www.immi.gov.au; or contact the • maintaining the highest standards in teaching, nearest Australian Embassy in your own country. scholarship and research • safeguarding the academic freedom of the School TEACHING AND • overseeing the development of all academic LEARNING POLICY activities of the School formulating and reviewing policies, guidelines and procedures in relation to NAS seeks to achieve excellence and provide academic matters leadership in all aspects of Teaching and Learning, within the specific context of the School’s unique National Art School Academic Standards and mission and pedagogy. All those engaged in Teaching Development Committee and Learning at NAS have the right to expect an 41 The NAS Academic Standards and Development Committee (ASDC) is responsible for: consistent with credit point weighting of subjects • the development, delivery and monitoring of all and overall course requirements National Art School academic programs and the • providing a responsive and supportive maintenance of quality assurance throughout such learning environment for all students that can programs accommodate individual needs, • co-ordinating the School’s education and research • providing regular and consistent feedback on activities individual student progress • developing policies and procedures relating to, or • providing students with the opportunity to provide otherwise affecting, Teaching and Learning for the constructive feedback on their individual learning consideration of the Academic Board experience, • proposing and implementing course content for • ensuring that all students learning under their all National Art School programs supervision are aware of their responsibilities with • proposing and implementing assessment and respect to teaching and learning in an effective examinations procedures in all courses and and efficient manner and • providing a forum for the facilitation • ensuring that all academic staff and students of information flow between key academic and under their supervision are provided with all academic support staff of the School. appropriate resources and support required to accommodate successful teaching and learning in Head of Studies their department or program of study. The Head of Studies is responsible for: • ensuring that all academic staff responsible for Students course coordination and subject delivery are aware Students of NAS are responsible for: of and carry out their responsibilities with respect • ensuring attendance at orientation, induction to teaching and learning in an effective and or information sessions to ensure they have all efficient manner and required information before the commencement • supporting all academic staff responsible for of the subject or course of study course coordination and subject delivery in meeting • reading all subject outlines and familiarising their responsibilities with respect to teaching and themselves with the course requirements, learning. learning outcomes, assessment requirements and relevant completion dates Heads of Department and • ensuring attendance at all classes and Subject Co-Ordinators scheduled activities for the subjects they are Heads of Department and co-ordinators supervising enrolled in courses that are subject to the teaching and learning • preparation of required materials and reading policy are responsible for: • ensuring completion and submission of all • ensuring that all academic staff responsible for assessment requirements in a timely manner teaching under their supervision are aware of • respecting the academic and professional and carry out their responsibilities with respect to integrity of staff involved in the assessment of teaching and learning in an effective and efficient course work and manner • advising teaching staff in a timely and • ensuring that all students learning under their appropriate manner of any difficulties they may supervision are aware of their responsibilities with have in successfully completing any subject respect to teaching and learning in an effective and requirements. efficient manner and • ensuring that all academic staff and students under PRINCIPLES OF EFFECTIVE TEACHING AND their supervision are provided with all appropriate LEARNING AT NAS resources and support required to accommodate Maintaining excellence in academic standards successful teaching and learning in their NAS is committed to achieving and maintaining department or program of study. excellence in academic standards for staff and students at all levels and subject areas. Teaching Staff Teaching staff of NAS are responsible for: An atmosphere of intellectual rigour and • organising subject delivery coherently and in a engagement manner appropriate to the subject outline and NAS aims to create and maintain an environment course level that empowers students to think independently and • clearly identifying and articulating learning recognises the unique partnership between teacher and outcomes and assessment requirements for all learner in the creation of such an environment. subject content • clearly identifying and directing students toward A relevant and adaptive curriculum appropriate learning resources required for the Throughout all subjects and courses NAS aims to successful completion of the subject develop a broad range of generic attributes that provide • providing workloads that are equitable and the basis for students to develop individualised learning

42 skills relevant to their scholarly and professional NAS values the contribution of diverse cultural aspirations. perspectives and the ability of individual cultural perspectives to enrich and to contribute to a dynamic Education in a global context and open education environment. Cultural diversity NAS recognises that its students must be prepared provides a learning environment that develops in for a life of personal and professional engagement each student an awareness of social and cultural in a global context and is committed to providing the complexities and differing or alternate views. relevant knowledge, skills and breadth of vision that will prepare them for that future. Integrity and fairness NAS seeks to provide an educational environment Lifelong learning that promotes collegiality and professional courtesy NAS is committed to achieving learning outcomes for amongst all staff and students. The School values all students that prepare graduates for the acquisition, honest and equitable treatment of all involved in synthesis and application of knowledge and skill Teaching and Learning. throughout their lives. Development and review of teaching and Maintaining a stimulating and creative Learning Resources educational environment Quality Teaching and Learning relies not only upon the NAS seeks to provide an educational environment that individual contributions of staff and students but also stimulates ideas, intellectual enquiry and discovery relies upon the provision of educational resources to across all disciplines in order to develop enhanced support teaching staff in the delivery of teaching, and learning outcomes for all staff and students. to support students in their learning. NAS seeks to provide teaching and learning Specialised areas of study resources that are reliable, accessible, ‘fit for NAS is committed to the maintenance of specialised purpose’ and reflective of current ‘best practices’ study of subjects in all disciplines and values the relative to scholarship, professional expectations, individual academic interests and pursuits of all and Occupational Health & Safety standards. students. Budget Allocations for Support of Key Extended learning opportunities Teaching and Learning Resources NAS aims to provide extended learning opportunities Current budget allocations for the maintenance and to all students through the provision of curricular upgrade of key teaching and learning resources are and extra-curricular opportunities for personal established at no less than 3% of the institutions development including Guest Lectures, Artists annual operating allocation. in Residence, Internships and other scholarly or professional opportunities. ASSESSMENT POLICY Assessment provides the means by which students Range and diversity of teaching staff are graded, passed or failed. It provides the basis NAS recognises the value of maintaining a broad for decisions on whether a student is to qualify for range of teaching staff with diverse specialisation an award, or be considered as having demonstrated in scholarship and professional practice, and competence to practice. acknowledges the range of individual perspectives Assessment also plays a significant role in the such staff bring to teaching in all subjects. learning experience of students. It determines their progression through the programs and enables Maintaining an equitable and supportive them to demonstrate that they have achieved the educational environment intended learning outcomes. NAS seeks to provide an educational environment that Assessment enables students to obtain feedback is open, accessible and fair for all staff and students. on their learning progress and enables staff to evaluate the effectiveness of their teaching. Recognition of individual student learning Assessment at NAS involves two elements: needs • FORMATIVE ASSESSMENT is designed to provide NAS seeks to provide an educational environment that learners with feedback on progress and informs acknowledges and accommodates individual learning development styles of students and focuses on active learning and • SUMMATIVE ASSESSMENT provides a measure student engagement with learning.Recognition of of achievement or failure made in respect of a individual staff skills and teaching needs student’s performance in relation to the intended NAS is committed to enabling staff to achieve learning outcomes of the program of study. excellence in teaching through the provision of support and services and the provision of appropriate NAS considers its mission to be the education and teaching resources. training of future professional artists, providing learners with the experience of thinking through making that is Valuing cultural diversity essential to the production of visual art. Acknowledging

43 the historical model and responding to the present, NAS • Any appropriate support work including aims to provide students with the skills and knowledge sketchbooks, preparatory drawings etc; required to think creatively in order to become leading • Where appropriate a journal evidencing all aspects practitioners in their chosen fields. of learning and research into the use of studio Assessment therefore has been approached as an practice in the visual arts, including notes from ‘evolving’ and ‘continual’ method of improving teaching technical demonstrations, individual technical and learning, and the assessment plan is predicated research and knowledge gained from individual upon comparisons from both staff and students through practice; institutional surveys and reports. Visiting experts in professional practice are employed for feedback where Assessment Panels appropriate to provide information, insight and evaluation Assessment panels are appointed by the relevant Head of achievement. of Studies and/or relevant course co-ordinator.Final NAS has identified six criteria for the assessment of assessment is conducted by a minimum of three people student learning in both scholarly and creative practice: including: • acquisition of knowledge in the history of art and • the Head of Department or nominee; understanding the relationship and influence of • nominated Studio Lecturer/s; historical context • a moderator external to the Department; • knowledge and understanding of issues in • a moderator external to the Department critical and aesthetic theory in the history of art and studio practice Academic Progression: Bachelor of • the development of aesthetic judgement and Fine Art critical thinking Students are required to attain the following minimum • developing specific technical, aesthetic, critical academic standards in order to maintain satisfactory and conceptual abilities within studio practice academic progress in the course: • integrating research, verbal and written a. A total of 180 credit points for the course. communication skills, and technology for Each subject offered by the school has a credit scholarly and creative purposes point rating, depending on the number of hours • knowledge and understanding of contemporary taught, total workload and subject type. professional practice in studio arts, art history b. 60 credit points obtained in First Year subjects. and theory Of these, 12 are obtained in AHT100 Art History/Theory, 18 in DRA100 Drawing I and 15 ASSESSMENT: METHODS AND PROCESSES in STU100 Studio Introduction and 15 in STU120 Bachelor of Fine Art Studio Electives. Multiple assessment methods are used which are c. 60 credit points obtained in Second Year primarily qualitative, this being the most appropriate subjects. Of these, 6 are obtained in AHT200 means of assessing the individual particularity of Art History/Theory core, 6 in Art History/ student achievement in the arts. Theory electives, 12 in DRA200 Drawing, 32 in a Studio Specialisation and 4 in Professional Formative Assessment Studies. Details of subjects can be found under Monitoring the progress of students is achieved the relevant entry in Subject Descriptions. through: d. A Studio Specialisation in one of the following: • continuous assessment of studio practice; CER Ceramics • individual and group critiques and discussions of PAI Painting students’ work and the work of others; PHO Photomedia • tutorials with individual students, incorporating PRI Printmaking written feedback at midyear review; SCU Sculpture • the submission of artworks and research journals e. 60 credit points in Third Year subjects. 6 in for review. AHT300 Art History/Theory core, 6 in Art History/Theory electives, 12 in DRA300 Midyear Review Drawing, 6 in Professional Studies and 30 in At midyear lecturing staff conduct a formal review of all the Studio Specialisation. work undertaken in the first semester of the program. Students are advised of their progress and attendance Students who fail studio introduction subjects are requirements by sighting, signing and discussing not permitted to enrol in the studio elective of that a midyear evaluation form indicating the student’s discipline. Students must pass all three Studio Elective progress as Satisfactory, Borderline or Unsatisfactory subjects in semester 2 to enrol in second year and with additional comments. must select an elective in the intended studio major for Year 2. Summative Assessment All students who fail subjects must show cause At the conclusion of the First Year program of study as to why they should be permitted to continue the students within studio practice are required to submit: course. Students with exceptional circumstances may • all completed work produced for the unit, including be given permission to continue with their studies as any self-directed work completed, that evidences decided by the Show Cause Committee and may be 44 achievement of the learning outcomes for the unit given the opportunity to repeat failed subjects the following year. Reviews each candidate will report on their supervision Students enrolled in Year 2 and Year 3 of the BFA hours, their attendance at MFA Symposia and work- who fail any subjects will be required to repeat those in-progress presentations. In providing a mechanism subjects failed the following year on the approval of for progression, a satisfactory Annual Review is a the Show Cause Committee, excluding Art History/ requirement for re-enrolment each year. Theory electives and the Studio Electives. Please note: Students with second attempt failures First Review will be excluded from the course without automatic The first review is conducted after 6 months for full readmission. time candidates and after 12 months for part time candidates. The first review involves a studio meeting ACADEMIC PROGRESSION MFA STAGE 1 / which determines that the candidate has begun the GDFA project and is working consistently and in accordance Students are required to attain the following minimum with enrolment (i.e., full time or part time). At this stage academic standards in order to satisfy the requirements it is determined if the candidate is adequately equipped for the course: with the infrastructure (studio space, equipment, access • 60 credit points obtained in MFA Stage 1. to supervisor and services etc.) to work on the project. • Of these, 10 are obtained in AHT400 Art History Any problems that are preventing the project from & Theory Four, 10 in STS400 Studio Seminar Four progressing well should be raised at the interview. and 40 in Studio Major Specialisation Four. The interview is coordinated by the Department of Students enrolled in MFA stage 1 who fail any Postgraduate Studies and attended by the Head of subjects will be required to repeat those subjects the Postgraduate Studies, the principal supervisor, the following year on the approval of the Show Cause associate supervisor and postgraduate lecturer. Committee. At the conclusion of the review, the candidate, Please note: Students with second attempt failures supervisor and Postgraduate Coordinator must certify will be excluded from the course without automatic that the review has been held, and report the general readmission. nature of the outcome. This is reported on the Progress Students who have successfully completed MFA Review form and returned to Student Services with a stage 1 may notify to copy to be held by the Department of Postgraduate Studies. In the event of an unsatisfactory review a MASTER OF FINE ART (RESEARCH) written report will be provided to the candidate and Master of Fine Art (Research) candidates should refer lodged with Student Services. to their issued MFA (Research) handbook. Major body of work 80% Annual Review The type and quantity of art work will be determined Every 12 months, defined from the date of enrolment, by the candidate’s project but is expected to constitute the candidate and the supervisor along with the substantial research in the area of studio production. Postgraduate Coordinator and/or the postgraduate lecturer, will participate in an Annual Review. These Dissertation 20% generally occur at the beginning of each academic Candidates are required to present documentation to year. Progress since the previous review will be support the research undertaken. The dissertation must scrutinised and plans for future work approved. The consist of the following: review will be structured to enable all parties to hold • an abstract of one page or less, which summarises frank discussion as to progress. the project using relevant keywords; Full-time candidates will need to have submitted • the exegesis (normally 10,000 words), which their revised formal research proposal by the time of defines the field and outlines the rationale, the first Annual Review and part-time candidates by development and context of the project; the second Annual Review. Candidates will also be • a bibliography, which states all sources and required to provide an up-to-date Supervision Diary, materials that have informed the candidate’s which records their supervision meetings for the year, research; along with Symposia attendance and the number of • visual record of the candidate’s studio work, in candidate work-in-progress presentations. the form of a support folio of drawings, slides, It is a requirement for re-enrolment that all photographs, video or CD; candidates undergo a satisfactory Annual Review; • a record of the work submitted as an exhibition for that they provide their Supervision Diary for audit; final assessment. and that they complete the Candidate Annual Report form, which details their total supervision hours and Monitoring of Progress Symposia attendance for the past academic year. The primary goal of postgraduate research supervision At the conclusion of the review, the candidate, is to ensure the successful progress through, and supervisor and Postgraduate Coordinator must certify completion of, the candidate’s research program. that the review has been held and indicate the general Candidate progress will be monitored through regular nature of the outcome. In the event of an unsatisfactory critiques between the candidate and supervisors as review a written report will be provided to the candidate well as being formally considered by the supervisor and lodged with Student Services with a copy to be and the Postgraduate Coordinator annually for both held by the department. 45 full time and part time candidates. At the Progress Final Review potentially be suspended or have their enrolment The final review should be held around six to eight terminated because of unsatisfactory progress, a weeks prior to the date of the examination. The focus copy of the candidate’s Progress Review forms should of the final review is on the presentation of most of the be forwarded to the Postgraduate Committee for research of the project and demonstration that the body consideration, accompanied by an explanatory letter of work is sufficiently complete for it to be presented for from the supervisor or Postgraduate Coordinator examination. The main issues to be addressed at this outlining the attempts that have been made to optimise stage of the review process are: progress, and the outcomes of these attempts. The • APPROPRIATENESS AND ORIGINALITY OF Postgraduate Committee may recommend one of the WORK: This review acts a ‘defence’ of the following: research program and aims to determine • candidature be approved to continue whether sufficient work has been completed in • reconsideration of candidature subject to work terms of appropriate scope and originality for undertaken to the satisfaction of the Postgraduate the degree sought. Committee or • FURTHER WORK: The extent of any further • termination of candidature work necessary to complete the project and the candidate’s enrolment status during this period The recommendation shall be conveyed in writing to should be considered. A submission date should be the candidate within 14 days of the date of the decision targeted at this stage if work is deemed complete. together with advice of the candidate’s right to appeal. • NOMINATION OF EXAMINERS: Names of examiners to be suggested by candidate for Termination of Candidature consideration by the PGC. Where the Postgraduate Committee recommends that • INTENTION TO PRESENT FOR EXAMINATION: Form the candidature should be terminated, the proposal to be completed by the candidate at this time and must be justified and supported by documentation. submitted to Student Services. The candidate will be issued a written warning inviting • DISSERTATION: Election of whether to submit them to ‘show cause’ within four weeks of receipt of dissertation to examiners three weeks prior to the letter as to why the candidature should not be examination or simultaneous with examination. terminated. The Postgraduate Committee will consider any material in response to the request to ‘show Unsatisfactory Progress cause’ and if satisfied by the case presented, outline In the event of an unsatisfactory progress report, initial clear milestones that must be met over the following attempts to rectify the situation should take place within three months, such as those outlined above under the department of Postgraduate Studies with the aim of “Unsatisfactory Progress”. At the end of this period, developing specific strategies and recommendations for the Postgraduate Committee will require a report from improving progress towards completion. The Postgraduate the Postgraduate Coordinator and the supervisor as to Committee will be kept informed discuss the situation with whether the candidate should have their candidature the candidate and supervisor. These might include: terminated or be permitted to continue. • reassessment of the revised research proposal If the candidate fails to respond to the ‘show cause’ or methodology request or the Postgraduate Committee is not satisfied • institution or reactivation of an agreement with the case presented by the candidate in response between the candidate and supervisor to the ‘show cause’ request then the candidature will be regarding frequency of meetings, comments on terminated two weeks from the date of the Postgraduate work, hours of attendance, etc. Committee meeting. • modification of supervisory arrangements The student may appeal against a decision of • provision of specific support for aspects of the the Postgraduate Committee to terminate their project candidature in accordance with the Appeals and • setting of specific timelines, including additional Grievance procedures. Progress Reviews The outcome of these consultations will be monitored. Master of Fine Art Examination The monitoring of progress may vary from written Examinations will be held 24 months after the date suggestions for a revised research plan to interviews of enrolment. Candidates will be made aware of with the candidate, supervisor and the Head of their completion date at the time of their induction to Postgraduate Studies. In most cases the monitoring of the program, when they are provided with the time- progress involves a focus on the research plan and the line for their candidature. In the two months prior to requirement for the candidate and supervisor to meet on submission, the Postgraduate Coordinator will liaise a regular basis to review progress on the plan and set with the candidate and the supervisor to ensure goals. This process is usually effective in bringing about that the examination is arranged by the scheduled satisfactory progress. completion date. A further Progress Review will be arranged At least one examiner must be external to NAS. approximately three months after strategies have been Neither the Postgraduate Coordinator, the supervisor decided and put in place in order to ensure that problems nor the relevant Head of Department will be nominated have been satisfactorily addressed and that progress is as examiner for the work. now satisfactory. Examiners should: • not have any personal or financial connection with 46 Where there is the potential that a candidate could the candidate; Examination Process • not have been consulted by the candidate at any Each examiner submits a report on the work and time during their MFA studies; dissertation. An examiner may ask that certain questions • be supportive of an MFA which emphasises studio- be put to the candidate and that the responses be based research; considered by the examiner. In this case, the examiner • include one practicing artist with sufficient will send the list of questions to the Registrar who will credentials and experience to assess the project; communicate them to the candidate. • include one examiner with appropriate academic The examiners may require that further work is qualifications to examine an MFA research project. needed before it is accepted or request a re-submission for examination. A candidate who is required to revise Please Note: Candidates must be consulted in regard the work or dissertation should consult with the to the nomination of their examiners but not informed Postgraduate Lecturer and the supervisor in making the of the approved examiners until the completion of the revision. This further work is generally to be made to the examination. satisfaction of the supervisor; major changes may involve The supervisor and/or Postgraduate Coordinator a re-examination by the external examiner. As far as makes initial contact with the proposed examiners to practicable any re-examination will be by the examiners establish their willingness and availability and to organise involved in the first examination. a date and time that suits everyone for the examination and advise them that they will be paid an honorarium. Completing Minor Corrections A register of approved examiners will be maintained When minor corrections are required the candidate will by the Postgraduate Committee. Should the examiners be notified of the requirements and provided with copies have not been previously approved, the supervisor and/or of the examiners’ reports (without the examiners’ names). Postgraduate Coordinator must establish their credentials Candidates are required to complete the corrections and qualifications and current position for submission to within two weeks of being notified. Candidates must the Postgraduate Committee. document all revisions to enable the supervisor and Three weeks prior to the examination the supervisor Postgraduate Coordinator to verify that corrections are must complete a Supervisor’s Certificate certifying in accordance with the examiners’ recommendations. that the work is suitable for examination. The form is When the supervisor and/or Postgraduate Coordinator are to be submitted to Student Services with a copy to the satisfied that the required corrections have been made, Department of Postgraduate Studies. The supervisor the candidate is required to provide all copies corrected to should not sign the form if the candidate’s submission is Student Services. not in a form suitable for examination. Three weeks prior to the examination, each examiner Resubmission and Re-examination receives a copy of NAS Examiner’s Information When research is deemed incomplete by the examiners document. An unbound copy of the candidate’s the candidate will have to undertake further work in completed dissertation may also be provided to the accordance with the examiners’ requirements and to the examiners at this time or, alternatively, the dissertation satisfaction of the Postgraduate Committee before the can be given to the examiners at the time of examination, degree is awarded. When resubmitting their work for depending on the form chosen at the Final Review. The examination, the candidate is required to re-enrol for the Postgraduate Coordinator will convene the examination. period that the work remains outstanding. The PGC may Prior to the examination the Postgraduate Coordinator specify the time within which this additional wok is to be will brief the examiners, familiarising them with the criteria completed. used in assessing MFA presentations. When the work has been completed to the At the examination each examiner initially views satisfaction of the supervisor, the candidate and the the work independently. At any time the examiner may supervisor must sign the MFA Amended Submission formally discuss the submission with the supervisor of Final Research Project Form (available from Student and in some cases may wish to question the candidate. Services) and inform the Postgraduate Coordinator who Therefore the supervisor and candidate must be available will advise the Postgraduate Committee that all work has for questioning during the examination process. The been completed satisfactorily and that the work may be examination result must be determined at the time of presented for re-examination. examination, independent of the supervisor and the Following the completion of the examination candidate. The examiners record their decision on the process, recent graduands will be included in the Examiner’s Report for Master of Fine Art Degree. minutes of the Postgraduate Committee for ratification by the Academic Board. Duration of Examination Examiners are asked to complete the examination and ACADEMIC HONESTY provide their reports within four weeks of examining the Academic honesty is a core value of NAS. Academic work and dissertation. If a candidate has not received dishonesty or an offence against academic honesty advice on the progress of the examination after three includes acts which may subvert or compromise the months from the date of submission the candidate should integrity of the educational process at the School. seek information from Student Services. When there is a Offences against academic honesty are any acts which significant delay with the examination the candidate will would unfairly promote or enhance one’s academic be notified by mail. standing. 47 The following are forms of academic dishonesty: Plagiarism Special Consideration Broadly defined as knowingly presenting another person’s A student may apply for special consideration to have the ideas, findings or work as one’s own by copying or late penalty reversed. Special consideration will only be reproducing the work without due acknowledgement of given in exceptional circumstance. The application must the source. Plagiarism may take several forms: be made using the special consideration form available • paraphrasing of another’s work, with minor changes from student services and must be submitted with any but with the essential form, meaning and progression supporting evidence within two weeks of the deadline. of ideas maintained; Students who apply for special consideration may be • direct duplication, copying another’s work; referred to the Student Counselor. • piecing together sections of the work of others into a Students should not lobby lecturers regarding special new whole’ consideration or the application of the late penalty as • producing assignments in conjunction with they have no influence in the process. other people which should be the student’s own The Special Consideration Panel will review all independent work. applications and will notify the student of the result. If successful the late submission penalty will be reversed. Multiple Submission or Recycling Exceptional circumstances The submission for assessment of one’s own work, or for A key test of exceptional circumstance is that the work which is substantially the same, which has previously circumstances are beyond the control of the individual. been included towards the satisfactory completion of Common instances of exceptional circumstance include another subject or course and credited towards a higher (but are not limited to) illness, injury and mourning. education degree, diploma or certificate. Not having started the essay in time or poor time The procedures for dealing with academic dishonesty management, including work commitments will not be are set out in the NAS Discipline Policy. In brief, when considered reasons for special consideration. a lecturer becomes aware of a case of academic dishonesty, he or she will refer the matter to the Head Appeal of Department who will determine whether to proceed If a student wishes to contest the result of the Special with the matter. If the Head of Department determines Consideration process then they may do so in writing to proceed, the matter will be referred to the Head of to the Head of Academic Studies within 2 weeks of Studies and Registrar. Should they be of the opinion that being notified of the result. Appeals will normally only be the student has been guilty of academic dishonesty they considered on the grounds of procedural irregularity. may recommend: • the student to undertake additional;assessment in NATIONAL ART SCHOOL that subject GRADING SCHEME • a fail mark for the assessment; The seven grades comprise: • a fail mark for the subject; • four ‘pass’ grades from Pass to High Distinction • the matter to the Academic Board regarding denoting excellence the possible presentation of a case of academic • Two ‘concessional pass’ grades which denote misconduct to the Discipline Committee. a performance close to the threshold but not quite achieving it Art History & Theory Late Submission Policy • one ‘fail’ grade which denotes an entirely Students will be notified of all submission deadlines at unsatisfactory performance the start of the course. Any student submitting an essay after this deadline will receive a penalty to their assessed marks. Essays can only be submitted to Student Services during their opening hours. Essays that are not formally submitted risk application of the late penalty rate. Late Submission Penalty Rates 0-6 days = 10% 7-13 days = 20% 14-20 days = 30% Further penalties of 10% per week will be applied. The penalty will be applied to the mark and will clearly stated with the assessment feedback.

Extensions Extensions will only be granted in exceptional circumstances and must be requested in writing before the due date and must include any supporting evidence. Not having started the essay in time or poor time management are not valid excuses. The lecturer will notify the student of the result of the extension request and specify a new deadline. Failure to submit by this new deadline will result in the late penalty 48 being applied. 5. BFA LEVEL DESCRIPTORS

For knowledge and understanding:

HD The student has a great depth of knowledge in a complex and specialised area and/or across specialised or applied areas.

The student has a comprehensive/detailed knowledge of a major discipline with areas of specialisation in depth and DN awareness of the provisional nature of the state of knowledge..

The student has a detailed knowledge of a major discipline and an awareness of a variety of ideas/contexts/frameworks CR which may be applied to this.

The student has a given factual and/or conceptual knowledge base with emphasis on the nature of the field of study and PS appropriate terminology..

For analysis: The student can deal with complexity and contradictions in the knowledge base and can make confident analysis appropriate HD to the subject.

The student can analyse new and/or abstract data and situations without guidance, using a wide range of techniques DN appropriate to the subject.

The student can analyse a range of information within minimum guidance, can apply major theories of discipline and can CR compare alternative methods/techniques for obtaining information..

PS The student can analyse with guidance using given classifications/principles..

For synthesis/creativity: The student can autonomously synthesise information/ideas and create responses to problems that expand or redefine HD existing knowledge and/or develop new approaches..

The student with minimum guidance can transform abstract ideas and concepts towards a given purpose and can design DN novel solutions.

CR The student can re-format a range of ideas/information towards a given purpose.

PS The student can collect/collate and categorise ideas and information in a predictable and standard format.

For evaluation: The student can independently evaluate/argue alternative approaches and accurately assess/report on own/others’ work HD with justification..

The student can critically review evidence supporting conclusions/recommendations including its reliability, validity and DN significance and can investigate contradictory information/identify reasons for contradictions.

The student can select appropriate techniques of evaluation and can evaluate the relevance and significance of information CR collected.

PS The student can evaluate the reliability of information using defined techniques and/or lecturer guidance..

49 7. MFA STAGE 1 /GDFA ASSESSMENT RUBRIC Distinction High Distinction (85 Criteria Fail (0 – 49) Pass (50 – 64) Credit (65 – 74) (75 – 84) – 100) The work presented The work presented demonstrates demonstrates in-depth The work presented advanced understanding of Knowledge & The work presented demonstrates understanding of theoretical concepts The work presented Understanding does not satisfactorily advanced theoretical concepts and practices demonstrates Demonstration of demonstrate understanding of and practices of of the studio advanced knowledge advanced knowledge knowledge and theoretical concepts the studio discipline discipline including and skills within and skills within skills within both the and practices of the including specialised comprehensive both the specialised both the specialised specialised discipline studio discipline and knowledge of the knowledge of the discipline and broader discipline and broader and broader field/s of the effective use of discipline, and the discipline, with the field/s of practice field/s of practice practice such knowledge in the effective integration effective integration of realisation of artworks. of such knowledge that knowledge within in a cohesive body of a cohesive body of artwork. artwork.. The work presented The work presented Analysis & The work presented The work presented demonstrates The work presented demonstrates Evaluation does not demonstrate demonstrates ability outstanding capacity demonstrates ability to advanced capacity Ability to identify, ability to identify, to clearly identify, to clearly identify, identify, analyse and to clearly identify, analyse and synthesise analyse and synthesise analyse and synthesise analyse and synthesise synthesise knowledge analyse and synthesise knowledge to identify knowledge and knowledge, and to specialised knowledge, and respond to specialised knowledge, and respond to respond to complex respond to complex responding to complex complex propositions and to respond to complex propositions propositions with propositions with propositions with a with intellectual rigour complex propositions with intellectual rigour intellectual rigour and intellectual rigour and high level of intellectual and independence.. with intellectual rigour and independence independence. independence. and highly developed and independence. outcomes. Synthesis & The work presented Creativity The work presented demonstrates an The specialised The work presented The work presented demonstrates unity The work presented outstanding level technical and creative does not demonstrate demonstrates unity and coherence, with demonstrates of coherence and skills required for satisfactory coherence and coherence, and advanced knowledge coherence and/or integration of advanced advanced levels of and/or advanced advanced knowledge of key principles advanced knowledge and specialised professional practice, knowledge of the of key principles and concepts of the of the key principles knowledge of the and the ability to key principles and and concepts of the discipline, with clear and concepts of the discipline resulting knowledge within the concepts of the discipline, with clear ability to integrate that discipline, and their in novel approaches broader professional discipline, and their ability to integrate that knowledge in the work integration. and outcomes that and scholarly contexts integration knowledge in the work with novel approaches expand upon existing of current visual arts and outcomes.. knowledge. practice The work presented The work presented The work presented demonstrates demonstrates Communication The work presented The work presented demonstrates an an advanced an outstanding Ability to demonstrate does not demonstrate demonstrates an understanding of understanding of understanding of an understanding of an understanding of understanding of theoretical concepts of theoretical concepts theoretical concepts of theoretical concepts of theoretical concepts of theoretical concepts of art practice and ability of art practice with art practice and ability art practice and ability art practice and ability art practice and ability to transmit complex the ability to transmit to transmit complex to transmit complex to transmit complex to transmit complex knowledge and ideas complex knowledge knowledge and ideas knowledge and ideas knowledge and ideas knowledge and ideas to a broad audience and ideas to a to a broad audience to others to others to others with clarity and broad audience with with originality, clarity purpose originality, clarity and and purpose purpose Autonomous The work presented The work presented The work presented The work presented The work presented Development & demonstrates a demonstrates demonstrates fails to demonstrate demonstrates a Enquiry sustained capacity to advanced capacity to advanced capacity to a capacity to work capacity to work Capacity to work work with autonomy work with autonomy work with autonomy with autonomy and with autonomy and with autonomy and and accountability and accountability and accountability and accountability with accountability with accountability with with the ability to with the ability to to apply highly-evolved the ability to apply the ability to apply the ability to apply apply well developed apply advanced critical critical judgement in critical judgement in critical judgement in critical judgement in critical judgement in judgement in the the consideration and the consideration and the consideration and the consideration and the consideration and consideration and realisation of work at realisation of work realisation of work realisation of work realisation of work realisation of work an outstanding level The student’s conduct The student’s conduct The student’s conduct throughout the throughout the The student’s conduct The student’s conduct throughout the subject subject consistently Adaptive & subject consistently throughout the subject throughout the subject demonstrates a demonstrates an Contextual demonstrates an does not demonstrate demonstrates an clear and consistent advanced capacity to Capacity to research advanced capacity to the capacity to research evolving capacity to capacity to research research and execute a and execute a cohesive research and execute a and execute a cohesive research and execute a and execute a cohesive cohesive body of work, body of work, working cohesive body of work, body of work, working cohesive body of work, body of work, working working co-operatively co-operatively and working co-operatively co-operatively and working co-operatively co-operatively and and collaboratively collaboratively with and collaboratively collaboratively with and collaboratively with collaboratively with with others in a broad others with others in a broad others others others in a range of range of contexts range of professional contexts. with authority and contexts. leadership

50 10. MASTER OF FINE ART (RESEARCH RESULTS:) Grade Description Notation

The degree be awarded; Studio Project and written component has been examined and has been Research Satisfactory RS assessed as satisfactory by the examiners. In this case the Postgraduate Committee recommendation is submitted directly to Academic Board.

The degree be awarded, subject to minor amendments (as identified by the examiners); The candidate is advised of necessary amendments by their supervisor. Research Satisfactory When these have been completed to the satisfaction of the examiners SA with Amendments and supervisors, the Head of Department will advise the Postgraduate Committee. A recommendation is then submitted to Academic Board for the degree to be awarded. The candidate is to undertake further work in accordance with the examiners requirements and to the satisfaction of the Postgraduate Committee before the degree is awarded; The candidate is required to re-enrol for the period that the work remains outstanding. The Postgraduate Committee may specify the time Research Incomplete RI within this additional work is to be completed. When the work has been completed to the satisfaction of the examiners and supervisor(s) and Head of Department, the Department will advise the PC that all work has been completed satisfactorily. Only when the PC is satisfied will they recommend Academic Board that the degree be awarded.

The degree not be awarded; Studio Project and written component has been examined and has Research Unsatisfactory RU been assessed as unsatisfactory by the examiners. The work can not be resubmitted for the same degree.

Re-enrolment in the degree; Research Continuing Candidate enrolled for the semester or academic year in the MFA and RC the research is continuing.

51 6. MFA STAGE 1 /GDFA ASSESSMENT CRITERIA Knowledge / GDFA Studio Specialisation Studio Seminar 4 Art History & Theory 4 Skills Domain Graduate Attributes 4 Learning Outcomes Learning Outcomes Learning Outcomes Graduate Diploma of Upon Successful Upon Successful Upon Successful Fine Art graduates completion students completion students completion students will demonstrate: will demonstrate: will demonstrate: will demonstrate:

Coherent and advanced Advanced understanding Advanced knowledge An advanced knowledge knowledge of the key of the varying cultural of the theoretical, and skills within both principles and concepts and professional contexts philosophical and Knowledge & their specialised studio of the studio discipline, of art practice and the conceptual frameworks Understanding discipline and broader and their integration in ability to situate ones that shape contemporary fields of practice with: the development and own activity within those art and thought in the realisation of artworks contexts visual arts

Ability to identify, Ability to make high level, analyse and situate key Ability to identify, independent judgements arguments and cultural analyse and synthesise Ability to critically reflect in the conception, discourse characterising knowledge to identify upon, analyse and Analysis & development and post-modernism and respond to complex discuss the student’s Evaluation evaluation of artworks and its relationship propositions with own work and the work within a broader context to modernism, and intellectual rigour and of others of professional practice knowledge of the related independence and scholarship shifts in art practices and cultural values The specialised technical The work presented and creative skills Coherent and advanced Ability to research, demonstrates unity and required for advanced knowledge of the key evaluate and organise coherence, and advanced levels of professional principles and concepts information with knowledge of key Synthesis & practice, and the ability of the studio discipline, reference to appropriate principles and concepts Creativity to knowledge within the and their integration in form, structure and of the discipline, with broader professional the development and language and scholarly clear ability to integrate and scholarly contexts realisation of artworks conventions that knowledge in of current visual arts artworks. practice Ability to demonstrate Ability to situate, Application of research an understanding of Ability to articulate and communicate and explore skills, writing skills and theoretical concepts of communicate ideas and ideas and propositions critical thinking in order Communication art practice and ability to situate that knowledge with various audiences to engage critically and to transmit complex within a specific context through the presentation imaginatively with cultural knowledge and ideas to of visual arts practice of artworks discourse and objects others The work presented Ability to work Capacity for independent Capacity for autonomous demonstrates sustained with autonomy and decision making and enquiry and development capacity for independent Autonomous accountability with informed critical and and the ability to apply decision making with Development & the ability to apply aesthetic judgment in the critical judgement to a well-developed critical Enquiry critical judgement in planning and realisation range of art works and and aesthetic judgment the consideration and of art works in a range of practices in the planning and realisation of work. contexts realisation of art works. Capacity to research Capacity to work Capacity to engage and execute a cohesive responsibly, co- Ability to convey coherent openly in critical Adaptive & body of work, working operatively and knowledge of the field to discourse, and initiate Contextual co-operatively and collaboratively in a range others, both orally and in discussion working co- collaboratively with of professional and writing operatively with others others cultural contexts

52 8. MFA STAGE 2 ASSESSMENT CRITERIA Knowledge / Skills MFA SStudio Specialisation 5 Studio Seminar 5 Domain Graduate Profile Learning Outcomes Learning Outcomes Upon Successful Upon Successful Master of Fine Art completion students will completion students will graduates will demonstrate: demonstrate: demonstrate: Specialised knowledge and A mastery of theoretical Specialised knowledge of the skills required for professional knowledge of the discipline key principles and concepts of practice and/or further learning, with understanding of recent the studio discipline, and their Knowledge & with an advanced and integrated developments within the field of integration in the development Understanding understanding of the body of practice with the ability to clearly and realisation of a substantial knowledge of their specific situate one’s own practice within and highly-resolved body of discipline and the broader those broader professional and artwork contexts of visual arts practice scholarly contexts A mastery of theoretical Mastery of theoretical Mastery of theoretical knowledge of the discipline knowledge and the ability to knowledge within the discipline with understanding of recent reflect critically on theory, with integration of creative developments within the field of Analysis & Evaluation practice and scholarship in the and critical reflection in the practice with the ability to clearly visual arts evaluating complex generation, research of ideas situate one’s own practice within ideas and concepts at an and concepts those broader professional and abstract level scholarly contexts Advanced ability to utilise Cognitive, technical and creative Advanced ability to synthesise scholarly conventions and skills required to investigate, specialised knowledge and research methods to research analyse and synthesise complex Synthesis & Creativity technical skill within a coherent and evaluate complex information, concepts and body of work of professional information, and to situate that theories through the realisation standard and scholarly rigour knowledge within a specific of works of art and scholarship contextt Ability to situate, communicate Ability to evaluate and clearly Ability to interpret and transmit and explore ideas and communicate complex ideas complex and specialised Communication propositions with various Advanced communication skills knowledge, skills and ideas to a audiences through the required to convey the outcomes broad range of audiences presentation of artworks of research based enquiry Ability to apply knowledge and Capacity for independent Advanced capacity for skills with creativity and initiative decision making and informed autonomous enquiry and the Autonomous to new situations and with a high critical and aesthetic judgment ability to apply critical judgement Development & Enquiry level personal autonomy and in the planning and realisation of to a range of art works and accountability. cohesive body of art works practices Ability to apply knowledge Advanced capacity to Advanced capacity to engage and skills to demonstrate work responsibly applying in critical discourse applying a autonomy, expert judgement, professional conventions and range of critical perspectives to Adaptive & Contextual adaptability and responsibility engaging critically with a broad critically reflect upon, analyse as a professional practitioner / range of perspectives with and discuss their own work and further learner autonomy and accountability the work of others

53 9. MFA STAGE 2 ASSESSMENT RUBRIC Distinction High Distinction (85 Criteria Fail (0 – 49) Pass (50 – 64) Credit (65 – 74) (75 – 84) – 100) The work presented Knowledge & The work presented The work presented demonstrates Understanding The work presented demonstrates demonstrates in- The work presented advanced Specialised knowledge does not satisfactorily advanced depth understanding demonstrates understanding and skills required for demonstrate understanding of specialised specialised of specialised professional practice specialised of specialised knowledge and knowledge and knowledge and and/or further learning, knowledge and knowledge and skills and integrated skills and integrated skills with integrated with an advanced skills and integrated skills and integrated understanding and understanding of the understanding and integrated understanding of the understanding and effective application of body of knowledge of and effective understanding of the body of knowledge of effective application of both a comprehensive the specific discipline application of both body of knowledge of the specific discipline a body of knowledge of discipline specific and the broader a discipline specific their specific discipline and the broader the specific discipline body of knowledge contexts of visual arts body of knowledge and the broader contexts of visual arts and the broader and scholarly practice and scholarly contexts of visual arts practice contexts of visual arts understanding of visual understanding of visual practice practice arts practice arts practice The work presented The work presented The work presented Analysis & demonstrates a demonstrates a The work presented The work presented demonstrates a Evaluation mastery of theoretical mastery of theoretical does not demonstrate demonstrates a mastery of theoretical Mastery of theoretical knowledge used knowledge used to a mastery of mastery of theoretical knowledge used knowledge and the to reflect critically reflect critically upon theoretical knowledge knowledge used to to reflect critically ability to reflect upon theory, practice theory, practice and used to reflect critically reflect critically upon upon theory, practice critically on theory, and scholarship in scholarship in the upon theory, practice theory, practice and and scholarship in practice and the visual arts and/ visual arts and/or and scholarship in scholarship in the the visual arts and/ scholarship in the or evaluate and evaluate and synthesis the visual arts and/or visual arts and/or or evaluate complex visual arts evaluating synthesis complex complex ideas and evaluate complex ideas evaluate complex ideas ideas and concepts at complex ideas and ideas and concepts at concepts at an abstract and concepts at an and concepts at an an abstract level with concepts at an abstract an abstract level with level with high level of abstract level abstract level intellectual rigour and level intellectual rigour and intellectual rigour and independence independence independence The work presented The work presented demonstrates Synthesis & demonstrates outstanding analysis Creativity The work presented The work presented The work presented advanced analysis and synthesis of Cognitive, technical does not demonstrate demonstrates demonstrates the and synthesis of complex information, and creative skills the analysis and advanced analysis and analysis and synthesis complex information, concepts and theories required to investigate, synthesis of complex synthesis of complex of complex information, concepts and theories through the realisation analyse and synthesise information, concepts information, concepts concepts and theories through the realisation of highly resolved complex information, and theories through and theories through through the realisation of highly resolved works of art and/or concepts and theories the realisation of the realisation of highly of works of art and/or works of art and/or scholarship yielding through the realisation works of art and/or resolved works of art scholarship scholarship yielding novel approaches of works of art and scholarship and/or scholarship novel approaches and and outcomes that scholarship outcomes expand upon existing knowledge The work presented The work presented The work presented demonstrates demonstrates an The work presented The work presented demonstrates advanced outstanding level Communication does not demonstrate demonstrates the interpretation understanding, of interpretation Ability to interpret and the interpretation the interpretation and transmission interpretation and transmission transmit complex and and transmission and transmission of complex and and transmission of complex and specialised knowledge, of complex and of complex and specialised knowledge, of complex and specialised knowledge, skills and ideas to specialised knowledge, specialised knowledge, skills and ideas to specialised knowledge, skills and ideas a broad range of skills and ideas to skills and ideas to a broad range of skills and ideas to to a broad range audiences a broad range of a broad range of audiences with clarity a broad range of of audiences with audiences audiences and purpose audiences with clarity originality, clarity and and purpose purpose The work presented Autonomous The work presented The work presented The work presented demonstrates Development & demonstrates the demonstrates The work presented demonstrates outstanding capacity Enquiry sustained application advanced application fails to demonstrate the application of to apply highly-evolved Ability to apply of critical judgement, of critical judgement, the application of knowledge and critical judgement knowledge and knowledge and knowledge and knowledge and skills with creativity knowledge and skills with creativity skills with creativity skills with creativity skills with creativity and initiative to new skills with creativity and initiative to new and initiative to new and initiative to new and initiative to new situations with a high and initiative to new situations with a high situations with a high situations with a high situations with a high level of personal situations with a high level of personal level of personal level of personal level of personal autonomy and level of personal autonomy and autonomy and autonomy and accountability autonomy and accountability accountability accountability accountability

Adaptive & The work presented The work presented The work presented The work presented Contextual The work presented demonstrates a demonstrates the demonstrates demonstrates the Ability to apply fails to demonstrate clear and consistent advanced application the application of advanced application knowledge and the application of application of of knowledge and knowledge and skills of knowledge and skills skills to demonstrate knowledge and skills knowledge and skills skills with autonomy, with autonomy, expert with autonomy, expert autonomy, expert with autonomy, expert with autonomy, expert expert judgement, judgement, adaptability judgement, adaptability judgement, adaptability judgement, adaptability judgement, adaptability adaptability and and responsibility and responsibility and responsibility and responsibility as a and responsibility responsibility in broad as a professional in broad range of as a professional professional practitioner as a professional range of professional practitioner / further professional and practitioner / further / further learner practitioner / further and scholarly contexts learner scholarly contexts learner learner with authority and leadership

54 SUBMISSION OF ASSESSMENT RESULTS However, students may apply to appeal their final All Heads of Department prior to assessment are issued with assessment results in Art History and Theory providing assessment result sheets from Student Services for each academic reasons in two ways: subject offered within the Department. • Reviewing the mark: The result sheets must be completed by the lecturer This is an administrative check to ensure that all the and signed by all panel members including the Head of marks have been included in the final mark. Department at the completion of the assessment task. An • Re-assessment of the work: additional Unsatisfactory/Failure report must be completed This is a remarking of the work submitted for assessment for all students who fail a subject. The signed assessment in Art History and Theory only. sheets must be submitted to Student Services at least one week prior to the Board of Examiners meeting. A copy of all APPEALS assessment sheets must be held in Department records for A student may lodge an appeal against the decision of the a minimum of three years. Show Cause Committee in regard to failed subjects. Student Services formulates a Provisional Assessment The appeal must be lodged within twenty one (21) days Schedule in Excel from the submitted assessment results after the date on which the committee’s decision notice is indexed by year of study and Studio Specialisation. The served on the student. schedule is printed in hard copy and distributed to all Heads A student lodges an appeal by giving written notice to of Department two days prior to the Board of Examiners. the Registrar of the National Art School. The notice must be signed by the student and must BOARD OF EXAMINERS specify: The Board of Examiners was established under the authority • the determination against which the appeal is lodged; of the Academic Board, and is accountable to the Board. The • and the grounds of the appeal and Board of Examiners meets at least once in the academic year. • the student’s residential address The Academic Board delegates the authority to the Board of Examiners for the following principle functions: Within twenty-one (21) days after a student has lodged a • to consider the performance of students in assessments notice of appeal, the Registrar must cause the student to be and re-assessments, taking appropriate account of any notified in writing of the place, date and time for the hearing special factors which are relevant to a consideration of of the appeal. the performance of individual students; • to take decisions on the progress of students who Effect of an Appeal have not yet reached the award stage of their course, The lodging of an appeal suspends any penalty: to decide whether the student shall be offered an • against which the appeal is made or opportunity for re-assessment and, where appropriate, to • arising from the determination against which the appeal specify the terms of any re-assessment; is made. • to take decisions on the awards, including the level and/ or classification of the award, where applicable, to be The suspension ceases to have effect if the appeal is made to students who have reached the award stage of withdrawn or determined. their course; The lodging of the appeal does not affect the withdrawal • to delay, where appropriate, the recommendation of an of privileges nor the withholding of any testamur, academic award until the facts relating to particular circumstances transcript in respect of the student. have been established; • to moderate the mark/grades of an individual or group of Appeals Committee students or the entire class. The Board of Examiners has NAS must convene an Appeals Committee to hear and discretion to adjust or alter the mark/grades of any or determine an appeal. all students only if the Board concludes that the general An Appeals Committee is to be constituted by 3 mark/grade standard has been too lenient and that members. some moderation is necessary. The views of the External The members of the Appeals Committee must include: Examiners on these matters shall carry particular weight. • a member of staff of NAS nominated by the student in Marks/grades are not final until approved by the Board of the notice of appeal or Examiners. • if no such nomination is made or if the nominated • to determine whether compensation be allowed for failure in person refuses to sit on the Appeals Committee, a elements of the assessment; member of staff of NAS nominated by Head of Studies • to vary assessment procedures where there is valid reason. or Registrar of NAS • one of the members of the Appeals Committee is to be a REVIEW OF RESULTS person nominated by the complainant There is no reassessment of Studio Disciplines. Assessment • a gender balance. processes at the National Art School are very rigorous and include a panel of academic staff members and external A staff member who issued any notice in respect of the moderators (specialists in their field) to ensure a thorough and matter and the subject of the appeal, is ineligible to be a equitable marking process. An appeal may only be lodged if a member of the Appeals Committee. Student believes that due process has not been followed.

55 Procedure at Appeal Determination by Appeals Committee An Appeals Committee may determine: An Appeals Committee may, in relation to an appeal: • the procedure to be followed by the Committee and • uphold the appeal or • the persons who may be present during • dismiss the appeal or proceedings before the Committee and • alter a decision imposed. • the witnesses (if any) who may be called before the Committee. The decision of an Appeals Committee Neither of the following persons is entitled to call is final witnesses to appear at a determination of an appeal: Written notice of the Appeal Committee’s decision • the student or staff member who is the appellant must be served on the student concerned as soon as is • the staff member who made the determination in reasonably practicable. respect of which the appeal was lodged.

However, the student concerned may nominate a staff member to represent him/her before the Appeals Committee making the determination. An Appeals Committee must give the student concerned or the student’s nominee (if any) an opportunity to be heard. The student concerned or the student’s nominee (if any) have the right to be present before the Appeals Committee at any time when a witness is present before it. An Appeals Committee is not bound by the rules or practice as to evidence and may inform itself in such a manner it considers appropriate. Minutes must be kept of the Appeal Committee’s proceedings in such form as the Committee determines and a copy of the record must be provided by the Appeals Committee to the student concerned at his or her request without charge. The Appeals Committee may determine an appeal even if there is no appearance before the Committee by or on behalf of a party to the appeal.

56 COURSE INFORMATION BACHELOR OF FINE ART

COURSE RATIONALE YEAR THREE In Third Year students continue study within their The Bachelor of Fine Art (BFA) is designed to develop chosen Studio specialisation in conjunction with the creative independence, knowledge, and experience continued study in the core subject areas of Drawing required in each student for professional activity as a and Art History & Theory. Increasing emphasis is placed practitioner in the visual arts and related industries. on self-directed learning under staff supervision. The The course also seeks to develop in each student, the studio program is designed to accommodate teaching academic capacity required for further study in the by example under the guidance of individual lecturers, Fine Arts or related fields at postgraduate level. with students encouraged to work autonomously in their studios. Art History & Theory extends the COURSE STRUCTURE chronology of the two previous years of study to The Bachelor of Fine Art (BFA) program is a three- examine the major concepts, terminology and debates year full-time program of study delivered over six that shape contemporary art and culture today, semesters in total. including modern and contemporary Australian art and The BFA course comprises three inter-related culture from European colonisation to the present day. study areas of Studio, Drawing and Art History & Theory. Studio Specialisation specialisation is offered Course Requirements in the studio disciplines of Ceramics, Painting, Awarding of the degree of Bachelor of Fine Art Photomedia, Printmaking and Sculpture. Drawing and requires the successful completion of study (including Art History & Theory are core subjects that underpin completion of all core subjects) with a total value of the studio-based study throughout all three years of 180 credit points: the course. • 60 credit points obtained in First Year subjects YEAR ONE Of these, 12 Credit Points are obtained in Art The first year of the BFA program introduces students History & Theory core; 18 Credit Points in Drawing; to foundational knowledge of the visual arts through 15 Credit Points in Studio Introduction; and 15 a broad and comprehensive exploration of the studio Credit Points in Studio I Electives. practices in a range of disciplines encouraging • 60 credit points obtained in Second Year conceptual and critical thinking. The core Drawing subjects program engages students in the principles of visual Of these, 6 Credit Points are obtained in AHT200 observation and analysis. In conjunction with this studio Art History & Theory II core; 6 Credit Points in based study students are engaged in examination of Art History & Theory electives; 12 Credit Points the historical precedents and contemporary contexts of in Drawing core; 32 Credit Points in a Studio visual arts practice in the First Year Art History & Theory Specialisation specialisation and 4 Credit Points in core program that presents a comprehensive survey Studio Seminar. of the history and development of Western art from • 60 credit points in Third Year subjects antiquity to modernity. Of these, 6 Credit Points are obtained in Art History & Theory core; 6 Credit Points in Art History & YEAR TWO Theory electives; 12 Credit Points in Drawing In the second year of the BFA students commence core; 30 credit Points in the Studio Specialisation study in a Studio Specialisation stream engaging in specialisation; and 6 Credit Points in Professional project-based curriculum designed to consolidate Studies core. introductory skills and knowledge attained in the first year of the course within a specifc studio discipline, Students must, under normal circumstances, complete and to develop a platform for the development of more 60CP of study in First Year of the degree in order to independent practices in the third year of the course. enrol in Second Year subjects. Students must, under Students continue study in the core subject of Drawing normal circumstances, complete 60CP of study in First where the skills attained in the previous year are Year and 60 CP of study in Second Year of the degree extended to include both contemporary and traditional in order to enrol in Third Year subjects. drawing practices in order to support and underpin Students who fail to complete 60CP in any year visual investigation. The Art History & Theory core of the degree may be required to ‘show cause’ as to program examines the history and cultural conditions why they should be permitted to proceed with their of modernity and the Art History and Theory Elective studies. A maximum of seven years is permitted to program offers students an opportunity to engage complete the degree with approval by the Show Cause more deeply with a broad variety of specialised Art Committee. 57 History & Theory topics. Rules Of Progression Subject Exemptions / Recognition Of Prior Students must, under normal circumstances, complete Learning (RPL) 60CP of study in First Year of the degree in order to Students seeking subject exemptions must submit enrol in Second Year subjects. Students must, under documentary evidence of subjects completed elsewhere normal circumstances, complete 60CP of study in First and specify the subjects they wish to complete within Year and 60 CP of study in Second Year of the degree the course. Exemptions will not be granted for subjects in order to enrol in Third Year subjects. Students who completed more than 10 years prior. fail to complete 60CP in any year of the degree may be required to ‘show cause’ as to why they should be permitted to proceed with their studies. A maximum of seven years is permitted to complete the degree with approval by the Show Cause Committee.

Pre-Requisite And Co-Requisite Subject Requirements Under normal circumstances, students enrolling in the Bachelor of Fine Art must satisfy the Pre-requisite and Co-requisite requirements for all subjects undertaken within the course.

58 BACHELOR OF FINE ART SUBJECT OUTLINES

1ST YEAR UNITS Subject Content Topics covered include: • The Classical World and Responses to the Classical ART HISTORY & THEORY 1 Tradition: From Classical Greece to the Roman AHT100 Empire, Greek and Roman architecture, early Award/Level: BFA / Year 1 Christian & Byzantine culture, Romanesque and Core or Elective: Core Gothic architecture and sculpture, the Renaissance in Pre-requisites: Nil Italy and beyond, the High Renaissance. Co-requisites: Nil • The Early Modern World in Europe and Asia: artists Credit Points: 12 and reform in seventeenth-century Rome, court Duration: 27 Weeks / Semester 1 & 2 / 108 Hours patronage and the academic system in early modern Delivery mode: face to face / on campus (Core Lecture Europe and Imperial China, the art and art market in and tutorial) the Dutch Republic. Student Workload: 4 HPW timetabled • The Enlightenment World: The Enlightenment and 2 HPW personal study the visual arts, cultural exchanges through material Subject Coordinator: Dr Georgina Cole, Lecturer, Art culture, the Grand Tour, Europe and Australia. History & Theory • The Modern World: Revolutions in America and France, Romanticism, Realism, Industrialization Description and the modern city, printing and printmaking, Art History & Theory 1 provides students with an photomedia, women artists and patrons. introduction to the history of art from Antiquity to the dawn of Modernism. Lectures and tutorials endeavour Prescribed Reading to explain the intellectual and aesthetic substance of There is no prescribed text for the course. successive styles by stressing the links between art, society and ideas in each period, and the complex play Recommended Reading of influence, borrowing and criticism in the history of Recommended readings are provided via the AHT web- art. The allocated 4 hours per week consists of a 2 hour site: http://www.nasaht.com.au/index.php?p=1_4 formal lecture; and a 2 hour tutorial including tutorial papers on prescribed topics, discussion of primary texts and investigations of bibliographical references Learning Outcomes Upon successful completion students should be able to: Objectives • Identify materials used in the manufacture of art Art History & Theory 1 aims to introduce students to works and express visual properties in their historical the essential concepts, skills and methodologies of context the discipline of art history with professional relevance. • Discuss the intellectual and aesthetic character of Through the investigation and development of specific important periods and locations in visual art culture, tutorial tasks and in preparation for their examinations, with reference to specific works and styles, using students are expected to develop the conceptual and appropriate terminology. critical skills required to support further study in the visual • Explain why certain works of art have become arts. The course includes a focus on visual analysis, paradigmatic. particularly the identification of materials and expression • Demonstrate skills in presenting a coherent and of visual properties in their historical context. Students are researched argument in the discussion of works of also introduced to the research and writing techniques of art with regard to their context and specific qualities; academic essays. written visual analysis of individual works.

59 Assessment students explore ways to develop concepts and ideas Related Assessment When through drawing processes. A range of strategies are Weighting Tasks / Items assessed employed to interpret and translate experiences of the Tutorial paper Week 8 10% actual world. This strand emphasises composition and pictorial structure with an increased range of media Mid-year exam Week 15 25% experimentations including digital imaging. Research essay Week 25 30%

Examination Subject Content Final exam 25% week A1 Observational Drawing Throughout the The subject follows a program of independent and Oral presentation 5% year class based projects and exercises that introduce and Throughout the Class participation 5% explore the fundamental methodologies of drawing year from observation by: • Drawing from direct observation of the visible world. DRAWING 1 There is a strong emphasis on observing the human DRA100 body in relation to its environment. At least 50% of the Award/Level: BFA / 1st Year classes involve working from live models. Core or Elective: Core • Practicing strategies for representing accurate Pre-requisites: Nil proportions and translating space and volume when Co-requisites: Nil drawing from observation as well as learning to see Credit Points: 15 and represent tonal relationships Duration: 27 Weeks / Semester 1 & 2 / 243 Hours • Further investigating historical and contemporary Delivery mode: face to face / on campus strategies for recording observations and constructing Student Workload: 9 HPW timetabled formal imagery. 1 HPW personal study • Selecting, preparing and using appropriate drawing Subject Coordinator: Dr Maryanne Coutts, Head materials and methods. of Drawing • Discussing works produced in class. General Drawing Description The subject follows a program of independent and The Drawing 1 program focuses on fundamentals class based projects and exercises that introduce and of observational drawing to nurture inquiries into the explore experimental approaches to drawing by: diverse possibilities of drawing in the twenty-first • Engaging in a range of drawing processes for century. In conjunction with engagement with the expanding creative concepts and methodologies. conventions of life drawing, the course provides a • Developing and realising visual ideas through place for students to consider expanded approaches drawing. to drawing as well as interdisciplinary and new media • Looking at examples of both historical and explorations. contemporary drawing. • Selecting, preparing and using traditional and non- Objectives traditional drawing materials and methods. The overarching aim is to develop students’ abilities • Discussing work produced in class to use drawing as a process that inquires into, supports and underpins all visual investigations. Prescribed Reading Drawing1 addresses two strands of drawing practice There are no prescribed texts for this subject. which together aim to develop solid foundations for the language of drawing as an underpinning for Recommended Reading contemporary practice. One is based in observation Studio Lecturers will provide technical notes and will and the traditions of representation and the other provide references to any associated reading. expands on the diversity of drawing principals. Learning Outcomes Observational Drawing Upon successful completion of Drawing 1, students will This component of the course is an intensive study in be able to demonstrate: drawing from observation including life drawing. It focuses • Fundamental understanding of visual perception as on drawing from the objective, visible world with an it relates to drawing from observation. emphasis on the representation of form and space. Ways • Fundamental understanding of the formal of understanding what we see are considered within structures of drawing and an ability to expand on various traditions of representation and image making. their potential in relation to contemporary practices A wide variety of subjects including the figure, still life, • Ability to explore, develop, challenge and ultimately landscape, interior/exterior, architecture and natural/ realise ideas through drawing mechanical forms are explored. Students are introduced • Fundamental understanding of a range of drawing to a range of relevant materials and processes. skills, media and methodologies and a capacity to experiment with them General Drawing • Fundamental understanding of the historical and Taking the observable world as a starting point, contemporary traditions of drawing 60 • A commitment to independent research and purse further study in their chosen areas of studio practice working safely and cooperatively with specialisation. others in a shared studio environment Subject Content Monitoring of Progress The subject follows a program of discipline specific Mid Year review class projects and exercises that explore the At mid year a formal review of all work undertaken development and realisation of artworks including: is conducted. Students are advised of their progress • Exploration and application of foundational studio through the use of the progress indicators: ‘indicators techniques and processes ‘satisfactory’, ‘borderline’ or ‘unsatisfactory’ • Selection, preparation and effective use of studio equipment and materials Assessment • Introduction to critical analysis of art works through group discussion of work produced in class Related Assessment When Weighting Tasks / Items assessed • Examination of studio conventions and correct use of Students are required to terminology within each studio discipline present: • Engagement with professional standards of studio • 8major developed practice including Workplace Health and Safety drawings from Observational Drawing (WHS) standards relevant to each studio area • 5 major developed drawings from the At the 80% Prescribed Reading General Drawing conclusion of • 15 support drawings the academic There are no prescribed texts for this subject. from each strand year • 3 Independent Projects • sketchbook / visual Recommended Reading journal Studio Lecturers will provide relevant notes and Research file including references where appropriate. documentation of relevant 10% research Observational assessment throughout the Learning Outcomes 10% duration of the subject Upon successful completion of Studio Introduction 1, students will be able to: STUDIO INTRODUCTION 1 • Demonstrate technical competence in elementary STU100 studio process. Award/Level: BFA / 1st Year • Identify and discuss principle characteristics of Core or Elective: Core media and techniques utilised, demonstrating basic Pre-requisites: Nil familiarity with relevant terminology Co-requisites: Nil • Develop and realise ideas through the use of Credit Points: 15 elementary studio process Duration: 15 Weeks / Semester 1 / 180 Hours • Identify and compare the principle characteristics Delivery mode: face to face / on campus and conventions of various studio techniques and Student Workload: 12 HPW timetabled processes studied. 3 HPW personal study • Work co-operatively, displaying knowledge of Subject Coordinator: BFA Coordinator appropriate standards of studio practice including Workplace Health and Safety (WHS) standards Description Studio Introduction 1 introduces students to the Monitoring of Progress fundamental concepts, skills and methodologies of Reviews of all work produced for project based studio practice in a range of key studio disciplines components are conducted at the conclusion of including Ceramics, Painting, Photomedia, each studio rotation (every 3 weeks). Students are Printmaking and Sculpture. The subject is structured provided with feedback and results for each assessable as a series of project components that processes in component. each studio are with the addition of a sixth Digital Media component that aims to familiarise students with use of digital imaging media as it relates to a range of art making disciplines.

Objectives Studio Introduction 1 provides an immersive experience and diagnostic opportunity for students as they explore foundational knowledge in the studio disciplines of Ceramics, Painting, Photomedia, Printmaking and Sculpture augmented with study in Digital Media. The program provides a practical experience aimed at familiarising students with the foundational knowledge and creative possibility of 61 each studio area studied, that will enable them to BACHELOR OF FINE ART COURSE STRUCTURE 2016 ART HISTORY & STUDIO DRAWING THEORY Studio Introduction Ceramics / Painting / Photomedia / Printmaking / Sculpture / Digital Media Drawing 1 Art History & Theory 1

Semester 1 12 hpw

Studio Elective B 9 HPW 2 HPW Studio Elective A Ceramics, Painting,

YEAR 1 YEAR Ceramics, Painting, Photomedia, Photomedia, Printmaking or Printmaking or Sculpture Sculpture

Semester 2 6 hpw 6 hpw 30 Credit Points 18 Credit Points 12 Credit Points

First Year Credit Point Total: 60

ART HISTORY & STUDIO DRAWING THEORY

Art History & Theory Elective 1 Studio Specialisation Studio Art Ceramics, Painting, Photomedia, Printmaking or Seminar Drawing 2 History Semester 1 & 2HPW Sculpture 2 6 HPW Theory

2 12 HPW 1 HPW Art History YEAR 2 & Theory 2HPW Elective 2

Semester 2 2HPW

36 Credit Points 12 Credit Points 12 Credit Points

Second Year Credit Point total: 60 ART HISTORY & STUDIO DRAWING THEORY

Art History & Theory Elective 3 Studio Specialisation Studio Art Ceramics, Painting, Photomedia, Printmaking or Seminar Drawing 3 History

Semester 1 & 2HPW Sculpture 3 6 HPW Theory

3 9 HPW 1 HPW Profess- YEAR 3 ional 2HPW Studies 3

Semester 2 2HPW

36 Credit Points 12 Credit Points 12 Credit Points

Third Year Credit Point total: 60

62 Assessment development and realisation of artworks including: Related Assessment When • Exploration and application of foundational studio Weighting Tasks / Items assessed techniques and processes Students are required to • Selection, preparation and effective use of studio present: equipment and materials • All finished work produced for the • Introduction to critical analysis of art works through prescribed projects At the group discussion of work produced in class including any self- conclusion of 80% • Examination of studio conventions and correct use of directed work completed each studio • Support work including project rotation terminology within each studio discipline relevant preparatory (every 5 weeks) • Engagement with professional standards of studio drawings, technical tests and trials etc. Results from practice including Workplace Health and Safety each of the Journal that records (WHS) standards relevant to each studio area 6 Studio relevant aspects of study Components of studio practice including are weighted notes from critiques, 10% Prescribed Reading evenly within technical demonstrations, the final result There are no prescribed texts for this subject. and individual investigation into artist practice Recommended Reading Observational assessment throughout the duration of 10% Studio Lecturers will provide relevant notes and the subject references where appropriate.

STUDIO INTRODUCTION 1 Learning Outcomes STU100 Upon successful completion of Studio Introduction 1, Award/Level: BFA / 1st Year students will be able to: Core or Elective: Core • Demonstrate technical competence in elementary Pre-requisites: Nil studio process. Co-requisites: Nil • Identify and discuss principle characteristics of Credit Points: 15 media and techniques utilised, demonstrating basic Duration: 15 Weeks / Semester 1 / 180 Hours familiarity with relevant terminology Delivery mode: face to face / on campus • Develop and realise ideas through the use of Student Workload: 12 HPW timetabled elementary studio process 3 HPW personal study • Identify and compare the principle characteristics Subject Coordinator: BFA Coordinator and conventions of various studio techniques and processes studied. Description • Work co-operatively, displaying knowledge of Studio Introduction 1 introduces students to the appropriate standards of studio practice including fundamental concepts, skills and methodologies of Workplace Health and Safety (WHS) standards studio practice in a range of key studio disciplines including Ceramics, Painting, Photomedia, Printmaking Monitoring of Progress and Sculpture. The subject is structured as a series of Reviews of all work produced for project based project components that processes in each studio are components are conducted at the conclusion of with the addition of a sixth Digital Media component each studio rotation (every 3 weeks). Students are that aims to familiarise students with use of digital provided with feedback and results for each assessable imaging media as it relates to a range of art making component. disciplines.

Objectives Studio Introduction 1 provides an immersive experience and diagnostic opportunity for students as they explore foundational knowledge in the studio disciplines of Ceramics, Painting, Photomedia, Printmaking and Sculpture augmented with study in Digital Media. The program provides a practical experience aimed at familiarising students with the foundational knowledge and creative possibility of each studio area studied, that will enable them to purse further study in their chosen areas of studio specialisation.

Subject Content The subject follows a program of discipline specific class projects and exercises that explore the

63 Assessment practice including Workplace Health and Safety Related Assessment When (WHS) guidelines relevant to the Ceramics studio Weighting Tasks / Items assessed Students are required to Prescribed Reading present: There are no prescribed texts for this subject. • All finished work produced for the prescribed projects At the Recommended Reading including any self- conclusion of 80% directed work completed each studio Studio Lecturers will provide technical notes and will • Support work including project rotation provide references to any associated reading. relevant preparatory (every 5 weeks) drawings, technical tests and trials etc. Results from Learning Outcomes each of the Journal that records 6 Studio Upon the successful completion of Ceramics Studio relevant aspects of study Components of studio practice including Elective I, students will be able to: are weighted notes from critiques, 10% • Demonstrate developing technical competence in evenly within technical demonstrations, the final result wheel thrown ceramics and understanding of the and individual investigation into artist practice plastic qualities of clay prepared for use on the Observational assessment wheel. throughout the duration of 10% • Demonstrate the creative potential of surface, form, the subject tension and colour utilising high temperature firing techniques and technology • Utilise structure and scale to articulate complex STUDIO ELECTIVE 1 (CERAMICS) form and surfaces using pinch, coil, slab and wheel STU120 thrown components Award/Level: BFA / 1st Year • Describe and compare the historical and Core or Elective: Elective / Studio Specialisation contemporary perspectives that underscore wheel Pre-requisites: STU100 thrown ceramics Co-requisites: Nil • Work co-operatively, undertaking all tasks in Credit Points: 15 accordance with Workplace Health and Safety Duration: 12 Weeks / Semester 2 / 72 Hours (WHS) standards relevant to the ceramics studio Delivery mode: face to face / on campus Student Workload: 6 HPW timetabled Assessment 1.5 HPW personal study Related Assessment When Weighting Subject Coordinator: Lynda Draper, Head of Ceramics Tasks / Items assessed Students are required to Description present a folio of work Studio Elective 1 consolidates and extends the including: • All finished work experience and knowledge attained in the Studio produced for prescribed projects Introduction program, providing an opportunity for At the • All self-directed work conclusion of 80% students to engage with greater depth in selected completed throughout the subject studio areas. the course of the subject • Support work including relevant working Objectives proofs sketchbooks, Ceramics Studio Elective I aims to further the preparatory drawings, technical trials creative intellectual and speculative capacity of each Research and present student informed by a practical studio experience, an oral presentation that Throughout the and to broadly familiarise students with the body of describes the history 10% course knowledge that constitutes the ceramics discipline. and conventions of the practices studied Observational assessment throughout the 10% Subject Content duration of the subject Ceramics Studio Elective I follows a sequenced program of thematically based class projects and exercises that further explore the fundamental STUDIO ELECTIVE 1 (CERAMICS) methodologies of scale, construction, form, and STU120 ceramic technology including: Award/Level: BFA / 1st Year • Selection and preparation of clay to realise and Core or Elective: Elective / Studio Specialisation articulate complex form and scale, and investigate Pre-requisites: STU100 historical precedents Co-requisites: Nil • Practice of the stratagems relevant to developing Credit Points: 15 wheel thrown ceramic form and scale Duration: 12 Weeks / Semester 2 / 72 Hours • Development of high temperature glaze and firing Delivery mode: face to face / on campus technology using single variable research techniques Student Workload: 6 HPW timetabled • Critical discussion of work produced by students in 1.5 HPW personal study the class Subject Coordinator: Lynda Draper, Head of Ceramics 64 • Engagement with professional standards of studio Description Assessment Studio Elective 1 consolidates and extends the Related Assessment When Weighting experience and knowledge attained in the Studio Tasks / Items assessed Introduction program, providing an opportunity for Students are required to students to engage with greater depth in selected present a folio of work including: studio areas. • All finished work produced for prescribed projects At the Objectives • All self-directed work conclusion of 80% Ceramics Studio Elective I aims to further the completed throughout the subject creative intellectual and speculative capacity of each the course of the subject • Support work including student informed by a practical studio experience, relevant working and to broadly familiarise students with the body of proofs sketchbooks, preparatory drawings, knowledge that constitutes the ceramics discipline. technical trials Research and present Subject Content an oral presentation that Throughout the describes the history 10% Ceramics Studio Elective I follows a sequenced course and conventions of the program of thematically based class projects and practices studied exercises that further explore the fundamental Observational assessment throughout the 10% methodologies of scale, construction, form, and duration of the subject ceramic technology including: • Selection and preparation of clay to realise and articulate complex form and scale, and investigate STUDIO ELECTIVE 1 (PAINTING) historical precedents STU120 • Practice of the stratagems relevant to developing Award/Level: BFA / 1st Year wheel thrown ceramic form and scale Core or Elective: Elective / Studio Specialisation • Development of high temperature glaze and firing Pre-requisites: STU100 technology using single variable research techniques Co-requisites: Nil • Critical discussion of work produced by students in Credit Points: 15 the class Duration: 12 Weeks / Semester 2 / 72 Hours • Engagement with professional standards of studio Delivery mode: face to face / on campus practice including Workplace Health and Safety Student Workload: 6 HPW timetabled (WHS) guidelines relevant to the Ceramics studio 1.5 HPW personal study Subject Coordinator: Dr Stephen Little, Prescribed Reading Head of Painting There are no prescribed texts for this subject. Description Recommended Reading Studio Elective 1 consolidates and extends the Studio Lecturers will provide technical notes and will experience and knowledge attained in the Studio provide references to any associated reading. Introduction program, providing an opportunity for students to engage with greater depth in selected Learning Outcomes studio areas. Upon the successful completion of Ceramics Studio Elective I, students will be able to: Objectives • Demonstrate developing technical competence in Painting Studio Elective 1 aims to further the wheel thrown ceramics and understanding of the creative, intellectual and speculative capacity of each plastic qualities of clay prepared for use on the student informed by a practical studio experience, wheel. and to broadly familiarise students with the body of • Demonstrate the creative potential of surface, form, knowledge that constitutes the painting discipline. tension and colour utilising high temperature firing techniques and technology Subject Content • Utilise structure and scale to articulate complex Painting Studio Elective I follows a sequenced program form and surfaces using pinch, coil, slab and wheel of thematically based class projects and exercises thrown components that further explore the fundamental methodologies of • Describe and compare the historical and painting practice including: contemporary perspectives that underscore wheel • Developing and realising visual ideas through the use thrown ceramics of painting process • Work co-operatively, undertaking all tasks in • Definition of the formal elements of painting accordance with Workplace Health and Safety • Observing the genres of still life, figure, landscape (WHS) standards relevant to the ceramics studio and narrative painting • Developing methods and techniques required to construct archivally sound works through the construction and preparation of paper and canvas supports 65 • The Study of the historical origin, function and principle characteristics of painting media. Credit Points: 15 • Critical discussion of work produced by students in Duration: 12 Weeks / Semester 2 / 72 Hours the class Delivery mode: face to face / on campus • Engagement with professional standards of studio Student Workload: 6 HPW timetabled practice including Workplace Health and Safety 1.5 HPW personal study (WHS) guidelines relevant to the Painting studio Subject Coordinator: Geoff Kleem, Head of Photomedia Prescribed Reading There are no prescribed texts for this subject. Description Studio Elective 1 consolidates and extends the experience Recommended Reading and knowledge attained in the Studio Introduction program, Studio Lecturers will provide technical notes and will providing an opportunity for students to engage with provide references to any associated reading. greater depth in selected studio areas.

Learning Outcomes Objectives Upon the successful completion of Painting Studio Elective Photomedia Studio Elective 1 aims to further the creative I, students will be able to: intellectual and speculative capacity of each student • Demonstrate developing technical competence in the informed by a practical studio experience, and to broadly use of painting materials and techniques, including the familiarise students with the body of knowledge that construction and preparation of various surfaces and constitutes the Photomedia discipline. grounds • Develop and realise visual ideas via employment of the Subject Content formal elements of painting Photomedia Studio Elective I follows a sequenced program • Demonstrate developing skills in the analysis of the of thematically based class projects and exercises that content and structure of paintings further explore the fundamental processes of fine art • Broadly understand the history and conventions of photography including: painting practice • Exploring the creative elements of digital photography • Work co-operatively, undertaking all tasks in through the controlled use of digital cameras accordance with Workplace Health and Safety (WHS) • Selecting, editing and sequencing photographic files standards relevant to the Painting studio and images using appropriate image editing software. • Printing colour and/or black and white photographs Assessment using ink-jet printers • Examining photographic print presentation techniques Related Assessment When Weighting Tasks / Items assessed • Discussion of the historical, cultural and theoretical Students are required to contexts of photography present: • Engagement with Photographic theories and practice • Minimum of four through written exercise comprehensive works that display a developing • Critical discussion of work produced by students in the professional approach to class conceptual investigation and techniques and • Engagement with professional standards of studio includes at least two 80% practice including Workplace Health and Safety (WHS) handmade stretchers guidelines relevant to the Photography studio. • All self-directed work completed throughout the course of the subject At the Prescribed Reading • Support work including conclusion of relevant working the subject There are no prescribed texts for this subject. proofs sketchbooks, preparatory drawings, technical trials Recommended Reading Journal that records Studio Lecturers will provide technical notes and will relevant aspects of study provide references to any associated reading. of painting practice, including notes from critiques, technical 10% Learning Outcomes demonstrations, individual • Demonstrate developing technical competence investigation of technical and individual artist using digital photography including camera, practice. software and printers Observational assessment throughout the • Develop and realise visual ideas through the use of 10% duration of the subject digital photographic process • Demonstrate a developing capacity for visual analysis of photographic language and content in STUDIO ELECTIVE 1 (PHOTOMEDIA) order to realise expressive images STU120 • Describe and interpret relevant aspects of the Award/Level: BFA/1st Year history and concepts of fine art photography Core or Elective: Elective / Studio Specialisation • Work co-operatively, undertaking all tasks in Pre-requisites: STU100 accordance with Workplace Health and Safety 66 Co-requisites: Nil (WHS) standards relevant to the Photomedia studio Assessment • Relate the material nature of printmaking processes Related Assessment When to conceptual concerns Weighting Tasks / Items assessed • Critically discuss their own work and the work of Students are required to others present a folio of work • Exercise professional standards of studio practice including: • All finished work including Workplace Health and Safety (WHS) produced for prescribed guidelines applicable to the Printmaking studio. projects • All self-directed work completed throughout the At the 80% Prescribed Reading course of the subject conclusion of There are no prescribed texts for this subject. • Support work including the subject visual journal documenting, concept development, print tests and individual Recommended Reading investigation into relevant Studio Lecturers will provide relevant notes and artists and texts references where appropriate. Written Assignment (500 10% words Learning Outcomes Observational assessment throughout the 10% • Demonstrate technical competence in basic duration of the subject printmaking processes • Understand the potential of printmaking processes as art making strategies STUDIO ELECTIVE 1 (PRINTMAKING) • Conceive, develop and realise ideas through the PRI120 use of printmaking processes Award/Level: BFA / 1st Year • Describe formative historical, conceptual and Core or Elective: Elective / Studio Specialisation technical issues in printmaking Pre-requisites: STU100 • Work co-operatively, and in accordance with Co-requisites: Nil Workplace Health and Safety (WHS) standards Credit Points: 15 applicable to the Printmaking studio Duration: 12 Weeks / Semester 2 / 72 Hours Delivery mode: face to face / on campus Assessment Student Workload: 6 HPW timetabled Related Assessment When Weighting 1.5 HPW personal study Tasks / Items assessed Subject Coordinator: Peter Burgess, Students are required to Head of Printmaking present a folio of work including: • Completed work that Description responds to set projects At the Studio Elective 1 consolidates and extends the • Support work including conclusion of 80% research notes and/ the subject experience and knowledge attained in the Studio or papers, preparatory Introduction program, providing an opportunity for visual material and students to engage with greater depth in selected technical tests as well as experiments studio areas. Written component that Throughout the responds to set research 10% course Objectives questions Printmaking Studio Elective I aims to further the creative, Observational assessment throughout the 10% intellectual and speculative capacities of each student course of the subject through a practical studio experience. Knowledge of the Printmaking discipline is extended by means of research, presentations and discussions. STUDIO ELECTIVE 1 (SCULPTURE) STU120 Subject Content Award/Level: BFA / 1st Year Printmaking Studio Elective I follows a program of Core or Elective: Elective / Studio Specialisation thematically based class projects that explore the Pre-requisites: STU100 principles of fine art printmaking. Students will Co-requisites: Nil • Examine the principles of printmaking processes Credit Points: 15 • Research and discuss formative historical, conceptual Duration: 12 Weeks / Semester 2 / 72 Hours and technical issues in printmaking Delivery mode: face to face / on campus • Conceive, develop and realise idea through the use of Student Workload: 6 HPW timetabled printmaking processes 1.5 HPW personal study Subject Coordinator: Ron Robertson-Swann, Head of Sculpture

Description Studio Elective 1 consolidates and extends the experience and knowledge attained in the Studio Introduction program, providing an opportunity for 67 students to engage with greater depth in selected Assessment studio areas. Related Assessment When Weighting Tasks / Items assessed Objectives Students are required to Sculpture Studio Elective I aims to further the creative present a folio of work including: intellectual and speculative capacity of each student • All finished work informed by a practical studio experience, and to broadly produced for prescribed projects At the familiarise students with the body of knowledge that • All self-directed work conclusion of 80% constitutes the sculpture discipline. completed throughout the subject the course of the subject • Support work including Subject Content relevant working Sculpture Studio Elective I follows a sequence of class proofs sketchbooks, preparatory drawings, projects and problem-solving exercises, exploring technical trials the means of expression through the conventions Research and present of modeling and construction, developing an an oral presentation that Throughout the describes the history 10% understanding of the language of sculpture and of course and conventions of the the basic methodologies of the practice of sculpture practices studied including: Observational assessment throughout the 10% • Describing and comparing the historical and duration of the subject contemporary perspectives that underscore the practice of sculpture • Discussion of work produced within the class 2ND YEAR UNITS • Developing the ability to research and understand the CORE historical origins of projects • Documenting and presenting the source materials and influences of their work ART HISTORY & THEORY 2 • Presenting work appropriately AHT200 • Selecting and safely using appropriate materials and Award/Level: BFA / Year 2 equipment, and engaging with professional standards Core or Elective: Core of studio practice including Workplace Health and Pre-requisites: AHT100 Safety (WHS) guidelines relevant to the Painting Co-requisites: Nil studio Credit Points: 12 Duration: 27 Weeks / Semester 1 & 2 / 54 Hours Prescribed Reading Delivery mode: face to face / on campus There are no prescribed texts for this subject. Student Workload: 2 HPW timetabled 1 HPW personal study Recommended Reading Subject Coordinator: Dr Michael Hill, Head of Art Studio Lecturers will provide relevant notes and History & TheoryDescription references where appropriate. Art History & Theory 2 forms the second part of the Learning Outcomes core Art History and Theory strand and constitutes Upon the successful completion of Sculpture Studio a thorough introduction to the history of Modernism, Elective I, students will be able to: from the rise of the independent artists of Paris in • Develop art works through the use of traditional 1860s to the critique of formalism in the work of processes in sculpture the Pop and Minimalist artists of the 1960s. The • Demonstrate technical competence in two of these course emphasizes the links between Modernism and traditional processes: modelling and construction Industrial culture. • Describe the history and conventions of sculpture, particularly relating to modelling and construction Objectives • Engage in critical analysis of their art work and that Art History & Theory 2 aims to develop students’ of their peers conceptual grasp of Modernism as a network of • Work co-operatively, undertaking all tasks in interrelated movements and the critical skills required accordance with Workplace Health and Safety for further study of the visual arts. Second year AHT (WHS) standards relevant to the sculpture studio literacy is focused on consolidating visual analysis, where the formal properties of works of art are described in their social and intellectual context. Students also engage in longer academic essays, synthesising a range of research material into a persuasive and properly referenced argument

68 Subject Content Core or Elective: Core Topics covered include: Pre-requisites: DRA100 • Late Nineteenth Century: the industrial city; Co-requisites: Nil emergence of photography; architectural Credit Points: 15 historicism; Realism, Impressionism, Symbolism, Duration: 27 Weeks / Semester 1 & 2 / 243 Hours and the Independent movement in painting. Delivery mode: face to face / on campus • The revolutionary period, 1880s – 1914: Cezanne Student Workload: 6 HPW timetabled and the deconstruction of pictorial space; Rodin 1 HPW personal study and the fragmentation of the classical figure; Subject Coordinator: Dr Maryanne Coutts, Matisse, Fauvism, Braque and Picasso; Primitivism Head of Drawing and Brancusi; Louis Sullivan, Frank Lloyd Wright and search for Modern form and structure. Description • World War I and aftermath: Dada and Surrealism, The Drawing 2 program consolidates the concerns Russian Revolution and Constructivism; Bauhaus introduced in the observational component of and De Stijl; Mies, Le Corbusier, and the Drawing 1, and investigates issues of representation International Style in Architecture; development of and research in both contemporary and traditional cinema. drawing practice. Students will experiment with a • World War II and beyond: New York School, range of media and explore innovation in drawing. including Abstract Expression, Colour Field, Post Approaches to conceiving and developing drawing Painterly Abstraction; Pop critique of American projects will be explored as students are guided consumerism; critique of formalism; Minimalism through the development of self-determined projects and Conceptual art; Louis Kahn and post-war in preparation for the third year and final year of the Monumentalism. BFA.

Prescribed Reading Objectives There are no prescribed texts for this subject. The overarching aim of the core Drawing program is to develop students’ abilities to use drawing as a Recommended Reading process that inquires into, supports and underpins A reader and recommended reading list is provided via all visual investigations. More specifically, Drawing 2 the AHT web site: aims to develop students’ critical awareness of both www.nasaht.com.au/index.php?p=1_5 contemporary and traditional notions of research drawing, and the ability to apply this understanding Learning Outcomes within their own work practices. Upon successful completion students should be able Observational Drawing to demonstrate: This component of the course focuses intensely on • Sound understanding of the intellectual and Perceptual Drawing as a foundation for exploring aesthetic character of Modernist culture and the relationship between the human body and the ability to articulate this understanding using contemporary practice. appropriate terminology Research Drawing • Understanding of the continuities and The Research Drawing component develops students’ discontinuities between styles and movements critical awareness of both contemporary and • Understanding of why certain works are significant traditional notions of research drawing and relates or have become emblematic of a given historical this understanding to their own work through rigorous moment practice, analysis and discussion. • Ability to think analytically and historically about specific works of art Subject Content • Articulate the rationale of their own work with Observational Drawing reference to its historical origins This component follows a program of independent • relevant to the sculpture studio and class based projects and exercises that develop and expand the fundamental methodologies of Assessment observational drawing by: Related Assessment When • Developing and realising visual ideas through Weighting Tasks / Items assessed drawing from direct observation of the visible

Essay Week 10 30% world with a strong emphasis on observing the human body in relation to its environment - 75% Mid Year Examination Week 15 20% of the classes involve working from live models, Essay Week 24 30% incorporating a wide range of situations (clothed / unclothed, long / short poses, etc.) Final Examination Week 27 20% • Drawing from a range of places, objects and situations • Investigation of a range of visual languages, media DRAWING 2 and supports DRA200 • Investigating historical and contemporary Award/Level: BFA / 2nd Year references 69 • Individual and group critiques Monitoring of Progress • Independent Projects designed to nurture personal Mid Year Assessment interests At mid year the Observational component will be Research Drawing assessed, constituting 50% of mark. Students • This component follows a program of independent are advised of their progress through the use of and class based projects and exercises that develop the progress indicators: ‘indicators ‘satisfactory’, and expand the fundamental methodologies of ‘borderline’ or ‘unsatisfactory’ drawing as it expresses ways of thinking and making by: Assessment • Learning to develop visual ideas through drawing Related Assessment When Weighting • Learning to develop drawing projects Tasks / Items assessed • Drawing from the objective and visible world with an Students are required to emphasis on analysis and synthesis - 25% of the present: On completion of each classes involve using a life model. strand students are • Exploring the applications within drawing of working required to submit: • 5 major developed in series, use of installations, transcriptions and other drawings related techniques • 1 major independent • Investigating historical and contemporary references project that At the demonstrates a capacity 80% • Reinforcing the links between the student’s drawing conclusion of to self-direct. the academic and their major area of study • 10 support drawings year • At least 1 visual diary • Investigating a range of media and drawing supports / journal or equivalent • Individual and group critiques evidence of independent • Independent Projects investigation • Research file including documentation of Prescribed Reading relevant research • Independent Study There are no prescribed texts for this subject. 10% component Observational assessment throughout the 10% Recommended Reading duration of the subject Studio Lecturers will provide technical notes and will provide references to any associated reading. STUDIO SEMINAR 2 Learning Outcomes STS200 Upon successful completion of Drawing 1, students Award/Level: BFA / Year 2 will be able to demonstrate: Core or Elective: Core • Understanding of visual perception as it relates to Pre-requisites: Nil drawing from observation Co-requisites: CER200/PAI200/PHO200/PRI200/ • Ability to realise complex ideas through the SCU200 application of skills, processes and materials in Credit Points: 4 drawing projects Duration: 27 Weeks / Semester 1 & 2 / 27 Hours • Ability to draw the form and structure of the human Delivery mode: face to face / on campus body, including a working knowledge of human Student Workload: 1 HPW timetabled anatomy 1 HPW personal study • A well-developed understanding of, and capacity Subject Coordinator: Head of relevant Studio Discipline for invention with, the formal visual structures of drawing Description • Comprehension of the contextual implications of life drawing, including context, narrative and Studio Seminar 2 is delivered as a weekly series abstraction of one-hour, discipline specific group tutorials. The • Capacity to engage with a range of media and seminar program addresses the development and explore innovative approaches to drawing broader contexts of practice in specific relation to • Ability to develop and pursue an individual areas being studied in the Studio program. approach to drawing • A well developed understanding of historical and Objectives contemporary drawing practice (including figurative The Studio Seminar 2 program is intended to support drawing). the increasing knowledge and understanding of • Knowledge and practical understanding of current broader contexts of art practice within the more discourse around ‘languages’ of drawing specific context of each studio discipline. Students • A commitment to independent research and are acquainted with the historical development and practice working safely and cooperatively with application of studio practice within the discipline. others in a shared studio environment Subject Content Weekly seminars include • The origins and evolution of studio practice within 70 the discipline • The historical, social, cultural and artistic contexts Description which inform practice in the discipline Ceramics 2 provides students with the opportunity to • Origins, functions and implications of various expand the introductory skills attained in the first year modes, forms and techniques utilised in the Studio of study. The subject follows a sequenced program program and their the relevant theoretical, historical, of thematically based class projects and exercises conceptual and practical concerns that further extend the fundamental methodologies • Relevant technological developments and their uses of scale, construction, form, and ceramic technology, • Student presentations as well as the history and conventions of industrial processes within the context of the studio. Prescribed Reading There are no prescribed texts for this subject. Objectives Ceramics 2 aims to: Recommended Reading • Extend the knowledge and skills attained in the first Studio Lecturers will provide relevant notes and year of study references where appropriate. • Further the creative, critical and speculative capacity of each student informed by a practical Learning Outcomes studio experience Upon successful completion students should be able to • Develop an evolving awareness of the body of demonstrate: knowledge that constitutes the Ceramics discipline. • Understanding of the evolution of contemporary practice as it relates to their major discipline, with Subject Content reference to historical, social and artistic contexts, Semester 1 and forms and techniques specific to the discipline The semester one program builds upon the introduction • Capacity for applying this understanding to to ceramic processes and related historical overview and critical reflections on their own practice and to the research methodologies appropriate to the development practices of others and production of studio ceramics. Students will: • Well developed research skills including the • Be instructed in the safe and efficient use of kilns ability to effectively sort, evaluate and organise • Be instructed in the use of relevant visual and information and ideas according to relevance and technical documentation techniques reliability • Extend the techniques of wheel forming processes • Ability to effectively convey information and ideas, and identify their conceptual application in the via appropriate use of form and language, and development of large scale works selection and acknowledgement of sources • Develop and realise a body of works that investigate • Capacity to engage in critical discussion working the history and use of industrial forming techniques co-operatively with others in a range of contexts within the context of studio ceramics • Engage with professional standards of studio practice Assessment including Workplace Health and Safety (WHS) guidelines relevant to the Ceramics studio Related Assessment When Weighting Tasks / Items assessed Semester 2 Students are required to: The second semester program further develops the • Prepare and deliver a construction techniques and unique considerations of seminar presentation At the large-scale clay constructions, leading to a period of self- and/or written paper that conclusion of examines an aspect of the academic 90% directed study. Students will: studio practice year • Develop and realise a body of work that examines the • Submit their class notes/ journal that demonstrate relationship between large scale form and structure their participation. • Select and analyse two aspects of the ceramic Observational assessment throughout the process and prepare a body of related works that 10% duration of the subject expound a chosen aesthetic • Analyse and discuss their art work and that of their STUDIO SPECIALISATION peers Independent Study CERAMICS 2 In conjunction with staff supervised and/or staff CER200 directed curriculum at this level of the course, students Award/Level: BFA / Year 2 are expected to engage independently with studio Core or Elective: Elective / Studio Specialisation work developing increasing autonomy in preparation for Pre-requisites: CER120 the third year of the course. Co-requisites: STS200 (Ceramics Studio Seminar 2) Credit Points: 32 Prescribed Reading Duration: 27 Weeks / Semester 1 & 2 / 324 Hours There are no prescribed texts for this subject. Delivery mode: face to face / on campus Student Workload: 12 HPW timetabled Recommended Reading 3 HPW personal study Studio Lecturers will provide technical notes and will Subject Coordinator: Lynda Draper, Head of Ceramics provide references to any associated reading. 71 Learning Outcomes Description Upon successful completion students should be able Painting 2 provides students with the opportunity to: to expand the introductory skills attained in the first • Demonstrate an evolving knowledge of the skills year of study. An extensive and intensive range of and the practices of the Ceramics discipline projects requires a more individual and creative • Conceive, develop and realise a series of related approach toward the development of the historic and objects using hand built and wheel thrown contemporary outcomes of painting. Projects observe, components that explore large-scale form and colour, traditional figurative and abstract genres and structure to articulate complex form and surfaces new approaches to painting. • Undertake guided technical and theoretical investigation to support structured projects, Objectives identifying, describing and recording research Painting 2 aims to: methodologies relevant to their project • Extend the knowledge and skills attained in the development first year of study • Engage in critical analysis of their work and that of • Further the creative, critical and speculative their peers, identifying and describing the historical, capacity of each student informed by a practical contemporary and industrial perspectives that studio experience underscore their individual ceramic practice • Develop an evolving awareness of the body of • Work safely, responsibility and co-operatively, knowledge that constitutes the Painting discipline. undertaking tasks with evolving sense of • professional standards Subject Content Monitoring of Progress Semester 1 Mid Year review The semester one program is divided into a sequence At mid year a formal review of all work undertaken of thematically based class projects that constitute is conducted. Students are advised of their a comprehensive exploration of the significant progress through the use of the progress indicators: techniques and methodologies of painting practice ‘satisfactory’ or ‘un-satisfactory’ through: • The investigation of the various genres of painting Assessment • Colour theory and its application in observational Related Assessment When painting from coloured still life/installations Weighting Tasks / Items assessed • The introduction of the figure into painting Students are required to • • The historical and contemporary investigation present: of landscape • •A comprehensive selection of finished • The examination of historical genres through fired work produced for individually selected paintings each project including • The discussion and analysis of work produced in any self-directed work completed throughout class with specific intention of positioning such the year. In the case work within the established historical models of large works, a At the comprehensive visual conclusion of relevant to painting practice record documenting the academic 90% • Adherence to contemporary standards of the development and year professional practice and Workplace Health and realisation of the work is acceptable Safety (WHS) guidelines relevant to painting • •A journal that records practice all aspects of related research into the ceramic processes and Semester 2 conceptual development of projects undertaken The semester two program is divided into a sequence throughout the academic of thematically based class projects exploring the year. formal and material nature of painting practice, leading Observational assessment Throughout the to a period of self-directed study including: throughout the duration of duration of the 10% the subject subject • Individual lecturer directed and self-directed projects • The study of still life as a historically based genre PAINTING 2 and it’s extrapolation in contemporary terms • The investigation of portraiture, self-portraiture and PAI200 autobiographical subject matter for painting Award/Level: BFA / Year 2 • The interface of painting and photography in terms Core or Elective: Elective / Studio Specialisation of aesthetics, philosophy and technique/materials Pre-requisites: PAI120 • Engage with professional standards of studio Co-requisites: STS200 (Painting Studio Seminar 2) practice including Workplace Health and Safety Credit Points: 32 (WHS) guidelines relevant to the Painting studio Duration: 27 Weeks / Semester 1 & 2 / 324 Hours Delivery mode: face to face / on campus Student Workload: 12 HPW timetabled Independent Study 6 HPW personal study In conjunction with staff supervised and/or staff directed curriculum at this level of the course, students 72 Subject Coordinator: Dr Stephen Little, Head of Painting are expected to engage independently with studio PHOTOMEDIA 2 work developing increasing autonomy in preparation PHO200 for the third year of the course. Award/Level: BFA / Year 2 Core or Elective: Elective / Studio Specialisation Prescribed Reading Pre-requisites: PHO120 There are no prescribed texts for this subject. Co-requisites: STS200 (Photomedia Studio Seminar 2) Credit Points: 32 Recommended Reading Duration: 27 Weeks / Semester 1 & 2 / 324 Hours Studio Lecturers will provide technical notes and will Delivery mode: face to face / on campus provide references to any associated reading. Student Workload: 12 HPW timetabled 6 HPW personal study Learning Outcomes Subject Coordinator: Geoff Kleem, Head of Photomedia Upon successful completion students should be able to: Description • Conceive, develop and realise works that Photomedia 2 provides students with the opportunity demonstrate developing painting skills and an to expand the introductory skills attained in the individual understanding, analytical perspective and first year of study. The subject follows a program language of painting of projects and exercises that develop students’ • Demonstrate technical competence in using the understanding of the materials, processes, histories materials of painting, in particular the craft of paint, and theories of fine art photography, supporting the surfaces, grounds and supports development of independent studio practice. • Undertake guided technical and theoretical investigation to support structured projects, Objectives identifying, describing and recording research Photomedia 2 aims to: methodologies relevant to their project • Extend the knowledge and skills attained in the development first year of study • Show an awareness of technical innovations and • Further the creative, speculative capacity of each their interdependency with pictorial and material student utilising photographic and related media concerns throughout the history of painting • Develop an evolving understanding of the full • Engage in critical analysis of their art work and scope of photographic art practice informed by a that of their peers, with reference to historical and practical studio experience contemporary ideas about painting • Work safely, responsibility and co-operatively, Subject Content undertaking tasks with evolving sense of The subject follows a program of projects and professional standards exercises that develop students’ understanding of the materials, processes, histories and theories of fine art Monitoring of Progress photography, leading to a period of self-directed study, Mid Year review including: At mid year a formal review of all work undertaken • The translation of personal ideas and concepts into is conducted. Students are advised of their photographs within themed projects addressing a progress through the use of the progress indicators: broad range of contexts characteristic of historic ‘satisfactory’ or ‘un-satisfactory’ and contemporary photographic practice • The use of digital single lens reflex cameras and Assessment other methods of digital image capture Related Assessment When • Controlling exposure – available light, portable and Weighting Tasks / Items assessed studio flash equipment techniques Students are required to • Digital colour management, work flow and digital present: printing • •All project work completed for semester • Framing and composition – directing aesthetic one outcome • •A minimum of 5 major works showing evidence At the • Selection and editing of photographic images of developed skills and conclusion of • Introduction to archival photographic materials and attitudes the academic 90% management techniques • •Portfolio containing year project work, studies, • Advanced digital image manipulation and print support work, examples output techniques of course work and self- directed study • Discussion and analysis of the historical, social and • •Sketchbooks of working cultural contexts of photography through staff and ideas, references and student initiated investigation studies/drawings • Written reviews and essays of historical and Observational assessment throughout the 10% duration of the subject contemporary photographic practices, oeuvres and genres • Critical discussion and analysis of work produced by students and others • Use of photographic equipment and facilities 73 to contemporary professional standards and Assessment adherence to WHS guidelines relating to Related Assessment When Weighting photographic practice Tasks / Items assessed Students are required to Independent Study present: • Major presentation of In conjunction with staff supervised and/or staff selected finished prints directed curriculum at this level of the course, students • Support portfolio comprising additional are expected to engage independently with studio completed prints At the work developing increasing autonomy in preparation • Visual journal conclusion of for the third year of the course. documenting drawings, the academic 90% proof sheets, preparatory year sketches, drawings, Prescribed Reading notes on technical demonstrations and There are no prescribed texts for this subject. individual trials, individual investigation into photographic and artistic Recommended Reading practice etc. Studio Lecturers will provide technical notes and will Observational assessment throughout the 10% provide references to any associated reading. duration of the subject

Learning Outcomes Upon successful completion students should be able PRINTMAKING 2 to: PRI200 • Conceive, develop and realise projects, employing Award/Level: BFA / Year 2 a wide range of fine art photographic processes to Core or Elective: Elective / Studio Specialisation translate and ideas and concepts into photographs Pre-requisites: PRI120 • Demonstrate technical competence in the use of Co-requisites: STS200 (Printmaking Studio Seminar) photographic equipment and facilities Credit Points: 32 • Undertake guided technical and theoretical Duration: 27 Weeks / Semester 1 & 2 / 324 Hours investigation to support structured projects, Delivery mode: face to face / on campus identifying, describing and recording research Student Workload: 12 HPW timetabled methodologies relevant to their project 6 HPW personal study development Subject Coordinator: Peter Burgess, Head of • Identify and analyse the characteristics of Printmaking photographs produced using a wide range of methodologies Description • Demonstrate knowledge of the cultural contexts of Printmaking 2 provides students with the opportunity historical and contemporary photography and its to expand the introductory skills attained in their first relationship to other creative disciplines year of study within the more specific context of the • Engage in critical analysis of their art work and printmaking studio. The subject involves a sequence that of their peers, with reference to aesthetic and of thematically based class projects that constitute a conceptual dimensions comprehensive exploration of the significant techniques • Work safely, responsibility and co-operatively, and methodologies of printmaking practice. undertaking tasks with evolving sense of professional standards

Monitoring of Progress Objectives Mid Year review Printmaking 2 aims to At mid year a formal review of all work undertaken • Extend the knowledge and skills attained in the is conducted. Students are advised of their first year of study progress through the use of the progress indicators: • Further the creative, speculative and conceptual ‘satisfactory’ or ‘un-satisfactory’ capacity of each student in the context of a practical studio experience • Develop awareness of the body of knowledge that constitutes the printmaking discipline.

Subject Content The year 2 program consists of a comprehensive exploration of the significant printmaking technologies with an emphasis on technical and conceptual development. The technologies included are: intaglio, relief printing, screen printing, lithography, digital input/ output and book arts. Issues and methodologies pertaining to printmaking covered are: • Manual, photographic and digital matrix production 74 • Multiple matrix use • Print editioning Related Assessment When Weighting • Serial working Tasks / Items assessed • The implications of the multiple Students are required to • Innovative uses of print technologies present: • •All finished work • Print documentation, display and conservation within produced for each extablished curatorial practices project unit including • Print in a historical, cultural and conceptual context any self-directed work completed that • Project development, including research, conceptual evidences competence decisions, material choices, testing, production and in three printmaking processes display • •Support work including At the relevant working • Project presentation in verbal and written form conclusion of proofs, sketchbooks, the academic 90% • Critical evaluation of work produced preparatory drawings, year • Workplace Health and Safety relevant to each technical trials etc. technology. • •Journal which evidences relevant Independent Study aspects of research into In conjunction with staff supervised and/or staff directed the use of printmaking practice in the visual curriculum at this level of the course, students are arts practice, including expected to engage independently with studio work notes from technical developing increasing autonomy in preparation for the demonstrations, individual technical third year of the course. research and individual artist practice etc. Observational assessment throughout the Prescribed Reading 10% duration of the subject There are no prescribed texts for this subject.

Recommended Reading SCULPTURE 2 Studio Lecturers will provide relevant notes and SCU200 references where appropriate. Award/Level: BFA / Year 2 Core or Elective: Elective / Studio Specialisation Learning Outcomes Pre-requisites: SCU120 Upon successful completion students should be able to: Co-requisites: STS200 (Sculpture Studio Seminar 2) • Conceive, develop and realise visual ideas through Credit Points: 32 the use of printmaking media in response to thematic Duration: 27 Weeks / Semester 1 & 2 / 324 Hours premise Delivery mode: face to face / on campus • Demonstrate technical competence in the Student Workload: 12 HPW timetabled printmaking process areas of Intaglio, Relief, 6 HPW personal study Lithographic and Silk Screen, and awareness of the Subject Coordinator: Ron Robertson-Swann, formal and conceptual capacity of each process Head of Sculpture • Undertake guided technical and theoretical investigation to support structured projects, Description identifying, describing and recording research Sculpture 2 continues to develop understanding in methodologies relevant to their project development the three major conventions of sculpture: carving, • Demonstrate understanding of display and construction and modeling. The program is designed conservation issues relating to works on paper to develop the student’s ability to resolve conceptual, • Engage in critical analysis of their art work and that technical and aesthetic problems developing of their peers with reference to the broader cultural proficiency with a broad range of equipment and implications of printmaking practice materials. • Work safely, responsibility and co-operatively, undertaking tasks with evolving sense of professional Objectives standards Sculpture 2 aims to: • Extend the knowledge and skills attained in the Monitoring of Progress first year of study Mid Year review • Further the capacity of each student via a practical At mid year a formal review of all work undertaken studio experience is conducted. Students are advised of their • Develop an awareness of the body of knowledge progress through the use of the progress indicators: that constitutes the Sculpture discipline. ‘satisfactory’ or ‘un-satisfactory’Assessment

Subject Content The year is divided into a sequence of class projects that constitute a comprehensive exploration of the modes, techniques and methodologies of sculpture, leading to: • Further exploration of the modes of making 75 sculpture, exploring the concepts, theories and Monitoring of Progress techniques that underpin such conventions, eg. Mid Year review free-standing, relief, installation, sculpture related At mid year a formal review of all work undertaken to architecture etc. is conducted. Students are advised of their • Exploration of the conventions of figure, still life, progress through the use of the progress indicators: landscape, non-representation sculpture etc. ‘satisfactory’ or ‘un-satisfactory’ • The making of sculpture using a wide variety of materials eg. bronze, stone, plaster, steel, clay, Assessment stone, wood fabric etc., and exploring these and Related Assessment When Weighting other materials in an experimental manner. Tasks / Items assessed • The discussion and analysis of work produced Students are required to within the class with the specific intention of present: positioning such work in established historical • All work produced for each project including models. any self-directed • Appropriate presentation of work including a diary work completed that evidences competence At the of exercises, ideas, discoveries, influences and in sculptural processes conclusion of methods used. • Support work including the academic 90% relevant maquettes, year • Expansion of knowledge of the equipment and sketchbooks, materials used. preparatory drawings, • Engagement with professional standards of studio technical trials etc • Journal that practice including Workplace Health and Safety demonstrates research (WHS) guidelines relevant to the sculpture studio relating to any projects undertaken. Observational assessment throughout the 10% Independent Study duration of the subject In conjunction with staff supervised and/or staff directed curriculum at this level of the course, students are expected to engage independently with studio work developing increasing autonomy in preparation for the third year of the course.

Prescribed Reading There are no prescribed texts for this subject.

Recommended Reading Studio Lecturers will provide technical notes and will provide references to any associated reading.

Learning Outcomes Upon successful completion students should be able to: • Conceive, develop and realise a variety of sculptural projects, ideas and means as a response to assignments given by lecturers • Demonstrate understanding of the physical strengths and limitations of various materials and methods • Undertake guided technical and theoretical investigation to support structured projects, identifying, describing and recording research methodologies relevant to their project development • Identify and describe underpinnings of the sculptural modes and technical methodologies studied. • Engage in critical analysis of their art work and that of their peers, identifying and describing the historical and contemporary perspectives that underscore sculpture • Work safely, responsibility and co-operatively, undertaking tasks with evolving sense of professional standards

76 3RD YEAR UNITS images and simultaneity; digital media; the post- modern sublime. CORE • Artists include: Sol le Witt, Donald Judd, Robert Morris, Mel Ramsden, Richard Serra, Anthony ART HISTORY & THEORY 3 Caro, Eva Hesse, Robert Smithson, Michael Heizer, AHT300 Richard Long, Nancy Holt, Agnes Denes, Janis Award/Level: BFA / Year 3 Kornellis, Andy Goldsworthy, Judy Chicago, Cindy Core or Elective: Core Sherman, Miele Ukeles, Faith Ringold, Tracy Emin, Pre-requisites: AHT200 Robert Venturi, Michael Graves, Charles Moore, Co-requisites: Nil Peter Corrigan, Gerhard Richter, Anselm Kiefer, Credit Points: 12 Barbara Kruger, Act-Up, Ah Xian, Lee Weng, Yoko Duration: 27 Weeks / Semester 1 & 2 / 54 Hours Ono, Marina Abramovich, Anish Kapoor, Olafur Delivery mode: face to face / on campus Eliasson, Andreas Gursky, Edward Burtinsky, and Student Workload: 2 HPW timetabled Jeff Wall. 1 HPW personal study Semester 2: Modern and Contemporary Subject Coordinator: Dr Georgina Cole, Lecturer in Art Australian Art History and Theory; Dr Michael Hill, Head of Art History • Topics include: surburbia; discovery of the interior; & Theory Aboriginal art; provincialism; masculinity; multi- culturalism; appropriation; Australia on film, such Description as Walkabout, Wake in Fright, the Removalists, The first part of the course examines international Sunday Too Far Away, Murial’s Wedding, and Ten contemporary art, beginning with the explosion Canoes. of ideas and practices in the late 1960s and their • Artists include: John Brack, Howard Arkley, Reg on-going relevance up the to the present day. The Mombassa, Margaret Preston, Sidney Nolan, second half of the course deals with modern and Russell Drysdale, Tony Tuckson, Robert Klippel, contemporary Australian art, focusing in particular Peter Upward, Clement Meadmore, David Aspden, on the reshaping of Australian culture in the wake of Rennie Ellis, Carol Jerrems, Imants Tillers, Michael multi-culturalism and the Indigenous rights movement Nelson Tjakamarra, Susan Norrie, Tracey Moffat, of the 1980s and beyond. Juan Davila, Charles Cooper, Richard Bell, Frances Budden, Julie Rrap, Jenny Watson, Anne Zahalka, Objectives Albert Namatjira, Rover Thomas, Emily Kngwarreye, AHT300 is an introduction to the key practitioners and Lin Onus, Bill Henson, Simryn Gill, and Fiona Hall. ideas of contemporary art. The course explores the novel technical practices that have emerged since the Prescribed Reading 1960s, such as Land art, performance, the everyday, There are no prescribed texts for this subject. etc. In addition, the continuities with modernist traditions are also examined. The emphasis in this Recommended Reading course is not on the linear chronology of movements, Recommended readings are provided via the AHT but its living and mutating strands of thinking and web-site: www.nasaht.com.au/index.php?p=1_6 practice. By principally addressing artworks and artists, this course will examine how contemporary Learning Outcomes artists have interpreted the world around them. The Upon successful completion students should be able second half of the course provides students with a to: general picture of present-day Australian culture; it • Knowledge of the most significant works and also applies the critical perspectives outlined in the artistic movements since the 1960s, along with first half of course to the specific context of Australia. an understanding of those movements within a The literacy objectives of the course are focused, broader historical and theoretical context. firstly, on extending and refining visual analysis, where • Knowledge of the principal themes and dynamics formal properties of works of art are described in of Australian art and culture since World War II. their social and intellectual context; and secondly, on • An ability to identify and analyse the intellectual, longer academic essays, in which research material is aesthetic and socio-political elements of the synthesized into a persuasive and properly referenced environment of International and Australian argument. contemporary art. • An ability to evaluate relevant works from critical Subject Content and historical perspectives and effectively Semester 1: Contemporary Art articulate their meaning. Topics include: • Well-developed skills in presenting a coherent • Topics include: conceptual and post-minimalist art; argument, evaluating and organizing information environmental and site-specific sculpture; feminism; and ideas from a variety of sources and referencing post-modernism as critique of modernism; post- those appropriately. modernism as political critique; post-colonialism and identity politics; performance and time-based art; globalisation; the everyday; the proliferation of

77 Assessment working in series, use of installations, transcriptions Related Assessment When and other related techniques Weighting Tasks / Items assessed • Group discussion and individual critiques Essay Week 12 30% • Developing exhibition, installation, framing and related presentation skills Examination Week 15 20%

Essay Week 24 30% Observational Drawing

Examination Week 27 20% The above approaches continue to be supported by options of working in more formal classes based around drawing from life . Observational Drawing at this level provides students with an opportunity to DRAWING 3 consolidate the drawing skills attained in their previous DRA300 years of study and to extend its creative potential. With Award/Level: BFA Year 3 opportunities to continue to explore scale, multiple Core or Elective: Core figure composition and the use of the human form to Pre-requisites: DRA300 express ideas around abstraction, narrative, allegory Co-requisites: Nil and metaphor, in the context of life / observational Credit Points: 12 drawing, students are expected to focus on resolving a Duration: 27 Weeks / Semester 1 & 2 / 162 Hours body of work based around the figure, representation Delivery mode: face to face / on campus and / or observation. Student Workload: 6 HPW timetabled 1 HPW personal study Independent Study Subject Coordinator: Dr Maryanne Coutts, Students at this level of the course are expected to Head of Drawing engage independently with studio work displaying self- direction and autonomy in their studio practice. Description Drawing 300 provides students with an opportunity Prescribed Reading to choose to work with the specific intention of There are no prescribed texts for this subject. supporting the development of their major area of study. In this context, Drawing 300 can be conducted Recommended Reading in direct reference to the major discipline of each Studio Lecturers will provide technical notes and will student and will develop their graphic skills in support provide references to any associated reading. of their area of major study. It also provides students with the opportunity Learning Outcomes to work on a self contained drawing-based studio Upon successful completion students should be able practice where the pursuit of high quality and to demonstrate: engaging drawing is seen as the desired outcome • Understanding of contemporary and traditional in its own right. This is a personal and independent drawing conventions through the application of practice of drawing as an end in itself, unrelated to concepts and techniques to specific projects the need to support the student’s major area. • A well developed understanding of drawing media and conventions with autonomy in the use of Objectives graphic language(s) Drawing 300 consolidates the conceptual knowledge • A capacity to consider and apply traditional and/ and technical skills introduced in Drawing 200, leading or contemporary drawing materials and methods to students being able to independently realise and in visual exploration and invention within self resolve ideas through drawing. Students are expected determined studio projects to continue to explore and develop ideas around their • The ability to consider and communicate ideas particular project as they reach its resolution and to various audiences through the presentation of realisation in this final year. artworks It enables students to continue to work with • The ability to conceive, develop and realise personal approaches to drawing in a contemporary independent engagement in drawing as an context. Students have increased options about the autonomous practise utilising independent ways that they chose to work. judgement and self direction • A capacity to engage and reflect on a range of Subject Content critical perspectives through drawing practice DRA300 guides the development and resolution of an independent drawing practice by: Monitoring of Progress • Supporting self-directed projects • Investigating the contemporary and historical Mid Year review issues that underpin the students’ practice At mid year a formal review of all work undertaken • Expressing ‘meaning’ and ideas through drawing is conducted. Students are advised of their progress • Investigating media, subject matter and personal through the use of the progress indicators: ‘indicators ideas ‘satisfactory’, ‘borderline’ or ‘unsatisfactory’ • Demonstrating the applications within drawing of 78 Assessment publicity, media interviews, networking Related Assessment When • Gallery systems – gallery relationships, alternatives Weighting Tasks / Items assessed to galleries, approaching a gallery, managing Students are required to an artist-run gallery, artists spaces, insurance, present: At the marketing • •A resolved and conclusion of substantial body of work • Grants, awards, prizes and other sources of income the academic 90% • •At least 1 visual diary/ year journal or equivalent documentation of Prescribed Reading research process There are no prescribed texts for this subject. Observational assessment Throughout the throughout the duration of duration of the 10% Recommended Reading the subject subject Course reading is provided.

Learning Outcomes PROFESSIONAL STUDIES SEMINAR Upon successful completion students should be able PRS300 to demonstrate: Award/Level: BFA Year 3 / BFA • Broad knowledge of the professional practices Core or Elective: Core including basic business principles and legal issues Pre-requisites: STS200 pertinent to visual arts practice Co-requisites: Studio Specialisation 3 • Ability to identify and evaluate professional Credit Points: 4 opportunities Duration: 12 Weeks / Semester 2 / 12 Hours • Understanding of the primary art market including Delivery mode: face to face / on campus various gallery systems and curatorial models Student Workload: 1 HPW timetabled • Ability to present and promote professional profile 2 HPW personal study • Ability to identify project funding, prepare Subject Coordinator: BFA Coordinator applications and plan for delivery of projects and art works Description • Demonstrate the capacity to work both as an Professional Studies Seminar is offered during the individual and as a team in the development and third year of the BFA course to coincide with the realisation of exhibition projects increasing independence of student enquiry and practice, and in direct preparation for life in the field Assessment following graduation. Related Assessment When Weighting Tasks / Items assessed Objectives Students are required to Professional Studies Seminar is aimed at developing develop an application to knowledge and awareness of issues pertaining to exhibit with a commercial gallery or exhibition the broad industrial dimension of contemporary proposal for an artist run professional practice in the arts. A weekly lecture initiative (ARI), including: At the • Covering letter series is aimed at enabling students to apply the conclusion of • Curriculum Vitae the academic 90% professional work habits of arts practitioners to their • Artist Statement and/or year emerging practices. a Exhibition Proposal • 6-12 images of artwork appropriately formatted Subject Content and re-sized for Lecture topics cover aspects of financial organisation electronic transmission or PowerPoint and business principles, legal issues, promotion, presentation.: galleries, support organisations and educational and Observational assessment Throughout the employment opportunities in the field. throughout the duration of duration of the 10% Guest speakers include practicing artists and the subject subject curators, professionals in arts management and law and representatives from professional support STUDIO SPECIALISATION organisations such as NAVA (National Association of the Visual Arts). CERAMICS 3 Lecture topics may include: CER300 • Professionalism in the Arts Industry: educational Award/Level: BFA / Year 3 and career pathways Core or Elective: Elective / Studio Specialisation • Tax issues and the impact of GST on artists Pre-requisites: CER200 • Introduction to the Australian legal system / Co-requisites: STS300 (Ceramics Studio Seminar 3) Introduction to contracts Credit Points: 32 • Introduction to copyright and moral rights / Duration: 27 Weeks / Semester 1 & 2 / 324 Hours Censorship: defamation and obscenity Delivery mode: face to face / on campus • Professional support organisations Student Workload: 9 HPW timetabled • Promotional strategies for artists – CVs, websites, 6 HPW personal study artists statements, catalogues, press releases, Subject Coordinator: Lynda Draper, Head of Ceramics 79 Description • Developing the necessary technical, conceptual Ceramics 3 is designed to assist students in the and critical skills required for study at postgraduate development of a comprehensive body of work that is level reflective of their individual technical and conceptual • Professional standards of studio practice including interests. Specific emphasis is placed upon the Workplace Health and Safety (WHS) guidelines development of the technical and conceptual skills, relevant to the Ceramics studio and within the more and individual working methodologies required for specific context of independent art practice independent studio practice and/or further study at postgraduate level. Independent Study Students at this level of the course are expected to Objectives engage independently with studio work displaying self- Ceramics 3 aims to: direction and autonomy in their studio practice. • Consolidate the knowledge and skills attained in previous study Prescribed Reading • Consolidate the creative, intellectual and There are no prescribed texts for this subject. investigative capacity of each student, informed by a practical studio experience Recommended Reading • Consolidate understanding of the body of Studio Lecturers will provide technical notes and will knowledge that constitutes the ceramics discipline provide references to any associated reading. and the required skill and methodology for independent studio practice. Learning Outcomes Upon successful completion students should be able Subject Content to demonstrate: Students are required to complete an initial class studio • Broad and coherent knowledge of the skills and project unit that is designed to further extend the the practices of the ceramics discipline with methodologies of scale, construction and form. advanced knowledge in some areas of practice At the conclusion of this initial project, students • Ability to critically reflect upon, and evaluate are required to submit an individual Studio Project concepts in the planning and the production of art proposal. The Studio Project proposal is intended works to assist staff in the identification of individual • Synthesis and application of skills and knowledge educational needs and provide students with a required to realise an independent body of work foundation for the self-directed research and • Ability to communicate and present ideas to production of a body of work that is presented for final various audiences through the presentation of assessment at the end of the year. artworks. Studio Lecturers supervise and guide students • Capacity for independent decision making and through all developmental stages of the Studio Project. informed judgement in the planning and realisation Initial written proposals are submitted for review with of projects within designated timeframes and in lecturing staff and approval by the department. At mid accordance with professional conventions year review students may be advised to resubmit a • Demonstrate the capacity to work responsibly, revised Studio Project Proposal where appropriate. co-operatively and collaboratively in a range of The program is supported by a schedule of individual professional and cultural contexts and group tutorials and critiques with emphasis placed upon: Monitoring of Progress • Development of visual ideas through the use of Mid Year review ceramics materials and processes At mid year a formal review of all work undertaken • Analysis and discussion of the work produced is conducted. Students are advised of their • Studio conventions and protocols of ceramics progress through the use of the progress indicators: practice relevant to individual enquiry ‘satisfactory’ or ‘un-satisfactory’ • Conceptual underpinnings of ceramics materials and processes, including the interdependency of technical innovation and aesthetic evolution throughout the history of ceramic art • The development of individual working methodologies toward independent studio practice • Broader cultural implications of independent art practice • The realisation of individual project goals • Documentation and presentation of work, including consideration of aesthetic and conceptual qualities in preparing and exhibiting a body of coordinated ceramic works

80 Assessment an individual approach to a variety of interpretations of Related Assessment When the how the Grid may assist in informing the work of Weighting Tasks / Items assessed various artists. This can be through the use of division, Students are required to sequential and serial imagery or the mapping of the present: picture plane. It may refer to image, text, narrative or • A comprehensive selection of finished abstract observations. The project does not have a fired work produced for set time frame, it finishes through consultation with each project including any self-directed work the third year coordinator and may continue to form completed throughout the basis for continuous study in the third year Studio the year. In the case Specialisation Project. of large works, a At the comprehensive visual conclusion of At the conclusion of this initial project, students are record documenting the academic 90% required to submit an individual Studio Project proposal. the development and year realisation of the work is The Studio Project proposal is intended to assist staff acceptable in the identification of individual educational needs and • A journal that documents provide students with a studio research foundation relevant aspects of related research into the for the self-directed development and production of a ceramic processes and comprehensive body of work that is reflective of their conceptual development of projects undertaken individual technical and conceptual interests and will throughout the academic be presented for final assessment at the conclusion of year. the year. Observational assessment throughout the 10% Studio Lecturers supervise and guide students duration of the subject through developmental stages of the Studio Project. Initial written proposals are submitted for review with lecturing staff and approval by the department. At mid PAINTING 3 year review students may be advised to resubmit a PAI300 revised Studio Project Proposal where appropriate. Award/Level: BFA / Year 3 The program is supported by a schedule of Core or Elective: Elective / Studio Specialisation individual and group tutorials and critiques with Pre-requisites: PAI200 emphasis placed upon: Co-requisites: STS300 (Painting Studio Seminar 3) • Development of visual ideas through the use of Credit Points: 32 painting media Duration: 27 Weeks / Semester 1 & 2 / 324 Hours • Analysis and discussion of the work produced Delivery mode: face to face / on campus • Studio conventions and protocols of painting Student Workload: 12 HPW timetabled practice relevant to individual enquiry 6 HPW personal study • Giving students the necessary studio instruction to Subject Coordinator: Dr Stephen Little, Head of consolidate the understanding of the synthesis of Painting theory and practice • Conceptual underpinnings of painting media Description • Providing a supportive class structure for the Painting 3 is designed to assist students in the development of individual working methodologies development of a comprehensive body of work that is toward independent studio practice reflective of their individual technical and conceptual • Broader cultural implications of independent interests. Specific emphasis is placed upon the art practice development of the technical and conceptual skills, • The realisation of individual project goals and individual working methodologies required for • Documentation and presentation of work independent studio practice and/or further study at • Developing the necessary technical, conceptual and postgraduate level. critical skills required for study at postgraduate level • Professional standards of studio practice including Objectives Workplace Health and Safety (WHS) guidelines Painting 3 aims to: relevant to the painting studio and within the more • Consolidate the knowledge and skills attained in specific context of independent art practice previous study • Consolidate the creative, intellectual and Independent Study investigative capacity of each student, informed by Students at this level of the course are expected to a practical studio experience engage independently with studio work displaying self- • Consolidate understanding of the body of direction and autonomy in their studio practice. knowledge that constitutes the painting discipline and the required skill and methodology for Prescribed Reading independent studio practice. There are no prescribed texts for this subject.

Subject Content Recommended Reading Students are required to complete an initial studio Studio Lecturers will provide technical notes and will project based on the conceptual premise of the Grid. provide references to any associated reading Students are required to research and respond with 81 Learning Outcomes Description Upon successful completion students should be able Photomedia 3 is designed to assist students in the to demonstrate: development of a comprehensive body of work that is • Broad and coherent knowledge of the skills and the reflective of their individual technical and conceptual practices of the painitng discipline with advanced interests. Specific emphasis is placed upon the knowledge in some areas of practice development of the technical and conceptual skills, • Ability to critically reflect upon, and evaluate concepts and individual working methodologies required for in the planning and the production of art works independent studio practice and/or further study at • Synthesis and application of skills and knowledge postgraduate level. required to realise an independent body of work • Ability to communicate and present ideas to various Objectives audiences through the presentation of artworks. Photomedia 3 aims to: • Capacity for independent decision making and • Consolidate the knowledge and skills attained in informed judgement in the planning and realisation previous study of projects within designated timeframes and in • Consolidate the creative, intellectual and investigative accordance with professional conventions capacity of each student, informed by a practical • Demonstrate the capacity to work responsibly, studio experience co-operatively and collaboratively in a range of • Consolidate understanding of the body of professional and cultural contexts knowledge that constitutes the Photomedia discipline and the required skill and methodology Monitoring of Progress for independent studio practice. Mid Year review • At mid year a formal review of all work undertaken Subject Content is conducted. Students are advised of their Students are required to develop and submit an progress through the use of the progress indicators: individual Studio Project proposal. The Studio Project ‘satisfactory’ or ‘un-satisfactory’ proposal forms a foundation for self-directed research Students are required to submit: and development of a body of work throughout the • Minimum of 5 substantive works based on set and year, which in turn, forms the basis for final assessment self-directed projects, demonstrating evidence of at the conclusion of the year. It provides students with developed skills and attitudes the opportunity to develop a comprehensive body of • Portfolio containing all support work, research work that is reflective of their individual technical and and examples of self directed study conceptual interests. • Sketchbooks of working ideas, references, In keeping with the stated Subject purpose and and studies specified Learning Outcomes, lecturing staff closely supervise and guide students through all developmental Assessment stages of the Studio Project. Initial written proposals are submitted for review with lecturing staff and approval Related Assessment When Weighting Tasks / Items assessed by the department. At mid-year review students may be Students are required to advised to resubmit a revised Studio Project Proposal present: where appropriate • A minimum of 7 major The program is supported by a schedule of individual works showing evidence of developed skills and At the and group tutorials and critiques with emphasis placed attitudes conclusion of upon: • Portfolio containing the academic 90% studies, support work year • Development of visual ideas through the use of and examples of self- photographic and related media directed study • Analysis and discussion of the work produced • Sketchbooks of working ideas, references and • Studio conventions and protocols of photographic studies/drawings. practice relevant to individual enquiry Observational assessment throughout the 10% • Conceptual underpinnings of photographic media duration of the subject • The development of individual working methodologies toward independent studio practice • Broader cultural implications of independent art PHOTOMEDIA 3 practice PHO300 • The realisation of individual project goals Award/Level: BFA / Year 3 • Documentation and presentation of photographs Core or Elective: Elective / Studio Specialisation • Developing the necessary technical, conceptual and Pre-requisites: PHO200 critical skills required for study at postgraduate level Co-requisites: STS300 (Photomedia Studio Seminar 3) • Professional standards of studio practice including Credit Points: 32 Workplace Health and Safety (WHS) guidelines Duration: 27 Weeks / Semester 1 & 2 / 324 Hours relevant to the Photomedia studio and within the Delivery mode: face to face / on campus more specific context of independent art practice Student Workload: 12 HPW timetabled 6 HPW personal study Subject Coordinator: Geoff Kleem, Head of Photomedia 82 Independent Study PRINTMAKING 3 Students at this level of the course are expected to PRI300 engage independently with studio work displaying Award/Level: BFA / Year 3 self-direction and autonomy in their studio practice. Core or Elective: Elective / Studio Specialisation Pre-requisites: PRI200 Prescribed Reading Co-requisites: STS300 (Printmaking Studio Seminar There are no prescribed texts for this subject. 3) Credit Points: 32 Recommended Reading Duration: 27 Weeks / Semester 1 & 2 / 324 Hours Studio Lecturers will provide technical notes and will Delivery mode: face to face / on campus provide references to any associated reading Student Workload: 12 HPW timetabled 6 HPW personal study Learning Outcomes Subject Coordinator: Peter Burgess, Head of Upon successful completion students should be able Printmaking to demonstrate: • Broad and coherent knowledge of the skills Description and the practices of the painitng discipline with Printmaking 3 is designed to assist students in advanced knowledge in some areas of practice the development of a comprehensive body of • Ability to critically reflect upon, and evaluate work that is reflective of their individual technical concepts in the planning and the production of and conceptual interests. Specific emphasis is art works placed upon the development of the technical • Synthesis and application of skills and knowledge and conceptual skills, and individual working required to realise an independent body of work methodologies required for independent studio • Ability to communicate and present ideas to practice and/or further study at postgraduate level. various audiences through the presentation of artworks. Objectives • Capacity for independent decision making Printmaking 3 aims to: and informed judgement in the planning • Consolidate the knowledge and skills attained in and realisation of projects within designated previous study timeframes and in accordance with professional • Consolidate the creative, intellectual and conventions investigative capacity of each student, informed • Demonstrate the capacity to work responsibly, by a practical studio experience co-operatively and collaboratively in a range of • Consolidate understanding of the body of professional and cultural contexts knowledge that constitutes the printmaking discipline and the required skill and methodology Monitoring of Progress for independent studio practice. Mid Year review At mid year a formal review of all work undertaken Subject Content is conducted. Students are advised of their Students are required to submit an individual progress through the use of the progress indicators: Studio Project proposal. The Studio Project proposal ‘satisfactory’ or ‘un-satisfactory’ is intended to assist staff in the identification of individual educational needs and provide students Assessment with a foundation for the self-directed research and production of a body of work that is presented for final Related Assessment When Weighting Tasks / Items assessed assessment at the end of the year. In keeping with the stated Subject purpose Students are required to present: and specified Learning Outcomes, lecturing staff • One or more bodies closely supervise and guide students through all of work presented to professional standard developmental stages of the Studio Project. Initial and representing At the written proposals are submitted for review with sustained independent conclusion of and guided investigation lecturing staff and approval by the department. At mid the academic 90% • A support portfolio year review students may be advised to resubmit a year comprising: revised Studio Project Proposal where appropriate • folio of additional completed prints The program is supported by a schedule of • visual journal individual and group tutorials and critiques with documenting drawings, proof sheets, tests and emphasis placed upon: individual investigation Observational assessment throughout the • Development of visual ideas through the use of 10% duration of the subject printmaking media • Analysis and discussion of the work produced • Studio conventions and protocols of printmaking practice relevant to individual enquiry • The development of individual working methodologies toward independent studio practice 83 • Broader cultural implications of independent art Assessment practice Related Assessment When Weighting • The realisation of individual project goals Tasks / Items assessed • Professional standards of studio practice including Students are required to Workplace Health and Safety (WHS) guidelines present: • A cohesive body of work relevant to the printmaking studio and within the completed for the Studio more specific context of independent art practice Specialisation project component • Support work including Independent Study relevant working proofs, sketchbooks, At the Students at this level of the course are expected to preparatory drawings, conclusion of engage independently with studio work displaying self- technical trials etc. the academic 90% • A journal which direction and autonomy in their studio practice. year documents relevant aspects of research into Prescribed Reading the use of printmaking practice in the visual There are no prescribed texts for this subject. arts practice, including notes from technical demonstrations, Recommended Reading individual technical Studio Lecturers will provide relevant notes and research and research of references where appropriate. individual artist practice Observational assessment throughout the 10% duration of the subject Learning Outcomes Upon successful completion students should be able to demonstrate: STUDIO SEMINAR 3 • Broad and coherent knowledge of the skills and the practices of the printmaking discipline with STS300 advanced knowledge in some areas of practice Award/Level: BFA / Year 3 • Ability to critically reflect upon, and evaluate Core or Elective: Core concepts in the planning and the production of art Pre-requisites: STS200 works Co-requisites: CER300/PAI300/PHO300/PRI300/ • Synthesis and application of skills and knowledge SCU300 required to realise an independent body of work Credit Points: 4 • Ability to communicate and present ideas to various Duration: 27 Weeks / Semester 1 & 2 / 27 Hours audiences through the presentation of artworks. Delivery mode: face to face / on campus • Capacity for independent decision making and Student Workload: 1 HPW timetabled informed judgement in the planning and realisation 1 HPW personal study of projects within designated timeframes and in Subject Coordinator: Head of Studio Discipline accordance with professional conventions • Demonstrate the capacity to work responsibly, Description co-operatively and collaboratively in a range of Studio Seminar 3 provides an opportunity for professional and cultural contexts students to contextualise the work produced in Studio Specialisation 3 within broader cultural and Monitoring of Progress professional contexts including current art practice Mid Year review specific to their chosen discipline. At mid year a formal review of all work undertaken is conducted. Students are advised of their Objectives progress through the use of the progress indicators: The Studio Seminar 3 program is intended to support ‘satisfactory’ or ‘un-satisfactory’ the increasing independence of student enquiry and practice at this level of the course. The subjects aims to: • Provide specific support for students in the development of their Studio Project • Assist students in positioning their individual activity within a broader cultural context

Subject Content Weekly seminars include • Development of a Studio Project from focus on initial ideas, source and selection subject matter and identification and investigation of related precedents • Investigation of current issues in art practice and curatorial models relevant to practice with specific discipline area • Development and presentation of a seminar presentation and accompanying written paper 84 that serves to document and discuss student’s Pre-requisites: AHT100 independent studio practice Co-requisites: Nil • Examination of the professional conventions Credit Points: 3 and practices applicable to the specific studio Duration: 12 Weeks / 24 Hours discipline area. Delivery mode: face to face / on campus Student Workload: 2 HPW timetabled Prescribed Reading 2 HPW personal study There are no prescribed texts for this subject. Subject Coordinator: Dr Ian Greig

Recommended Reading Description Studio Lecturers will provide technical notes and will This subject introduces students to the philosophy provide references to any associated reading. of art and aesthetics. Conceived within a historical framework, this course traces the evolution of Learning Outcomes aesthetic philosophy from the classical era to Upon successful completion students should be able romanticism via the writing of some key thinkers. to demonstrate: By contextualising each aesthetic theory within the • A broad awareness of the varying cultural and dominant cultural values of the time, this course professional contexts of art practice and with will highlight art’s dynamic relationship with broader specific understanding of ones own activity social, political and religious thinking. within those context • Ability to locate and evaluate their individual Objectives work within a broader contemporary cultural This subject aims to provide students with an framework, with reference to established understanding of some of the complex issues that curatorial models have historically motivated the philosophy of art • Critically analyse and contextualise their work and aesthetics in the Western tradition and which and that of their peers with reference to the continue to underpin some of the questions that history, conventions, materials and processes of theorists, philosophers and historians pose today the studio regarding the nature, value and purpose of art. • Demonstrate ability to articulate and communicate ideas, conveying information with Subject Content clarity and cohesion Topics include: • Demonstrate capacity for independent thought • Beauty and the application of critical perspectives to a • Art range of art works and practices • Sublime • Demonstrate the capacity to engage in critical • Plato discussion working co-operatively with others in a • Aristotle range of contexts • Plotinus • Augustine Assessment • Pseudo-Dionysius • Aquinas Related Assessment When Weighting Tasks / Items assessed • Alberti and Vasari Students are required to: • Hume • Prepare and deliver a • Kant At the seminar presentation conclusion of • Hegel and accompanying the academic 90% written paper that • Schopenhauer year contextualises the • Nietzsche student’s independent studio practice. • Beauty • Art Observational assessment Throughout the throughout the duration of duration of the 10% • Sublime the subject subject • Plato • Aristotle • Plotinus AHT ELECTIVES FOR • Augustine 2ND & 3RD YEARS • Pseudo-Dionysius • Aquinas • Alberti and Vasari THE PHILOSOPHY OF ART AND • Hume AESTHETICS 1 • Kant AHT210 • Hegel Award/Level: BFA / Year 2 & 3 • Schopenhauer Core or Elective: Elective • Nietzsche

85 Prescribed Reading Subject Content There are no prescribed texts for this subject. Topics include: • Beauty Recommended Reading • Art Readings are provided to students via the AHT • Sublime website: www.nasaht.com.au • Heidegger • Merleau-Ponty Learning Outcomes • Benjamin Upon successful completion students will demonstrate: • Adorno • Introductory knowledge of the aesthetic views of • Bell key thinkers in the Western tradition who have • Fry shaped the evolution of the philosophy of art which • Greenberg continue to underpin some of the questions posed • Duchamp today regarding the nature, value and role of art. • Barthes • Familiarity with the complex issues that have • Derrida motivated the philosophy of art throughout history • Danto • Understanding of the dynamic relationship • Baudrillard between art and the broader cultural and social • Lyotard context. • Crowther • Ability to effectively evaluate, organise and articulate information and ideas relating to the Prescribed Reading subject, employing appropriate terminology and There are no prescribed texts for this subject. referencing sources where applicable. Recommended Reading Assessment Readings are provided to students via the AHT Related Assessment When website: www.nasaht.com.au Weighting Tasks / Items assessed

Essay Week 12 100% Learning Outcomes Upon successful completion students will demonstrate: • Introductory knowledge of the diversity of positions THE PHILOSOPHY OF ART AND regarding art and aesthetics in the twentieth AESTHETICS 2 century AHT211 • Introductory knowledge of the philosophy of art Award/Level: BFA / Year 2 & 3 and aesthetics Core or Elective: Elective • Understanding of the how these continue to inform Pre-requisites: AHT100 our understanding of art today. Co-requisites: Nil • Ability to effectively evaluate, organise and Credit Points: 3 articulate information and ideas relating to the Duration: 12 Weeks / 24 Hours subject, employing appropriate terminology and Delivery mode: face to face / on campus referencing sources where applicable. Student Workload: 2 HPW timetabled 2 HPW personal study Assessment Subject Coordinator: Dr Ian Greig Related Assessment When Weighting Tasks / Items assessed Description Essay Week 12 100% The Philosophy of Art and Aesthetics 2 will trace the evolution of aesthetic philosophy from the early twentieth century to postmodernism via the writing of MODERN AND CONTEMPORARY some key thinkers. The course will introduce students to ASIAN ART a diversity of positions regarding art and aesthetics and AHT219 will highlight art’s dynamic relationship with the broader Award/Level: BFA / Year 2 & 3 social, philosophical and political thinking that have Core or Elective: Elective shaped our understanding of art throughout the last Pre-requisites: AHT100 hundred years. Co-requisites: Nil Credit Points: 3 Objectives Duration: 12 Weeks / 24 Hours The subject aims to provide students with an Delivery mode: face to face / on campus understanding of some of the complex issues that Student Workload: 2 HPW timetabled have historically motivated the philosophy of art and 2 HPW personal study aesthetics in the Western tradition and which continue Subject Coordinator: Dr Clair Veal to underpin some of the questions that theorists, philosophers and historians pose today regarding the nature, value and purpose of art.

86 Description GENDER AND SEXUALITY IN ART This course is an introduction to modern and AHT223 contemporary art from Southeast Asia, India, Japan Award/Level: BFA / Year 2 & 3 and China. Thematically structured seminars will Core or Elective: Elective address key case studies to expose students to a Pre-requisites: AHT100 range of relevant art historical approaches and critical Co-requisites: Nil perspectives. We will begin with a survey of Asian Credit Points: 3 modernisms through a number of theoretical and Duration: 12 Weeks / 24 Hours historical lenses. The course will also examine the Delivery mode: face to face / on campus emergence of contemporary Asian art in Australia Student Workload: 2 HPW timetabled and internationally, through the rise of biennales, 2 HPW personal study curatorship, digital and new media, and social practice. Subject Coordinator: Dr Christine Dean

Objectives Description This course aims to develop students’ knowledge and This course charts the history of gender and sexuality familiarity with modern and contemporary Asian art, in art. Adopting perspectives derived from queer and as well as the key art historical, theoretical and critical feminist theory, the elective will focus in particular on methods for its analysis. The course is a component of the expression and representation of gay, lesbian, trans, the AHT strategy to integrate Western and Asian art post, and non-binary genders in ancient, pre-modern, history in the core and elective programs. modernist, and contemporary artistic cultures. Subject Content Objectives Topics include: This course aims to develop students’ understanding • Colonial arts institutions of gay, lesbian, and transgender art and their • Visual culture in post-colonial and nationalist contemporary and historical roles in politics, society and movements culture. The elective offers the opportunity for students • Gender and sexuality to engage more deeply in topics discussed in AHT300. • Neo-traditionalism and religion • Photography Subject Content • Cold War politics and political radicalism in art; Topics include: Localism, globalism and regionalism in contemporary • feminism Asian art • historical and contemporary gay and lesbian art • Biennales, art fairs and contemporary curatorship • transgender art Digital and new media art • museums and institutions collecting • Performance and social art practice • curating and exhibiting art related to gender • Asian-Australian art and sexuality • queer theory Prescribed Reading • historical and contemporary writings on gender and There are no prescribed texts for this subject. sexuality in art and post-colonial perspectives on gender and sexuality in a global world. Recommended Reading Readings are provided to students via the AHT website: Prescribed Reading www.nasaht.com.au There are no prescribed texts for this subject.

Learning Outcomes Recommended Reading Upon successful completion students will demonstrate: Readings are provided to students via the AHT • Evaluated the impact of institutions, curatorship, art website: www.nasaht.com.au history and criticism on the development of Asian art histories and currents of artistic practice. Learning Outcomes • Developed knowledge of the key terminology and Upon successful completion students will methodological approaches for researching Asian art. demonstrate: • Developed the ability to conduct independent • Evaluated the significance of gender and sexuality in research, interpret and organise ideas, and write for society and culture. a variety of purposes, adjusting tone and terminology • Developed knowledge and interpretative skills as appropriate. relating to the historical and contemporary role of gender and sexual expression through an inclusive Assessment selection of artistic forms and media. Related Assessment When Weighting • Developed connections and associations linking Tasks / Items assessed the theory and representation of gender expression Essay Week 12 100% in art to the students’ emerging practices through writing and research. • Develop skills by expressing research verbally through individual presentations. 87 Assessment Related Assessment When Learning Outcomes Weighting Tasks / Items assessed Upon successful completion students will demonstrate: Essay Week 12 100% • Gained an understanding of the principal artistic achievements, techniques and artists of the seventeenth century THE ART OF THE SEVENTEENTH • Developed their understanding of the artistic CENTURY genres of history painting, landscape and AHT213 portraiture in the context of the seventeenth Award/Level: BFA / Year 2 & 3 century, displaying improved skills of visual analysis Core or Elective: Elective • Developed critical awareness of the effects of Pre-requisites: AHT100 social influences on the status of art in the context Co-requisites: Nil of the seventeenth century Credit Points: 3 • Demonstrated an ability to effectively evaluate, Duration: 12 Weeks / 24 Hours organise and articulate information and ideas Delivery mode: face to face / on campus relating to art in the seventeenth century, Student Workload: 2 HPW timetabled employing appropriate terminology and referencing 2 HPW personal study sources where applicable. Subject Coordinator: Dr Michael Hill, Head of Art History & Theory Assessment Related Assessment When Weighting Description Tasks / Items assessed The subject examines the achievements and Essay (1,200 words) Week 10 60% techniques of the principal artists of the seventeenth century, an era once described as the Golden Age of Exam Week 12 40% painting. The material is organized by region, beginning in Papal Rome in the Counter Reformation, before AGE OF ENLIGHTENMENT: REASON AND moving to the monarchical courts of Madrid, Paris, and FEELING IN THE 18TH CENTURY London. The latter part of the course focuses on the AHT214 open markets of Amsterdam, Haarlem, and Delft, which Award/Level: BFA / Year 2 & 3 first witness the characteristic conditions of modern art Core or Elective: Elective production. Pre-requisites: AHT100 Co-requisites: Nil Objectives Credit Points: 3 This subject aims to develop understanding of the Duration: 12 Weeks / 24 Hours careers of the principal artists of the Baroque period. Delivery mode: face to face / on campus Students will gain awareness of the conditions of Student Workload: 2 HPW timetabled patronage and the social status of artist; woman 2 HPW personal study artists; religious and mythological themes; the Subject Coordinator: Dr Georgina Cole decorum of the genres, such as history painting, landscape, and portraiture. Description The eighteenth-century was an era of revolutionary Subject Content political upheaval, philosophical investigation and Topics include: artistic change. Through the Enlightenment re- • Ceiling painting examination of the foundations of human civilisation, • Caravaggio society, and relationship to nature, almost all aspects • Gentileschi and Reni of knowledge were radically transformed. This course • Poussin and Claude focuses on the intersection of art and ideas in the • Bernini eighteenth century, examining representations of • Borromini gender, race, social identity, politics, space, feelings • The Speaking Likeness and subjectivity, as well as its aesthetic theories. • Velazquez Through a range of seminar topics we will explore the • Rubens contradictory, yet characteristic fusion of reason and • Van Dyck feeling in eighteenth-century culture. • Hals • Vermeer Objectives • Rembrandt The aims to develop an understanding of the major themes of eighteenth-century art in England and Prescribed Reading France including the stylistic categories of the There are no prescribed texts for this subject. Rococo and Neoclassicism, the role of patrons and art academies, issues of gender, and the impact of Recommended Reading Enlightenment ideas on works of art. Readings are provided to students via the AHT website: www.nasaht.com.au 88 http://www.nasaht.com.au/index.php?p=1_8 Subject Content Topics include: Subject Content • Art and the Enlightenment Topics include: • Science and spectacle • Introduction to the Forest of Symbols: • Childhood anthropological theories of art • Feelings and fears • Myth and the Shape of Things: The Dogan of Mali • Race and Enlightenment’s others • Masks- the Good, the Bad and the Ugly: rites of • Portraiture and social identity passage, secret societies, boy soldiers and late • Rethinking gender masks • Space and the self • The Royal Arts of Africa I: the theatre of the state Aesthetics • The Royal Arts of Africa II: Ife, Benin and the Yoruba • Goya and the Enlightenment Kingdoms • Meso-American Beginnings: The arts of the Olmec Prescribed Reading and of Teotihuican There are no prescribed texts for this subject. • The Forest of Kings: the royal arts of the Maya • Visiting the Lords of Hell: Mayan myth Recommended Reading • The Pyramids of Sacrifice: art and the Aztec state Dorinda Outram, Panorama of the Enlightenment • Fighting with Gifts: the art of the N.W. Coast of the (London: Thames and Hudson, 2006). U.S. and Canada Learning Outcomes • The Arts of Melanesia I: the arts of the Asmat, Upon successful completion students will: Papuan Gulf and Sepik • Develop a body of knowledge about Enlightenment • The Arts of Melanesia II: the Malagan of New ideas and eighteenth-century art Ireland • Develop extended and refined skills of visual • The Arts of Polynesia: Hawaiian art, the arts of the analysis in relation to social and intellectual context New Zealand Maori • Acquired abilities of critical thinking and reflection • Develop skills of research, interpretation and Prescribed Reading writing, and through oral presentations, cultivate There are no prescribed texts for this subject. speaking skills and interpretation Recommended Reading Assessment Readings are provided to students via the AHT Related Assessment When website: www.nasaht.com.au Weighting Tasks / Items assessed

Essay Week 10 60% Learning Outcomes Upon successful completion students will have: Oral Presentation We e k 11-12 40% • Gained a familiarity with the arts of the indigenous peoples of Africa, the Americas and the Pacific; INDIGENOUS ART identifying, classifying and broadly interpreting AHT217 relevant art works Award/Level: BFA / Year 2 & 3 • Developed an awareness of the range Core or Elective: Elective of theoretical frameworks applied to the Pre-requisites: AHT100 understanding of indigenous arts and of the Co-requisites: Nil influence of indigenous arts on the development of Credit Points: 3 Modernism Duration: 12 Weeks / 24 Hours • Developed critical awareness of the social, Delivery mode: face to face / on campus religious, cultural and historical contexts that have Student Workload: 2 HPW timetabled conditioned the creation and reception of the art 2 HPW personal study forms studied Subject Coordinator: Alex Trompf • Demonstrated an ability to effectively evaluate, organise and articulate information and ideas relating Description to indigenous arts, employing appropriate terminology and referencing sources where applicable This subject provides an introduction to the arts

of indigenous peoples in Africa, the Americas and

the Pacific. The subject also introduces a range

of Modernist, Post-Modernist and Post-Colonial

theoretical frameworks and examines how they apply

to understanding of indigenous arts.

Objectives

The subject aims to develop students’ understanding

of the complex interplay of the social, religious, cultural and historical contexts that conditioned the creation and reception of indigenous arts of Africa, the Americas and 89 the Pacific. Assessment • Developed critical awareness of the social, religious, Related Assessment When cultural and historical contexts that have conditioned Weighting Tasks / Items assessed the creation and reception of the art forms studied Essay (2000 words) Week 10 90% • Demonstrated an ability to effectively evaluate, organise and articulate information and ideas Throughout Class participation 10% subject relating to indigenous arts, employing appropriate terminology and referencing sources where ABORIGINAL ART applicable AHT218 Assessment Award/Level: BFA / Year 2 & 3 Related Assessment When Core or Elective: Elective Weighting Tasks / Items assessed Pre-requisites: AHT100 Co-requisites: Nil Essay (2000 words) Week 10 90% Throughout Credit Points: 3 Class participation 10% Duration: 12 Weeks / 24 Hours subject Delivery mode: face to face / on campus Student Workload: 2 HPW timetabled ARCHITECTURE: THE ART OF THE CITY 2 HPW personal study AHT221 Subject Coordinator: Alex Trompf Award/Level: BFA / Year 2 & 3 Core or Elective: Elective Description Pre-requisites: AHT100 This subject provides an introduction to the arts of Co-requisites: Nil Aboriginal Australia. The subject also introduces a Credit Points: 3 range of anthropological, Modernist, Post-Modernist Duration: 12 Weeks / 24 Hours and Post-Colonial theoretical frameworks to Delivery mode: face to face / on campus demonstrate how they apply to the understanding of Student Workload: 2 HPW timetabled aboriginal arts. 2 HPW personal study Subject Coordinator: Dr Michael Hill, Head of Art History & Theory Objectives The subject aims to develop students’ understanding Description of the complex interplay of the social, religious, cultural Architecture was once considered the mother of and historical contexts that conditioned the creation the arts, in the sense that it both played host to the and reception of Aboriginal art in Australia. other arts and united on an abstract level universal elements of design and structure. Although this Subject Content is no longer a common view, architecture remains Topics include: an intimate, if poorly understood, member of the • Rover Thomas visual arts, framing its everyday practices and • Emily Kngywarreye expressing on a monumental level many of its wider • Papanyu Movement ambitions. Moreover, architecture articulates the • Albert Namatjira and Hermansberg landscape civic community; the built environment is one of • Ten Canoes and representation of Aboriginal society the clearest indicators of who we are and what we in cinema have been. The course takes the perspective on • Clifford Thomas architecture that goes beyond individual buildings, • Michael Tjakamara examining also the structure of the city and types • Kinship systems in Aboriginal society of transport and circulation. No prior knowledge of • Role of dance and body paint architecture is assumed. • Dreaming Objectives Prescribed Reading The subject aims to develop students’ recognition and There are no prescribed texts for this subject. understanding of a range of architectural styles and periods, building terminology and structural principles, Recommended Reading and issues of urbanism. Readings are provided to students via the AHT website: www.nasaht.com.au Subject Content Topics covered include: Learning Outcomes • Classicism Upon successful completion students will have: • Medieval city • Gained a familiarity with the arts of the indigenous • Renaissance order peoples of Australia • Architectural decorum • Developed an awareness of the range of theoretical • Industrialisation frameworks applied to the understanding of • Modern masters, including Wright, Le Corbusier, aboriginal arts. Mies, Aalto, Utzon, and Kahn 90 • Doors and windows • Skyscrapers Subject Content • Post-modernism Areas of study include: • Cars and circulation • Art production and gender • Urbanism • The mythology of culture • The history of women in art Prescribed Reading • The body: representation and gender There are no prescribed texts for this subject. • Women, portraiture and the mask • The contemporary art market Recommended Reading • The cult of celebrity Readings provided via www.nasaht.com.au Prescribed Reading Learning Outcomes There are no prescribed texts for this subject. Upon successful completion students will have: • Knowledge required to identify specific Recommended Reading Architectural styles and periods; Readings provided http://www.nasaht.com.au/index. • Knowledge of building terminology and of key php?p=1_ 8 structural principles such as tension, compression, and loads; materials Learning Outcomes • Knowledge of basic issues of urbanism, such as Upon successful completion students will demonstrate: circulation, density, etc. • Familiarity with some of the most influential ideas • Demonstrated an ability to effectively evaluate, and the historical debates related to feminism and organise and articulate information and ideas women in art. relating to architecture, employing appropriate • Understanding of the social and cultural contexts terminology and referencing sources where surrounding the production of art by women applicable including the effects of different types of patronage upon the display and consumption of these works. Assessment • Appreciation for the wider context of art making Related Assessment When within society in terms of both the economic and Weighting Tasks / Items assessed ideological factors behind its display in collections,

Essay plan (1,500 words) Week 10 60% museums and galleries. • Ability to effectively evaluate, organise and Take Home Exam Week 12 40% (500 words) articulate information and ideas relating to the subject, employing appropriate terminology and referencing sources where applicable. WOMEN IN ART AHT224 Assessment Award/Level: BFA / Year 2 & 3 Related Assessment When Weighting Core or Elective: Elective Tasks / Items assessed Pre-requisites: AHT100 Co-requisites: Nil Essay (1,200 words) Week 10 90% Credit Points: 3 Participation Throughout 10% Duration: 12 Weeks / 24 Hours Delivery mode: face to face / on campus SPACE IN PAINTING Student Workload: 2 HPW timetabled AHT235 2 HPW personal study Award/Level: BFA / Year 2 & 3 Subject Coordinator: Lorraine Kypiotis Core or Elective: Elective Pre-requisites: AHT100 Description Co-requisites: Nil The course will examine the ways in which female Credit Points: 3 artists and the images made by them are presented Duration: 12 Weeks / 24 Hours in the context of social, political and cultural history. Delivery mode: face to face / on campus Further, it will look at examples of women artists Student Workload: 2 HPW timetabled in the tradition of western civilisation up to and 2 HPW personal study including post–modernism. Subject Coordinator: Dr Georgina Cole Objectives Description The aim of this course is to raise the awareness of This subject takes a historical and cross-cultural the centrality and complexity of gender issues in perspective to explore and consider how and why the master narrative of western art. It will attempt painters have represented three-dimensional spaces on to stimulate students’ thinking in regard to, and two-dimensional planes in the history of art. questioning of, the relationship between art production & gender.

91 Objectives modernity, including: the economic and ideological The subject aims to increase students’ understanding role of art in late capitalism, the impact of new of the diversity of systems of spatial representation media, and the allegorical significance of industrial and the impact of cultural, social and psychological technologies, and such as the rise of robotics and attitudes to architecture, interiors and cities on the artificial intelligence. subjects and imagery of art. Objectives Subject Content The aim of this subject is to increase students’ Topics include eastern and western cosmology and knowledge and understanding of contemporary creation images, the development of perspective in the cultural discourses and their manifestations in trans- Renaissance, space and sexuality, ruins in art, fragments disciplinarity and material culture. Students will develop and psychosis in modernity, dream spaces in Surrealism, skills in critical reading and discussion of theorists and Cezanne’s transformations of the picture plane. such as Adorno and others of the Frankfurt school; they will be introduced to trans-disciplinarity and the Prescribed Reading analysis of material culture. There are no prescribed texts for this subject. Subject Content Recommended Reading Topics include: Recommended reading lists will be provided. • Relational aesthetics • Late capitalist cultural production Learning Outcomes • Anthropological and sociological perspectives on Upon successful completion students will have: art history • An understanding of diverse systems of spatial • Information theory and digital media representation in painting • A strong knowledge of how the analysis of space Prescribed Reading contributes to the interpretation of images There are no prescribed texts for this subject. • An understanding of the representation of space in painting as a constant dialogue between past and present specific to different cultures and aesthetic theories Recommended Reading • Demonstrated improved skills of visual analysis Recommended reading lists will be provided via the relating to space in two-dimensional images AHT web-site: • Demonstrated an ability to effectively evaluate, www.nasaht.com.au organise and articulate information and ideas relating to space in painting, employing Learning Outcomes appropriate terminology and referencing sources Upon successful completion students will have: where applicable • Knowledge and understanding of contemporary cultural discourses and their manifestations in Assessment trans-disciplinarity and material culture. Related Assessment When • Introductory knowledge of the theories of the Weighting Tasks / Items assessed Frankfurt School Essay plan (500 words) Week 8 30% • Introductory knowledge of trans-disciplinarity with particular reference to “thing” theory. Essay (2,000 words) Week 12 70% • Demonstrated an ability to effectively evaluate, organise and articulate information and ideas ISSUES IN CONTEMPORARY CULTURAL relating to the subject, employing appropriate DISCOURSE terminology and referencing sources where AHT247 applicable Award/Level: BFA / Year 2 & 3 Core or Elective: Elective Assessment Pre-requisites: AHT100 Related Assessment When Weighting Co-requisites: Nil Tasks / Items assessed Credit Points: 3 Essay (2000 words) Week 12 100% Duration: 12 Weeks / 24 Hours Delivery mode: face to face / on campus MUSEUMS, GALLERIES AND Student Workload: 2 HPW timetabled CONTEMPORARY SPACES OF DISPLAY 2 HPW personal study Subject Coordinator: Dr Michael Hill, Head of Art AHT257 History & Theory Award/Level: BFA / Year 2 & 3 Core or Elective: Elective Description Pre-requisites: AHT100 Co-requisites: Nil Drawing on philosophy, aesthetics, and anthropology, Credit Points: 3 the subject examines key problematics within 92 Duration: 12 Weeks / 24 Hours Delivery mode: face to face / on campus Assessment Student Workload: 2 HPW timetabled Related Assessment When Weighting 2 HPW personal study Tasks / Items assessed Subject Coordinator: Lorraine Kypiotis Essay (1,200 words) Week 10 90%

Description Participation Throughout 10% This subject introduces students to the rise and development of Museums and Galleries providing an SPACE AND FORM IN MODERN historical and theoretical overview of traditional cultures SCULPTURE of display and the role of the museum within a social AHT258 and cultural framework. The subjects also considers Award/Level: BFA / Year 2 & 3 alternative exhibition spaces and cultures of display Core or Elective: Elective and their place within the contemporary Visual Arts, Pre-requisites: AHT100 and the role of museum workers including curators and Co-requisites: Nil behind the scenes staff. Credit Points: 3 Duration: 12 Weeks / 24 Hours Objectives Delivery mode: face to face / on campus This subject aims to broaden students’ understanding Student Workload: 2 HPW timetabled the various cultural and historical contexts of the rise 2 HPW personal study and development of museums and the more specific Subject Coordinator: Dr Michael Hill, Head of Art relationship between the artifact and audience as History & Theory cultural material. Description Subject Content The course examines the artists and ideas of modern Areas of study include: sculpture. • Cabinets of Curiosity • The rise of the modern museum Objectives • Spaces of experience The course aims to explain the change in figurative • Strategies of display content of sculpture in the wake of Rodin in the late • The museum as social space nineteenth century, and the consequent emergence of • Destination architecture abstraction and emphasis on space rather than form. • The power of the artifact The use of materials - such as steel, plastic, glass, and • The museum without walls recycled junk – is explained in terms of sculpture’s ethical duty to poetically transform the industrial Prescribed Reading material of contemporary life. The course also explains There are no prescribed texts for this subject. the significance of siting, and the difference between indoor and outdoor work. Recommended Reading Readings provided AHT web-site: www.nasaht.com. Subject Content au/index.php?p=1_5 The course is organized chronologically, focused on the careers of individual sculptors, including: Auguste Learning Outcomes Rodin, Constantin Brancusi, Umberto Boccioni, Upon successful completion students will Naum Gabo, Antoine Pevsner, Henry Moore, Barbara demonstrate: Hepworth, Pablo Picasso, Julio Gonzalez, David • Familiarity with some of the most influential ideas Smith, Anthony Caro, Eva Hesse, Christo, Richard and the historical debates related to museology Serra, Rachel Whiteread, Anish Kapoor, and Jessica • Skills to analyse the social and cultural contexts Stockholder. surrounding the production of art including the effects of different types of patronage upon the Prescribed Reading display and consumption of artefacts they will There are no prescribed texts for this subject. develop. • Appreciation for the wider context of art making Recommended Reading within society in terms of its economics and the Recommended reading lists will be provided via the ideological factors behind its display in collections, AHT web-site: http://nasaht.com.au/index.php?p=1_5 museums and galleries • Ability to evaluate, organise and articulate Learning Outcomes information and ideas relating to museology, Upon successful completion students will have: employing appropriate terminology and referencing • Gained a broad understanding of the history and sources where applicable. chronology of modern sculpture from Rodin to Kapoor • Developed their understanding of the specific themes, techniques and media associated with modern sculpture 93 • Demonstrated improved skills of visual analysis relating to sculpture Prescribed Reading • Demonstrated an ability to effectively evaluate, There are no prescribed texts for this subject. organise and articulate information and ideas relating to sculpture, employing appropriate Recommended Reading terminology and referencing sources where Recommended reading lists will be provided via the applicable AHT web-site: http://nasaht.com.au/index.php?p=1_5

Assessment Learning Outcomes Related Assessment When Upon successful completion students will have: Weighting Tasks / Items assessed • Understanding the historical and theoretical Essay (1,200 words) Week 10 90% conditions for the emergence of surrealism after World War I Participation Throughout 10% • Familiarity with the principal surrealist artists of the 1920s and 30s. MAGNETIC FIELDS: SURREALISM AND • Understanding of the wider significance of ITS INTERLOCUTORS surrealism in modernist culture AHT261 • Ability to effectively evaluate, organise and Award/Level: BFA / Year 2 & 3 articulate information and ideas relating to the Core or Elective: Elective subject, employing appropriate terminology and Pre-requisites: AHT100 referencing sources where applicable Co-requisites: Nil Credit Points: 3 Assessment Duration 12 Weeks / 24 Hours Related Assessment When Weighting Delivery mode: face to face / on campus Tasks / Items assessed Student Workload: 2 HPW timetabled Essay (1,200 words) Week 9 60% 2 HPW personal study Subject Coordinator: Dr Jaime Tsai Exam Week 12 40%

Description Following le hazard objectif – the “path of objective RELATIONAL SPACES: ISSUES IN chance” – the Surrealists traversed the boundaries CONTEMPORARY ART of geography, bourgeois morality and disciplinary specificity in search of the absolute liberation of AHT262 the mind. This course examines the emergence and Award/Level: BFA / Year 2 & 3 philosophical foundations of Surrealism, its literary and Core or Elective: Elective ideological contexts, and its pervasive influence and Pre-requisites: AHT100 legacy in twentieth century art and thought. Co-requisites: Nil Credit Points: 3 Objectives Duration: 12 Weeks / 24 Hours The subject aims to develop students’ understanding Delivery mode: face to face / on campus of the historical and theoretical conditions for the Student Workload: 2 HPW timetabled emergence of surrealism after World War I and the 2 HPW personal study wider significance of surrealism in modernist culture. Subject Coordinator: Dr Jaime Tsai

Subject Content Description Drawing from a diverse range of practices and mediums This course explores the diverse practices of the last (painting, sculpture, film, photography, installation, hundred years that deal self-consciously with our performance) and disciplines (literature, ethnography, relationships to space and place. More specifically, philosophy), we will consider André Breton’s vision for this course examines themes of memorial connections the movement as the fusion of Dadaist irreverence to site, street practice and political provocation, with Marxist ideology and Freudian psychoanalysis, as destroyed and transformed places, imaginary locations well as the counter-movements formed by dissenting and journeys, sites of transition and in-between places, members (Georges Bataille, Michel Leiris). Particular binaries of inside/outside, near/far and intimacy/ focus is given to the significance of Surrealist expanse, museological spaces and their relationship to interventions in metropolitan life (a magnetic field of spectatorship and display, psychological investments in desire and potential revolution), to a broader trajectory space, and some of the issues around the relationship of French urban encounters, from Baudelairean between indigenous art and space. flaneury through to Situationist détournement. Other themes include the role of journals in the aesthetic and Objectives theoretical dissemination of revolutionary ideals, the de- The subject aims to develop students’ understanding of instrumentalising role of the Surrealist object, Surrealist varied spatial practices that have challenged institutional exhibition and display, mad love and Sadist eroticism, categorisation, and to consider the legacy of such ethnography and anti-colonial politics, and the renewal practices in contemporary art. The course also aims to show how various practices – particularly derived 94 of myth and the sacred. from photography and video/film, and consisting of era through to the early Twentieth century. the documentation of land art, public art, performance and installation - have challenged the institutional Objectives categorisation of art. This subject aims to develop students’ understanding of the specific themes and issues within the history Subject Content and chronology of Australian art from the late 18th Topics include: century through to early Modernism. • Heterotopia • Marcel Duchamp’s Travelling Museum Subject Content • Schwitters’ installations to Kaprow’s happenings and The course will focus on the themes of Landscape performance and Identity, as well as issues involved in mapping the • Architecture of Tarkovsky “strange and wondrous land” of Terra Australis, and the • Encounters with the Everyday establishment of the city of Sydney as a cultural entity. • The Role of Place in Indigenous Art Artists discussed will include, but not be limited to, the • Graffitti/Street Art/Political Art. Port Jackson Painter, Augustus Earle, Eugene von Guerard, Streeton, McCubbin and Roberts, Lambert, Prescribed Reading Proctor and Preston.. There are no prescribed texts for this subject. Prescribed Reading Recommended Reading There are no prescribed texts for this subject. Readings provided via AHT web site: www.nasaht.com. au/index.php?p=1_5 Recommended Reading Recommended readings will be provided via the AHT Learning Outcomes web-site: www.nasaht.com.au/index.php?p=1_5 Upon successful completion students will have developed: Learning Outcomes • Knowledge of varied spatial practices that have Upon successful completion students will have: evolved over the last 100 years that deal self- • Gained a broad understanding of the history and consciously with our relationships to space and place chronology of Australian art from the late 18th • Knowledge of historical foundation and various century through to early Modernism. contexts of those practices • Developed their understanding of the specific • Ability to consider the legacy of those practices in themes and issues associated with Australian Art. contemporary art • Demonstrated improved skills of visual analysis • Ability to effectively evaluate, organise and relating to artworks produced during this era. articulate information and ideas relating to those • Demonstrated an ability to effectively evaluate, practices, employing appropriate terminology and organise and articulate information and ideas referencing sources where applicable relating to Australian Art, employing appropriate terminology and referencing sources where Assessment applicable. Related Assessment When Weighting Tasks / Items assessed Assessment Related Assessment When Essay (1,200 words) Week 10 60% Weighting Tasks / Items assessed Class presentation (including accompanying Throughout the Essay (2,000 words) Week 12 100% 40% 500 word statement of course intent)

AUSTRALIAN ART: FIRST FLEET TO MODERNISM AHT263 Award/Leve: BFA / Year 2 & 3 Core or Elective: Elective Pre-requisites: AHT100 Co-requisites: Nil Credit Points: 3 Duration: 12 Weeks / 24 Hours Delivery mode: face to face / on campus Student Workload: 2 HPW timetabled 2 HPW personal study Subject Coordinator: Lorraine Kypiotis

Description The subject examines the cultural growth of Australia 95 via its art, architecture and institutions from the Colonial MASTER OF FINE ART COURSE INFORMATION

COURSE OVERVIEW STAGE 2 Stage two of the MFA is delivered in a predominantly The Master of Fine Art (MFA) course is designed to research mode in order to support students in the establish within graduates the specialised knowledge development of an advanced body of work and and skills required for professional practice and/ written exegesis. Stage two comprises two co- or further learning, with an advanced and integrated requsite subjects of Studio Specialisation and Studio understanding of the body of knowledge of their Seminar. Students are assigned appropriate specialist specific discipline and the broader contexts of supervisors to guide and support their individual visual arts practice. The course aims to develop studio project within the Studio Specialisation, and an advanced capacity within student to make a the Studio Seminar provides research methodology significant contribution in their field of professional support for the development of the exegesis practice and scholarship, and to undertake further component and an important forum for broader study subsequent levels. Within stage one of the Master of Fine Art is a critical engagement and dialogue within the MFA nested Graduate Diploma on Fine Art (GDFA). The cohort. GDFA is offered as an early exit qualification from the MFA after one year Full Time Equivalent (FTE) study. COURSE REQUIREMENTS MASTER OF FINE ART COURSE STRUCTURE Awarding of the degree of Master of Fine Art requires the successful completion of study The Master of Fine Art (MFA) program is a two-year (including completion of all core subjects) with a total full-time equivalent course of study. The structure value of 120 credit points: of the course is based on 2 stages each of one- year FTE, with three subjects taken in the first • 60 credit points obtained in Stage 1 stage and two subjects in the second. The course Of these, 12 Credit Points are obtained in Art History comprises two common core subjects and one studio & Theory core; 12 Credit Points in Studio Seminar; specialisation subject throughout both stages of the and 36 Credit Points in Studio Specialisation. course. • 60 credit points obtained in Stage 2 Of these, 24 Credit Points are obtained in Studio Seminar; and 36 Credit Points in Studio MFA STAGE 1 / GDFA Specialisation. Stage one of the MFA is delivered in a predominantly coursework mode that prepares students for the more independent research mode of stage GRADUATE DIPLOMA OF FINE ART 2. The delivery of co-requisite subjects (Studio Awarding of the degree of Graduate Diploma of Specialisation and Studio Seminar) within stage one Fine Art requires the successful completion of study ensures integrated teaching and learning across of MFA Stage I (including completion of all core these two inter-related components, with the Art subjects) with a total value of 60 credit points: History & Theory subject providing an important Of these, 12 Credit Points are obtained in survey of the foundational theories and critical Art History & Theory core; 12 Credit Points in debates that inform current art practice which in turn Studio Seminar; and 36 Credit Points in Studio supports further study/research in the field. Specialisation. Within stage one of the MFA is Master of Fine Art is a nested Graduate Diploma on Fine Art (GDFA) course. The GDFA is offered as an early exit qualification from the MFA after one year FTE study. Refer to GDFA Course Outline

96 MFA COURSE MAP STUDIO SEMINAR ART HISTORY & THEORY STUDIO SPECIALISATION

STS400 AHT400 Studio Specialisation 4

Semester 1 Studio Seminar 4 Art History & Theory 4 CER400/DRA400/PAI400/ PHO400/ PRI400/SCU400 12 C P 12 C P 36 CP 2 HPW 2 HPW 3 HPW Semester 2 MFA SATGE 1/ GDFA MFA SATGE 1/

12 Credit Points 12 Credit Points 36 Credit Points

Year 1 Credit Point total: 60

STUDIO SEMINAR STUDIO SPECIALISATION

STS500 Studio Specialisation 5

Semester 1 Studio Seminar 5 CER500/DRA500/PAI500/PHO500/ PRI500/SCU500 STS500 36 CP Studio Seminar 5 1 HPW Individual Supervision MFA STAGE 2 Semester 2

24 Credit Points 36 Credit Points

Year 2 Credit Point total: 60

MFA Total Credit Point total: 120

97 MASTER OF FINE ART COURSE OUTLINES

MFA STAGE 1 / GDFA • Assist students in understanding their individual activity within the broader professional and scholarly contexts of art practice ART HISTORY & THEORY 4 • Consider the broader social and cultural issues AHT400 that shape current art practice and to consider Award/Level: Master of Fine Art (MFA) Stage 1 / their own responsibilities within that context Graduate Diploma of Fine Art (GDFA) • Assist students to initiate, plan, implement and Core or Elective Core evaluate art practice within a range of specialised Pre-requisites Completion of BFA or equivalent technical and/or creative contexts Co-requisites Nil Credit Points 12 Subject Content Duration 26 Weeks / Semester 1 & 2 / 52 Hours The Studio Seminar 4 program is delivered as a Delivery mode face to face / on campus weekly lecture and tutorial seminar program that Student Workload 2 HPW timetabled surveys the foundational theories and critical debates 4 HPW personal study informing contemporary ideas about art and art Subject Coordinator Dr Ian Greig, Postgraduate practice. Coordinator Topics include: • The Origins of Postmodernity – Whither our grand Description narratives? Art History & Theory 4 (Theories of postmodernism: • The Apotheosis of the Avant-Garde – Modernism contemporary art and culture) contributes to the and why would you post it: opposition or aims of the course by demonstrating the necessity acquiescence? and the possibilities of dialogue between art • Modernism’s nervous breakdown – Conceptualism theory and art practice, offering students an and the disappearance of the art object. introduction to the theoretical, philosophical and • The Trans-avant-garde – Zeitgeist, what zeitgeist? aesthetic discourses that underpin contemporary Neo-expressionism and the death and rebirth of art practices, and which continue to inform the painting. discussions surrounding our responses to and • The Culture of Codes – Representation in the age engagement with contemporary art practice. of photo-mechanical reproduction. • The Empire of Signs – Post-conceptualism: a Objectives postmodernism of resistance? Art History & Theory 4 is intended to engage students • Structuralism and Post-Structuralism – The in a deeper exploration of the foundational theories and linguistic paradigm and the philosophy of critical debates informing contemporary ideas about postmodernism. Is there nothing outside the text? art, art practice and reception, and to test the relevance • Semiotics – Signs, signification, and the of these ideas in the field with reference to specific construction of meaning. art works. Course content will cover the emergence of • Deconstruction and art – Floating signifiers and post-modernism as a specific cultural condition within slippery surfaces: postmodernism’s ‘ecstasy of the historical context of modernism and will highlight liberated meaning.’ the dynamic relationship between recent art practices • From Ideology to Style – Vive la revolution! Critical and the broader social, political and theoretical currents postmodernism in a post-ideological era. that characterise contemporary culture. • Postmodernism in Australia – Who are we, where are we, where are we going? Myth, Marxism and Art History & Theory 4 aims to: national identity in a post-industrial society. • Provide specific support for students in the • Baudrillard – From sign to simulacra. Hyper-reality, research of their individual Studio Project º simulation, and the culture of commodity. The death of art? • The yBas – Art and patronage. • Contemporaniety – Art and the ever present now.

98 • Representation and Metaphysics – Yearning for Recommended Reading the transcendental? Art, truth and spirituality in a F. Jameson, Postmodernism or The Cultural Logic of culture of materialism. Late Capitalism, 1999, Chapter 1, pp.7-13. • The Postmodern Sublime 1 – The aesthetics of S. Hobbs, The End of the American Avant-Garde, the infinite: from romanticism to postmodernism. 1997, pp.12-17; 182-186. • The Postmodern Sublime 2 – In awe of the age. Limitlessness, vertigo, and the postmodern Lippard and Chandler, “The Dematerialization of Art”, condition: from nature to technology. in Alberro and Stimson, Conceptual Art: A Critical • Art and Science – The truth is out there? Art, Anthology, 1999. cosmology and the collapse of categories. J. Gilmour, “Original Representation and Anselm • Contemporary Chinese Art – Diaspora and Kiefer’s Postmodernism”, Journal of Aesthetics and displacement: globalisation and cultural memory. Art Criticism, Vol 46, Spring 1988. • Art and Feminism – Attitude and activism: gender, Hal Foster, “The Return of the Real”, 1996, p.145-153. society, and the politics of identity. • Art and Fashion – ‘If you’ve got it, flaunt it!’ Thomas Lawson, “Last Exit: Painting” in Hertz, Commodity fetishism and the aesthetics of Theories of Contemporary Art, 1985. seduction in visual culture. Stuart Sim, “Structuralism and post-structuralism” in • Art and Music – ‘It’s only rock’n’roll, but I like it.’ Hanfling,Philosophical Aesthetics. 1992. Art, music and the aesthetics of synaesthesia in T. Hawkes, “A Science of Signs” in Structuralism and popular culture. Semiotics. • Art and Landscape – Ecology, art and the alienated self: romanticism revisited? J. Griffiths, “Deconstruction Deconstructed” in • What is Art? – A. C. Danto: defining art after the Papadikis, Cooke, Benjamin, Deconstruction, 1989. end of art. E. Grosz, “Theories of Power and Subjectivity - • Art and Research – Art, academe and the new Althusser and the Theory of Ideology” in Gunew, postgraduate paradigm. . Feminist Knowledge, 1990. Taylor, “Popism - The Art of White Aborigines” and Monitoring of Progress M. Holloway, “Review of Popism”, in Butler, What is Mid Year review Appropriation?, 2004. At mid year a formal review of student progress is undertaken. Students are advised of their progress S. Best, “The Commodification of Reality and the by sighting, signing and discussing a mid-stage Reality of Commodification: Baudrillard, Debord and evaluation form that includes indication of student Postmodern Theory” in Kellner, Baudrillard: A Critical progress as either Satisfactory; Borderline; or Reader, 1994. Unsatisfactory. R. Shone, Sensation: Young British Artists from the Saatchi Collection, 1998. pp. 15-24 Prescribed Reading T. Smith, What is Contemporary Art? 2009. There are no prescribed texts for this subject. Pp. 241-251 Kuspit, “Reconsidering the Spiritual in Art”, in Blackbird, Vol 2, No. 1, Spring 2003. Lyotard, “What is Postmodernism?” in The Postmodern Condition, 1983. Crowther, “The Kantian Sublime, the Postmodern, and the Avant-Garde” in Critical Aesthetics and Postmodernism, 2nd ed. 2003. Bohm, “Postmodern science in a postmodern world” in Jencks, The Postmodern Reader, 1992. J. McDonald, “Chinese Contemporary Art and the End of Ideology” in The Big Bang, 2010. Lacey, “Affinities: Thoughts on an Incomplete History” in Broude and Garrad, The Power of Feminist Art, 1994; Reilly, “Introduction” in Reilly and Nochlin, Global Feminisms: New Directions in Contemporary Art, 2007. Geczy and Karaminas, “Fashion and Art: Critical

99 Crossovers” in Art Monthly 242, August 2011. Description Walker, Crossovers: Art into Pop, Pop into Art, 1987, Ceramics Studio Specialisation 4 offers structured Introduction. guidance in the development and realisation of a studio based project proposed by the student via Matilsky, “The Survival of Culture and Nature”, in Art introduction to the principles of practice-based and the Natural Environment, 1994. research within a studio context. By offering A. C. Danto, After the End of Art, 1997, Chapter 1. self-directed studio investigation within a lecturer- Harrison, “When Management Speaks” in Elkins, directed coursework environment, students are Artists with PhDs, 2009 prepared for the independent studio practice and progression to further study and research at Learning Outcomes subsequent postgraduate levels. Upon successful completion students will The co-requisite Studio Seminar 4 supports demonstrate: students in the consideration of student’s individual • Advanced knowldedge of the theoretical, studio interests and activity within the broader philosophical and conceptual frameworks that professional and scholarly contexts of art practice. shape contemporary art and thought • Ability to identify, analyse and situate key Objectives arguments and cultural discourse characterising Ceramics Studio Specialisation 4 aims to: post-modernism and its relationship to modernism, • Establish the necessary technical, conceptual, and knowledge of the related shifts in art and critical skills for autonomous art practice and practices and cultural values postgraduate study within the specific context of • Ability to apply research skills, writing skills and the studio discipline critical thinking in order to engage critically and • Further the technical and creative capacity imaginatively with cultural discourse and objects of each student within the professional and • Ability to convey coherent knowledge of the field scholarly contexts of the studio discipline to others, both orally and in writing • Develop the student’s ability to independently • Ability to apply historical and theoretical initiate, plan, and execute a cohesive body of knowledge in the field of art history and theory art work with responsibility and professional and to utilise scholarly academic conventions accountability to draw independent conclusions on a range of issues Subject Content • Capacity to work both independently and co- Semester 1 operatively in the development and execution of Under the guidance of supervising staff, students tasks will: • Further develop and refine their original Studio Assessment Project Proposal through defining studio project Related Assessment When aims, outcomes and timeframes Weighting Tasks / Items assessed • Begin to develop their Studio Project through the Class presentation and Throughout the 50% production of preliminary artwork tutorial papers r Subject • Attend regular individual and group tutorials 3,000 word essay written reviews with their studio lecturers in response to a list of Week 26 50% topics • Participate in specialist workshops and visiting artist lectures CERAMICS STUDIO SPECIALISATION 4 CER400 Semester 2 Award/Level: Master of Fine Art (MFA) Stage1 / Under the guidance of supervising staff, students will: Graduate Diploma of Fine Art (GDFA) • Produce a cohesive body of work that represents Core or Elective: Elective / Studio Specialisation a comprehensive exploration of the concerns Pre-requisites: Completion of BFA with requisite identified in the Studio Project Proposal Studio Specialisation • Compile support resource documentation of the Co-requisites: STS400, AHT400 Studio Project Credit Points: 36 • Attend regular individual and group tutorials Duration: 26 Weeks / Semester 1 & 2 / 78 Hours reviews with their lecturers Delivery mode: face to face / on campus Student Workload: 3 HPW timetabled / 9 HPW Monitoring of Progress personal study Mid Year review Subject Coordinator: Lynda Draper, Head of At midyear, the Head of Ceramics and supervising Ceramics academic staff undertake a formal review of student progress. Students are advised of their progress by sighting, signing and discussing a mid-stage

100 evaluation form that includes indication of student Description progress as either Satisfactory; Borderline; or Drawing Studio Specialisation 4 offers structured Unsatisfactory. guidance in the development and realisation of a studio based project proposed by the student via Prescribed Reading introduction to the principles of practice-based There are no prescribed texts for this subject. research within a studio context. By offering self-directed studio investigation within a lecturer- Recommended Reading directed coursework environment, students are Studio lecturers will direct students toward prepared for the independent studio practice associated reading. and progression to further study and research at subsequent postgraduate levels. Learning Outcomes The co-requisite Studio Seminar 4 supports Upon successful completion students should be able students in the consideration of student’s individual to demonstrate: studio interests and activity within the broader • Coherent and advanced knowledge of the key professional and scholarly contexts of art practice. principles and concepts of the studio discipline, and their integration in the development and Objectives realisation of artworks Drawing Studio Specialisation 4 aims to: • Ability to identify, analyse and synthesise • Establish the necessary technical, conceptual, knowledge to identify and respond to complex and critical skills for autonomous art practice and propositions with intellectual rigour and postgraduate study within the specific context of independence the studio discipline • Coherent and advanced knowledge of the key • Further the technical and creative capacity principles and concepts of the studio discipline, of each student within the professional and and their integration in the development and scholarly contexts of the studio discipline realisation of artworks • Develop the student’s ability to independently • Ability to situate, communicate and explore ideas initiate, plan, and execute a cohesive body of and propositions with various audiences through art work with responsibility and professional the presentation of artworks accountability • Capacity for independent decision making and informed critical and aesthetic judgment in the Subject Content planning and realisation of art works in a range of Semester 1 contexts Under the guidance of supervising staff, students will: • Capacity to work responsibly, co-operatively and • Further develop and refine their original Studio collaboratively in a range of professional and Project Proposal through defining studio project cultural contexts aims, outcomes and timeframes • Begin to develop their Studio Project through the Assessment production of preliminary artwork • Attend regular individual and group tutorials Related Assessment When Weighting Tasks / Items assessed reviews with their studio lecturers • Participate in specialist workshops and visiting A cohesive body of artwork that represents artist lectures a comprehensive Semester 2 exploration of the studio Week 26 90% methodologies and subject Under the guidance of supervising staff, students will: area articulated in the • Produce a cohesive body of work that represents Studio Project Proposal. a comprehensive exploration of the concerns Observational assessment throughout the 10% identified in the Studio Project Proposal duration of the subject • Compile support resource documentation of the Studio Project DRAWING STUDIO SPECIALISATION 4 • Attend regular individual and group tutorials DRA400 reviews with their lecturers Award/Level: Master of Fine Art (MFA) Stage1 / Graduate Diploma of Fine Art (GDFA) Monitoring of Progress Core or Elective: Elective / Studio Specialisation Mid Year review Pre-requisites: Completion of BFA with requisite At midyear, the Head of Drawing and supervising Studio Specialisation academic staff undertake a formal review of student Co-requisites: STS400, AHT400 progress. Students are advised of their progress Credit Points: 36 by sighting, signing and discussing a mid-stage Duration: 26 Weeks / Semester 1 & 2 / 78 Hours evaluation form that includes indication of student Delivery mode: face to face / on campus progress as either Satisfactory; Borderline; or Student Workload: 3 HPW timetabled / 9 HPW Unsatisfactory. personal study Subject Coordinator: Dr Maryanne Coutts, Head of Drawing 101 Prescribed Reading Description There are no prescribed texts for this subject. Painting Studio Specialisation 4 offers structured guidance in the development and realisation of a Recommended Reading studio based project proposed by the student via Studio lecturers will direct students toward associated introduction to the principles of practice-based reading. research within a studio context. By offering self- directed studio investigation within a lecturer-directed Learning Outcomes coursework environment, students are prepared for the Upon successful completion students should be able to independent studio practice and progression to further demonstrate: study and research at subsequent postgraduate levels. • Coherent and advanced knowledge of the key The co-requisite Studio Seminar 4 supports principles and concepts of the studio discipline, and students in the consideration of student’s individual their integration in the development and realisation studio interests and activity within the broader of artworks professional and scholarly contexts of art practice. • Ability to identify, analyse and synthesise knowledge to identify and respond to Objectives Painting Studio Specialisation 4 aims to: complex propositions with intellectual rigour and • Establish the necessary technical, conceptual, independence and critical skills for autonomous art practice and • Coherent and advanced knowledge of the key postgraduate study within the specific context of the principles and concepts of the studio discipline, and studio discipline their integration in the development and realisation • Further the technical and creative capacity of each of artworks student within the professional and scholarly contexts • Ability to situate, communicate and explore ideas of the studio discipline and propositions with various audiences through the • Develop the student’s ability to independently initiate, presentation of artworks plan, and execute a cohesive body of art work with • Capacity for independent decision making and responsibility and professional accountability informed critical and aesthetic judgment in the planning and realisation of art works in a range of Subject Content contexts Semester 1 • Capacity to work responsibly, co-operatively and Under the guidance of supervising staff, students will: collaboratively in a range of professional and • Further develop and refine their original Studio cultural contexts Project Proposal through defining studio project aims, outcomes and timeframes Assessment • Begin to develop their Studio Project through the production of preliminary artwork Related Assessment When Weighting Tasks / Items assessed • Attend regular individual and group tutorials reviews with their studio lecturers A cohesive body of artwork that represents • Participate in specialist workshops and visiting artist a comprehensive lectures exploration of the studio Week 26 90% methodologies and subject area articulated in the Semester 2 Studio Project Proposal. Under the guidance of supervising staff, students will: Observational assessment throughout the 10% • Produce a cohesive body of work that represents duration of the subject a comprehensive exploration of the concerns identified in the Studio Project Proposal PAINTING STUDIO SPECIALISATION 4 • Compile support resource documentation of the Studio Project PAI400 • Attend regular individual and group tutorials reviews Award/Level: Master of Fine Art (MFA) Stage1 / with their lecturers Graduate Diploma of Fine Art (GDFA) Core or Elective: Elective / Studio Specialisation Pre-requisites: Completion of BFA with requisite Studio Monitoring of Progress Specialisation Mid Year review Co-requisites: STS400, AHT400 At midyear, the Head of Painting and supervising Credit Points: 36 academic staff undertake a formal review of student Duration: 26 Weeks / Semester 1 & 2 / 78 Hours progress. Students are advised of their progress by Delivery mode: face to face / on campus sighting, signing and discussing a mid-stage evaluation Student Workload: 3 HPW timetabled / 9 HPW form that includes indication of student progress as personal study either Satisfactory; Borderline; or Unsatisfactory. Subject Coordinator: Dr Stephen Little, Head of Painting Prescribed Reading There are no prescribed texts for this subject.

102 Recommended Reading directed studio investigation within a lecturer-directed Studio lecturers will direct students toward associated coursework environment, students are prepared for the reading. independent studio practice and progression to further study and research at subsequent postgraduate levels. Learning Outcomes The co-requisite Studio Seminar 4 supports Upon successful completion students should be able to students in the consideration of student’s individual demonstrate: studio interests and activity within the broader • Coherent and advanced knowledge of the key professional and scholarly contexts of art practice. principles and concepts of the studio discipline, and their integration in the development and realisation Objectives of artworks Photomedia Studio Specialisation 4 aims to: • Ability to identify, analyse and synthesise knowledge • Establish the necessary technical, conceptual, to identify and respond to complex propositions with and critical skills for autonomous art practice and intellectual rigour and independence postgraduate study within the specific context of the • Coherent and advanced knowledge of the key studio discipline principles and concepts of the studio discipline, and • Further the technical and creative capacity of each their integration in the development and realisation student within the professional and scholarly contexts of artworks of the studio discipline • Ability to situate, communicate and explore ideas • Develop the student’s ability to independently initiate, and propositions with various audiences through the plan, and execute a cohesive body of art work with presentation of artworks responsibility and professional accountability • Capacity for independent decision making and informed critical and aesthetic judgment in the Subject Content planning and realisation of art works in a range of Semester 1 contexts Under the guidance of supervising staff, students will: • Capacity to work responsibly, co-operatively and • Further develop and refine their original Studio collaboratively in a range of professional and cultural Project Proposal through defining studio project contexts aims, outcomes and timeframes • Begin to develop their Studio Project through the Assessment production of preliminary artwork • Attend regular individual and group tutorials reviews Related Assessment When Weighting Tasks / Items assessed with their studio lecturers A cohesive body of • Participate in specialist workshops and visiting artist artwork that represents lectures a comprehensive exploration of the studio Week 26 90% methodologies and subject Semester 2 area articulated in the Under the guidance of supervising staff, students will: Studio Project Proposal. • Produce a cohesive body of work that represents a Observational assessment throughout the 10% duration of the subject comprehensive exploration of the concerns identified in the Studio Project Proposal • Compile support resource documentation of the PHOTOMEDIA STUDIO Studio Project SPECIALISATION 4 • Attend regular individual and group tutorials reviews PHO400 with their lecturer Award/Level: Master of Fine Art (MFA) Stage1 / Graduate Diploma of Fine Art (GDFA) Monitoring of Progress Core or Elective: Elective / Studio Specialisation Mid Year review Pre-requisites: Completion of BFA with requisite Studio At midyear, the Head of Photography and supervising Specialisation academic staff undertake a formal review of student Co-requisites: STS400, AHT400 progress. Students are advised of their progress by Credit Points: 36 sighting, signing and discussing a mid-stage evaluation Duration: 26 Weeks / Semester 1 & 2 / 78 Hours form that includes indication of student progress as Delivery mode: face to face / on campus either Satisfactory; Borderline; or Unsatisfactory. Student Workload: 3 HPW timetabled / 9 HPW personal study Prescribed Reading Subject Coordinator: Geoff Kleem, There are no prescribed texts for this subject. Head of Photomedia Recommended Reading Description Studio lecturers will direct students toward associated Photomedia Studio Specialisation 4 offers structured reading. guidance in the development and realisation of a studio based project proposed by the student via Learning Outcomes introduction to the principles of practice-based Upon successful completion students should be able to 103 research within a studio context. By offering self- demonstrate: The co-requisite Studio Seminar 4 supports • Coherent and advanced knowledge of the key students in the consideration of student’s individual principles and concepts of the studio discipline, studio interests and activity within the broader and their integration in the development and professional and scholarly contexts of art practice. realisation of artworks • Ability to identify, analyse and synthesise Objectives knowledge to identify and respond to complex Printmaking Studio Specialisation 4 aims to: propositions with intellectual rigour and • Establish the necessary technical, conceptual, independence and critical skills for autonomous art practice and • Coherent and advanced knowledge of the key postgraduate study within the specific context of principles and concepts of the studio discipline, the studio discipline and their integration in the development and • Further the technical and creative capacity of each realisation of artworks student within the • Ability to situate, communicate and explore ideas • professional and scholarly contexts of the studio and propositions with various audiences through discipline the presentation of artworks • Develop the student’s ability to independently • Capacity for independent decision making and initiate, plan, and execute a cohesive body of informed critical and aesthetic judgment in the art work with responsibility and professional planning and realisation of art works in a range accountability of contexts • Capacity to work responsibly, co-operatively and Subject Content collaboratively in a range of professional and Semester 1 cultural contexts Under the guidance of supervising staff, students will: • Further develop and refine their original Studio Assessment Project Proposal through defining studio project Related Assessment When aims, outcomes and timeframes Weighting Tasks / Items assessed • Begin to develop their Studio Project through the A cohesive body of production of preliminary artwork artwork that represents • Attend regular individual and group tutorials a comprehensive exploration of the studio Week 26 90% reviews with their studio lecturers methodologies and subject • Participate in specialist workshops and visiting area articulated in the Studio Project Proposal. artist lectures Semester 2 Observational assessment throughout the 10% duration of the subject Under the guidance of supervising staff, students will: • Produce a cohesive body of work that represents a comprehensive exploration of the concerns PRINTMAKING STUDIO identified in the Studio Project Proposal SPECIALISATION 4 • Compile support resource documentation of the PRI400 Studio Project Award/Level: Master of Fine Art (MFA) Stage1 / • Attend regular individual and group tutorials Graduate Diploma of Fine Art (GDFA) reviews with their lecturers Core or Elective: Elective / Studio Specialisation Pre-requisites: Completion of BFA with requisite Monitoring of Progress Studio Specialisation Mid Year review Co-requisites: STS400, AHT400 At midyear, the Head of Printmaking and supervising Credit Points: 36 academic staff undertake a formal review of student Duration: 26 Weeks / Semester 1 & 2 / 78 Hours progress. Students are advised of their progress Delivery mode: face to face / on campus by sighting, signing and discussing a mid-stage Student Workload: 3 HPW timetabled / 9 HPW evaluation form that includes indication of student personal study progress as either Satisfactory; Borderline; or Subject Coordinator: Peter Burgess, Unsatisfactory. Head of Printmaking Prescribed Reading Description There are no prescribed texts for this subject. Printmaking Studio Specialisation 4 offers structured guidance in the development and Recommended Reading realisation of a studio based project proposed by Studio lecturers will direct students toward the student via introduction to the principles of associated reading. practice-based research within a studio context. By offering self-directed studio investigation within a Learning Outcomes lecturer-directed coursework environment, students Upon successful completion students should be able are prepared for the independent studio practice to demonstrate: and progression to further study and research at • Coherent and advanced knowledge of the key 104 subsequent postgraduate levels. principles and concepts of the studio discipline, and Objectives their integration in the development and realisation Sculpture Studio Specialisation 4 aims to: of artworks • Establish the necessary technical, conceptual, • Ability to identify, analyse and synthesise knowledge and critical skills for autonomous art practice and to identify and respond to complex propositions with postgraduate study within the specific context of the intellectual rigour and independence studio discipline • Coherent and advanced knowledge of the key • Further the technical and creative capacity of each principles and concepts of the studio discipline, and student within the professional and scholarly contexts their integration in the development and realisation of the studio discipline of artworks • Develop the student’s ability to independently initiate, • Ability to situate, communicate and explore ideas plan, and execute a cohesive body of art work with and propositions with various audiences through the responsibility and professional accountability presentation of artworks • Capacity for independent decision making and Subject Content informed critical and aesthetic judgment in the Semester 1 planning and realisation of art works in a range of Under the guidance of supervising staff, students will: contexts • Further develop and refine their original Studio • Capacity to work responsibly, co-operatively and Project Proposal through defining studio project collaboratively in a range of professional and cultural aims, outcomes and timeframes contexts • Begin to develop their Studio Project through the production of preliminary artwork Assessment • Attend regular individual and group tutorials Related Assessment When reviews with their studio lecturers Weighting Tasks / Items assessed • Participate in specialist workshops and visiting A cohesive body of artist lectures artwork that represents Semester 2 a comprehensive exploration of the studio Week 26 90% Under the guidance of supervising staff, students will: methodologies and subject • Produce a cohesive body of work that represents area articulated in the Studio Project Proposal. a comprehensive exploration of the concerns identified in the Studio Project Proposal Observational assessment throughout the 10% duration of the subject • Compile support resource documentation of the Studio Project SCULPTURE STUDIO SPECIALISATION 4 • Attend regular individual and group tutorials reviews SCU400 with their lecturers Award/Level: Master of Fine Art (MFA) Stage1 / Graduate Diploma of Fine Art (GDFA) Monitoring of Progress Core or Elective: Elective / Studio Specialisation Mid Year review Pre-requisites: Completion of BFA with requisite Studio At midyear, the Head of Sculpture and supervising Specialisation academic staff undertake a formal review of student Co-requisites: STS400, AHT400 progress. Students are advised of their progress by Credit Points: 36 sighting, signing and discussing a mid-stage evaluation Duration: 26 Weeks / Semester 1 & 2 / 78 Hours form that includes indication of student progress as Delivery mode: face to face / on campus either Satisfactory; Borderline; or Unsatisfactory. Student Workload: 3 HPW timetabled / 9 HPW personal study Prescribed Reading Subject Coordinator: Ron Robertson-Swann, There are no prescribed texts for this subject. Head of Sculpture Recommended Reading Description Studio lecturers will direct students toward associated Sculpture Studio Specialisation 4 offers structured reading. guidance in the development and realisation of a studio based project proposed by the student via Learning Outcomes introduction to the principles of practice-based Upon successful completion students should be able to research within a studio context. By offering self- demonstrate: directed studio investigation within a lecturer-directed • Coherent and advanced knowledge of the key coursework environment, students are prepared for the principles and concepts of the studio discipline, and independent studio practice and progression to further their integration in the development and realisation study and research at subsequent postgraduate levels. of artworks The co-requisite Studio Seminar 4 supports • Ability to identify, analyse and synthesise knowledge students in the consideration of student’s individual to identify and respond to complex propositions with studio interests and activity within the broader intellectual rigour and independence professional and scholarly contexts of art practice. • Coherent and advanced knowledge of the key principles and concepts of the studio discipline, and 105 their integration in the development and realisation activity within the broader professional and of artworks scholarly contexts of art practice • Ability to situate, communicate and explore ideas • Consider the broader social and cultural issues that and propositions with various audiences through shape current art practice and to consider their own the presentation of artworks responsibilities within that context • Capacity for independent decision making and • Assist students to initiate, plan, implement and informed critical and aesthetic judgment in the evaluate art practice within a range of specialised planning and realisation of art works in a range of technical and/or creative contexts contexts • Capacity to work responsibly, co-operatively and Subject Content collaboratively in a range of professional and The Studio Seminar 4 program is delivered as a cultural contexts weekly seminar that considers a range of issues relevant to current art practice and scholarship Assessment and introduces students to postgraduate research Related Assessment When methodology. Weighting Tasks / Items assessed A cohesive body of Research Methodology artwork that represents Approaches to researching project directions a comprehensive exploration of the studio Week 26 90% including ways to identify and focus on initial methodologies and subject ideas, source and select subject matter, identify area articulated in the Studio Project Proposal. and investigate related precedents in the field and strategies for the reading and development of Observational assessment throughout the 10% duration of the subject academic writing.

Issues for Contemporary Artists STUDIO SEMINAR 4 Investigation of current issues in contemporary STS400 art practice such as: art and culture in an age of Award/Level: Master of Fine Art (MFA) Stage 1 / globalisation; art between the market and the Graduate Diploma of Fine Art (GDFA) museum; art in the public arena; and issues for Core or Elective: Core practicing artists pertinent to pursuing a professional Pre-requisites: Completion of BFA or equivalent career within the contemporary art world. Co-requisites: Studio Specialisation 4 (CER400/ The Studio Seminar 4 supports studio based DRA400/PAI400/PHO400/PRI400/SCU400) study in the co-requisite Studio Specialisation 4 Credit Points: 12 through the development of a Studio Research Duration: 26 Weeks / Semester 1 & 2 / 78 Hours Paper in the form of a literature review that identifies Delivery mode: face to face / on campus significant art practices and texts of relevance to Student Workload: 2 HPW timetabled their individual studio enquiry. 4 HPW personal study For students continuing to stage 2 of the MFA, Subject Coordinator: Dr Ian Greig, Postgraduate the Studio Research Paper is intended to provide a Coordinator research platform for continued development of the Studio Specialisation 5 Studio Project and exegesis Description in the subsequent stage of the course Studio Seminar 4 is designed to provide an opportunity for students to consider their individual Monitoring of Progress studio interests and activity within a broader Mid Year review professional and scholarly context, and in relation to At mid year a formal review of student progress is the more specific concerns arising through study in undertaken. Students are advised of their progress the co-requisite Studio Specialisation 4 and the Art by sighting, signing and discussing a mid-stage History and Theory 4 subjects. evaluation form that includes indication of student The Studio Seminar 4 program is delivered as progress as either Satisfactory; Borderline; or a weekly seminar that considers a range of issues Unsatisfactory.. relevant to professional art practice and scholarship and introduces students to postgraduate research Prescribed Reading methodology. There are no prescribed texts for this subject.

Objectives Recommended Reading Studio Seminar 4 aims to engage students in the Specific readings are provided throughout the broader cultural and professional contexts of studio course. practice and to develop the research methodology skills applicable to studio practice. The programs Learning Outcomes aims to: Upon successful completion students will • Provide specific support for students in the demonstrate: research of their individual Studio Project • Advanced understanding of the varying cultural 106 • Assist students in understanding their individual and professional contexts of art practice and the students in the development of an exegesis that ability to situate ones own activity within those serves to document, discuss and contextualise contexts the body of work produced for Ceramics Studio • Ability to critically reflect upon, analyse and discuss Specialisation 5 Studio Project. their own work and the work of others • Ability to research, evaluate and organise Objectives information with reference to appropriate form, Ceramics Studio Specialisation 5 aims to develop in structure and language and scholarly conventions students the capacity to integrate specialised technical • Ability to articulate and communicate ideas and to skills and conceptual knowledge of the Ceramics situate that knowledge within a specific context of discipline within the production of a substantial and visual arts practice resolved body of studio-based work. • Capacity for autonomous enquiry and development Through the independent research and execution and the ability to apply critical judgement to a range of a substantial Studio Project students will develop an of art works and practices advanced capacity to support continued professional • Capacity to engage openly in critical discourse, and practice in the visual arts while at the same time initiate discussion working co-operatively with others exposing them to academic research experience in studio practice by providing an opportunity for scholarly Assessment reflection upon issues of contemporary discourse and Related Assessment When practice relevant to the field of Ceramics and their Weighting Tasks / Items assessed individual practice, including: Assessment is based • Consolidating the necessary technical, conceptual, upon the presentation of a and critical skills for autonomous art practice and Studio Research Paper of 4,000-5,000 words. postgraduate research within the studio field of The Studio Research Ceramics Paper takes the form of • Enhancing the student’s ability to undertake a Literature Review that provides a context for the Week 26 90% original research relevant to their studio project Studio Project undertaken with the potential to contribute to the field of in Studio Specialisation 4 identifying, discussing and Ceramics practice and discourse critically analysing the field • Developing the student’s ability to research and of practice and discourse identify the conceptual, theoretical and technical within which the studio project is located. concerns underpinning and informing their Observational assessment throughout the Studio project 10% duration of the subject Upon successful completion graduates will demonstrate though their work the ability to apply specialised knowledge and skills of the discipline MFA STAGE 2 with autonomy, expert judgement and professional responsibility.

CERAMICS STUDIO SPECIALISATION 5 Subject Content CER500 Ceramics Studio Specialisation 5 is a supervised Award/Level: Master of Fine Art (MFA) Stage 2 studio research component of the MFA. Under the Core or Elective: Elective / Studio Specialisation guidance of supervising academic staff, students Pre-requisites: CER400, STS400 conceive, propose and execute a Studio Project Co-requisites: STS500 that represents an independent inquiry in the studio Credit Points: 36 practice of Ceramics resulting in a substantial and Duration: 26 Weeks / Semester 1 & 2 / 78 Hours resolved body of work that is reflective of an advanced Delivery mode: face to face / on campus capacity for continued professional practice and Student Workload: 1 HPW individual supervision scholarship in the field. 12 HPW personal study In the initial stages of the year, students refine Subject Coordinator: Lynda Draper, Head of Ceramics an MFA Studio Research Project Outline clarifying the aims, studio methodologies and timeframes of Description the project, and commence production of preliminary Ceramics Studio Specialisation 5 supports the artwork. development and consolidation of specialised knowledge Students attend regular individual and group and skills of the Ceramics discipline through the tutorials and reviews with their assigned supervisors and autonomous research and production of a substantial continue to develop this body of work throughout the Studio Project resulting in the presentation of a duration of the year. substantial and resolved body of work. With individual supervision throughout the year, Students are provided with access to specialist students consolidate the higher order technical and studio and workshop facilities on campus and they conceptual skills needed to plan, investigate and resolve receive regular individual supervision from academic a body of work that extends their knowledge and staff suitably qualified and experience in the relevant understanding of the aesthetic and professional issues field. relating to the studio practice of Ceramics. The co-requisite Studio Seminar 5 supports At the conclusion of the year, students present a 107 substantial and resolved body of work for assessment Award/Level: Master of Fine Art (MFA) Stage 2 in conjunction with the presentation of an co-dependent Core or Elective: Elective / Studio Specialisation exegesis 9develepoded in the corequisite Studio Pre-requisites: CER400, STS400 Seminar 5 subject) that serves to document discuss Co-requisites: STS500 and contextualise the body of work presented for Studio Credit Points: 36 Specialisation 5. Duration: 26 Weeks / Semester 1 & 2 / 78 Hours Delivery mode: face to face / on campus Monitoring of Progress Student Workload: 1 HPW individual supervision Mid Year review 12 HPW personal study At midyear, the Head of Ceramics and supervising Subject Coordinator: Dr Maryanne Coutts, Head of academic staff undertake a formal review of student Drawing progress. Students are advised of their progress by sighting, signing and discussing a mid-stage evaluation Description form that includes indication of student progress as either Drawing Studio Specialisation 5 supports the Satisfactory; Borderline; or Unsatisfactory. development and consolidation of specialised knowledge and skills of the Drawing discipline through the Prescribed Reading autonomous research and production of a substantial There are no prescribed texts for this subject. Studio Project resulting in the presentation of a substantial and resolved body of work. Recommended Reading Students are provided with access to specialist studio Supervising Staff will advise students of reading relevant and workshop facilities on campus and they receive to their independent research. regular individual supervision from academic staff suitably qualified and experience in the relevant field. Learning Outcomes The co-requisite Studio Seminar 5 supports students in the development of an exegesis that serves to Upon successful completion students are able to document, discuss and contextualise the body of work demonstrate: produced for Drawing Studio Specialisation 5 Studio • Specialised knowledge of the key principles and Project. concepts of the studio discipline, and their integration in the development and realisation of a substantial Objectives and highly-resolved body of artwork Drawing Studio Specialisation 5 aims to develop in • Mastery of theoretical knowledge within the discipline students the capacity to integrate specialised technical with integration of creative and critical reflection in skills and conceptual knowledge of the Drawing the generation, research of ideas and concepts discipline within the production of a substantial and • Advanced ability to synthesise specialised knowledge resolved body of studio-based work. and technical skill within a coherent body of work Through the independent research and execution of professional standard and scholarly rigour of a substantial Studio Project students will develop an • Ability to consider and communicate complex ideas advanced capacity to support continued professional and propositions with various audiences through the practice in the visual arts while at the same time presentation of artworks exposing them to academic research experience • Capacity for independent decision-making and in studio practice by providing an opportunity for advanced critical and aesthetic judgement in the scholarly reflection upon issues of contemporary research and realisation of a cohesive body of artwork discourse and practice relevant to the field of Drawing • Advanced capacity to work responsibly applying and their individual practice, including: professional conventions and engaging critically with • Consolidating the necessary technical, conceptual, a broad range of perspectives with autonomy and and critical skills for autonomous art practice and accountability postgraduate research within the studio field of Drawing Assessment • Enhancing the student’s ability to undertake Related Assessment When Weighting original research relevant to their studio project Tasks / Items assessed with the potential to contribute to the field of Presentation of a MFA Studio Project in the form Drawing practice and discourse of a cohesive and highly • Developing the student’s ability to research and resolved body of artwork identify the conceptual, theoretical and technical that is substantial in terms of scope, scale and concerns underpinning and informing their Studio originality Week 26 100% project The Studio Project is assessed in conjunction Upon successful completion graduates will with the MFA Exegesis demonstrate though their work the ability to apply developed in the co- specialised knowledge and skills of the discipline requisite Studio Seminar program. with autonomy, expert judgement and professional responsibility.

DRAWING STUDIO SPECIALISATION 5 Subject Content DRA500 Drawing Studio Specialisation 5 is a supervised studio 108 research component of the MFA. Under the guidance advanced critical and aesthetic judgement in the of supervising academic staff, students conceive, research and realisation of a cohesive body of propose and execute a Studio Project that represents artwork an independent inquiry in the studio practice of Drawing • Advanced capacity to work responsibly applying resulting in a substantial and resolved body of work professional conventions and engaging critically with that is reflective of an advanced capacity for continued a broad range of perspectives with autonomy and professional practice and scholarship in the field. accountability In the initial stages of the year, students refine an MFA Studio Research Project Outline clarifying the aims, Assessment studio methodologies and timeframes of the project, and Related Assessment When Weighting commence production of preliminary artwork. Tasks / Items assessed Students attend regular individual and group Presentation of a MFA tutorials and reviews with their assigned supervisors and Studio Project in the form of a cohesive and highly continue to develop this body of work throughout the resolved body of artwork duration of the year. that is substantial in With individual supervision throughout the year, terms of scope, scale and originality Week 26 100% students consolidate the higher order technical and The Studio Project is conceptual skills needed to plan, investigate and resolve assessed in conjunction with the MFA Exegesis a body of work that extends their knowledge and developed in the co- understanding of the aesthetic and professional issues requisite Studio Seminar relating to the studio practice of Drawing. program. At the conclusion of the year, students present a substantial and resolved body of work for assessment in conjunction with the presentation of an co-dependent PAINTING STUDIO SPECIALISATION 5 exegesis 9develepoded in the co0requisite Studio PAI500 Seminar 5 subject) that serves to document discuss and Award/Level: Master of Fine Art (MFA) Stage 2 contextualize the body of work presented for Studio 5. Core or Elective: Elective / Studio Specialisation Pre-requisites: CER400, STS400 Monitoring of Progress Co-requisites: STS500 Credit Points: 36 Mid Year review Duration: 26 Weeks / Semester 1 & 2 / 78 Hours At midyear, the Head of Drawing and supervising Delivery mode: face to face / on campus academic staff undertake a formal review of student Student Workload: 1 HPW individual supervision progress. Students are advised of their progress 12 HPW personal study by sighting, signing and discussing a mid-stage Subject Coordinator: Dr Stephen Little, Head of evaluation form that includes indication of student Painting progress as either Satisfactory; Borderline; or Unsatisfactory. Description Prescribed Reading Painting Studio Specialisation 5 supports the development and consolidation of specialised knowledge There are no prescribed texts for this subject. and skills of the Painting discipline through the autonomous research and production of a substantial Recommended Reading Studio Project resulting in the presentation of a Supervising Staff will advise students of reading substantial and resolved body of work. relevant to their independent research Students are provided with access to specialist studio and workshop facilities on campus and they receive Learning Outcomes regular individual supervision from academic staff suitably Upon successful completion students are able to qualified and experience in the relevant field. demonstrate: The co-requisite Studio Seminar 5 supports students • Specialised knowledge of the key principles in the development of an exegesis that serves to and concepts of the studio discipline, and their document, discuss and contextualise the body of work integration in the development and realisation of a produced for Painting Studio Specialisation 5 Studio substantial and highly-resolved body Project. of artwork • Mastery of theoretical knowledge within the Objectives discipline with integration of creative and critical Painting Studio Specialisation 5 aims to develop in reflection in the generation, research of ideas and students the capacity to integrate specialised technical concepts skills and conceptual knowledge of the Painting discipline • Advanced ability to synthesise specialised within the production of a substantial and resolved body knowledge and technical skill within a coherent body of studio-based work. of work of professional standard and scholarly rigour Through the independent research and execution • Ability to consider and communicate complex ideas of a substantial Studio Project students will develop an and propositions with various audiences through the advanced capacity to support continued professional presentation of artworks practice in the visual arts while at the same time exposing 109 • Capacity for independent decision-making and them to academic research experience in studio practice Prescribed Reading by providing an opportunity for scholarly reflection upon There are no prescribed texts for this subject. issues of contemporary discourse and practice relevant to the field of Painting and their individual practice, including: Recommended Reading • Consolidating the necessary technical, conceptual, Supervising Staff will advise students of reading and critical skills for autonomous art practice and relevant to their independent research. postgraduate research within the studio field of Painting Learning Outcomes • Enhancing the student’s ability to undertake Upon successful completion students are able to original research relevant to their studio project demonstrate: with the potential to contribute to the field of • Specialised knowledge of the key principles Painting practice and discourse and concepts of the studio discipline, and their • • Developing the student’s ability to research integration in the development and realisation of a and identify the conceptual, theoretical and substantial and highly-resolved body of artwork technical concerns underpinning and informing • Mastery of theoretical knowledge within the their Studio project discipline with integration of creative and critical Upon successful completion graduates will reflection in the generation, research of ideas and demonstrate though their work the ability to apply concepts specialised knowledge and skills of the discipline • Advanced ability to synthesise specialised with autonomy, expert judgement and professional knowledge and technical skill within a coherent body responsibility. of work of professional standard and scholarly rigour • Ability to consider and communicate complex ideas Subject Content and propositions with various audiences through the Painting Studio Specialisation 5 is a supervised studio presentation of artworks research component of the MFA. Under the guidance • Capacity for independent decision-making and of supervising academic staff, students conceive, advanced critical and aesthetic judgement in the propose and execute a Studio Project that represents research and realisation of a cohesive body of an independent inquiry in the studio practice of artwork Painting resulting in a substantial and resolved body • Advanced capacity to work responsibly applying of work that is reflective of an advanced capacity for professional conventions and engaging critically with continued professional practice and scholarship in the a broad range of perspectives with autonomy and field. accountability In the initial stages of the year, students refine an MFA Studio Research Project Outline clarifying Assessment the aims, studio methodologies and timeframes of Related Assessment When Weighting the project, and commence production of preliminary Tasks / Items assessed artwork. Presentation of a MFA Students attend regular individual and group Studio Project in the form tutorials and reviews with their assigned supervisors and of a cohesive and highly resolved body of artwork continue to develop this body of work throughout the that is substantial in duration of the year. terms of scope, scale and With individual supervision throughout the year, originality Week 26 100% The Studio Project is students consolidate the higher order technical and assessed in conjunction conceptual skills needed to plan, investigate and resolve with the MFA Exegesis developed in the co- a body of work that extends their knowledge and requisite Studio Seminar understanding of the aesthetic and professional issues program. relating to the studio practice of Painting. At the conclusion of the year, students present a substantial and resolved body of work for assessment PHOTOMEDIA STUDIO in conjunction with the presentation of an co-dependent SPECIALISATION 5 exegesis 9develepoded in the co0requisite Studio PHO500 Seminar 5 subject) that serves to document discuss Award/Level: Master of Fine Art (MFA) Stage 2 and contextualize the body of work presented for Studio Core or Elective: Elective / Studio Specialisation Specialisation 5. Pre-requisites: CER400, STS400 Co-requisites: STS500 Monitoring of Progress Credit Points: 36 Mid Year review Duration: 26 Weeks / Semester 1 & 2 / 78 Hours At midyear, the Head of Painting and supervising Delivery mode: face to face / on campus academic staff undertake a formal review of student Student Workload: 1 HPW individual supervision progress. Students are advised of their progress by 12 HPW personal study sighting, signing and discussing a mid-stage evaluation Subject Coordinator: Geoff Kleem, Head of Photomedia form that includes indication of student progress as either Satisfactory; Borderline; or Unsatisfactory. Description Photomedia Studio Specialisation 5 supports the 110 development and consolidation of specialised knowledge tutorials and reviews with their assigned supervisors and and skills of the Photomedia discipline through the continue to develop this body of work throughout the autonomous research and production of a substantial duration of the year. Studio Project resulting in the presentation of a With individual supervision throughout the year, substantial and resolved body of work. students consolidate the higher order technical and Students are provided with access to specialist conceptual skills needed to plan, investigate and resolve studio and workshop facilities on campus and a body of work that extends their knowledge and they receive regular individual supervision from understanding of the aesthetic and professional issues academic staff suitably qualified and experience in the relating to the studio practice of Photography. relevant field. At the conclusion of the year, students present a The co-requisite Studio Seminar 5 supports students substantial and resolved body of work for assessment in the development of an exegesis that serves to in conjunction with the presentation of an co-dependent document, discuss and contextualise the body of work exegesis 9develepoded in the co-requisite Studio produced for Photomedia Studio Specialisation 5 Studio Seminar 5 subject) that serves to document discuss Project. and contextualize the body of work presented for Studio Specialisation 5. Objectives Photomedia Studio Specialisation 5 aims to develop in Monitoring of Progress students the capacity to integrate specialised technical Mid Year review skills and conceptual knowledge of the Photography At midyear, the Head of Photomedia and supervising discipline within the production of a substantial and academic staff undertake a formal review of student resolved body of studio-based work. progress. Students are advised of their progress by Through the independent research and execution sighting, signing and discussing a mid-stage evaluation of a substantial Studio Project students will develop an form that includes indication of student progress as advanced capacity to support continued professional either Satisfactory; Borderline; or Unsatisfactory. practice in the visual arts while at the same time exposing them to academic research experience Prescribed Reading in studio practice by providing an opportunity for There are no prescribed texts for this subject. scholarly reflection upon issues of contemporary discourse and practice relevant to the field of Recommended Reading Photography and their individual practice, including: Supervising Staff will advise students of reading • Consolidating the necessary technical, conceptual, relevant to their independent research. and critical skills for autonomous art practice and postgraduate research within the studio field of Learning Outcomes Photography Upon successful completion students are able to • Enhancing the student’s ability to undertake demonstrate: original research relevant to their studio project • Specialised knowledge of the key principles with the potential to contribute to the field of and concepts of the studio discipline, and their Photography practice and discourse integration in the development and realisation of a • Developing the student’s ability to research and substantial and highly-resolved body of artwork identify the conceptual, theoretical and technical • Mastery of theoretical knowledge within the concerns underpinning and informing their Studio discipline with integration of creative and critical project reflection in the generation, research of ideas and Upon successful completion graduates will concepts demonstrate though their work the ability to apply • Advanced ability to synthesise specialised specialised knowledge and skills of the discipline knowledge and technical skill within a coherent body with autonomy, expert judgement and professional of work of professional standard and scholarly rigour responsibility. • Ability to consider and communicate complex ideas and propositions with various audiences through the Subject Content presentation of artworks Photomedia Studio Specialisation 5 is a supervised • Capacity for independent decision-making and studio research component of the MFA. Under the advanced critical and aesthetic judgement in the guidance of supervising academic staff, students research and realisation of a cohesive body of conceive, propose and execute a Studio Project artwork that represents an independent inquiry in the studio • Advanced capacity to work responsibly applying practice of Photography resulting in a substantial and professional conventions and engaging critically with resolved body of work that is reflective of an advanced a broad range of perspectives with autonomy and capacity for continued professional practice and accountability scholarship in the field. In the initial stages of the year, students refine an MFA Studio Research Project Outline clarifying the aims, studio methodologies and timeframes of the project, and commence production of preliminary artwork. Students attend regular individual and group 111 Assessment and critical skills for autonomous art practice and Related Assessment When postgraduate research within the studio field of Weighting Tasks / Items assessed Printmaking Presentation of a MFA • Enhancing the student’s ability to undertake Studio Project in the form original research relevant to their studio project of a cohesive and highly resolved body of artwork with the potential to contribute to the field of that is substantial in Printmaking practice and discourse terms of scope, scale and originality Week 26 100% • Developing the student’s ability to research and The Studio Project is identify the conceptual, theoretical and technical assessed in conjunction concerns underpinning and informing their Studio with the MFA Exegesis developed in the co- project requisite Studio Seminar Upon successful completion graduates will program. demonstrate though their work the ability to apply specialised knowledge and skills of the discipline with autonomy, expert judgement and professional PRINTMAKING STUDIO SPECIALISATION responsibility. 5 PRI500 Subject Content Award/Level: Master of Fine Art (MFA) Stage 2 Printmaking Studio Specialisation 5 is a supervised Core or Elective: Elective / Studio Specialisation studio research component of the MFA. Under the Pre-requisites: CER400, STS400 guidance of supervising academic staff, students Co-requisites: STS500 conceive, propose and execute a Studio Project Credit Points: 36 that represents an independent inquiry in the studio Duration: 26 Weeks / Semester 1 & 2 / 78 Hours practice of Printmaking resulting in a substantial and Delivery mode: face to face / on campus resolved body of work that is reflective of an advanced Student Workload: 1 HPW individual supervision capacity for continued professional practice and 12 HPW personal study scholarship in the field. Subject Coordinator: Peter Burgess, In the initial stages of the year, students refine an Head of Printmaking MFA Studio Research Project Outline clarifying the aims, studio methodologies and timeframes of the project, Description and commence production of preliminary artwork. Printmaking Studio Specialisation 5 supports the Students attend regular individual and group development and consolidation of specialised knowledge tutorials and reviews with their assigned supervisors and and skills of the Printmaking discipline through the continue to develop this body of work throughout the autonomous research and production of a substantial duration of the year. Studio Project resulting in the presentation of a With individual supervision throughout the year, substantial and resolved body of work. students consolidate the higher order technical and Students are provided with access to specialist conceptual skills needed to plan, investigate and resolve studio and workshop facilities on campus and they a body of work that extends their knowledge and receive regular individual supervision from academic understanding of the aesthetic and professional issues staff suitably qualified and experience in the relating to the studio practice of Printmaking. relevant field. At the conclusion of the year, students present a The co-requisite Studio Seminar 5 supports substantial and resolved body of work for assessment students in the development of an exegesis that serves in conjunction with the presentation of an co-dependent to document, discuss and contextualise the body of exegesis 9develepoded in the co-requisite Studio work produced for Printmaking Studio Specialisation 5 Seminar 5 subject) that serves to document discuss Studio Project. and contextualize the body of work presented for Studio Specialisation 5. Objectives Printmaking Studio Specialisation 5 aims to develop in Monitoring of Progress students the capacity to integrate specialised technical Mid Year review skills and conceptual knowledge of the Printmaking At midyear, the Head of Printmaking and supervising discipline within the production of a substantial and academic staff undertake a formal review of student resolved body of studio-based work. progress. Students are advised of their progress by Through the independent research and execution sighting, signing and discussing a mid-stage evaluation of a substantial Studio Project students will develop an form that includes indication of student progress as advanced capacity to support continued professional either Satisfactory; Borderline; or Unsatisfactory. practice in the visual arts while at the same time exposing them to academic research experience Prescribed Reading in studio practice by providing an opportunity for There are no prescribed texts for this subject. scholarly reflection upon issues of contemporary discourse and practice relevant to the field of Printmaking and their individual practice, including: Recommended Reading • Consolidating the necessary technical, conceptual, Supervising Staff will advise students of reading 112 relevant to their independent research. Learning Outcomes regular individual supervision from academic staff suitably Upon successful completion students are able to qualified and experience in the relevant field. demonstrate: The co-requisite Studio Seminar 5 supports • Specialised knowledge of the key principles students in the development of an exegesis that and concepts of the studio discipline, and their serves to document, discuss and contextualise integration in the development and realisation of a the body of work produced for Sculpture Studio substantial and highly-resolved body of artwork Specialisation 5 Studio Project. • Mastery of theoretical knowledge within the discipline with integration of creative and critical Objectives reflection in the generation, research of ideas and Sculpture Studio Specialisation 5 aims to develop in concepts students the capacity to integrate specialised technical • Advanced ability to synthesise specialised skills and conceptual knowledge of the Sculpture knowledge and technical skill within a coherent body discipline within the production of a substantial and of work of professional standard and scholarly rigour resolved body of studio-based work. • Ability to consider and communicate complex ideas Through the independent research and execution and propositions with various audiences through the of a substantial Studio Project students will develop an presentation of artworks advanced capacity to support continued professional • Capacity for independent decision-making and practice in the visual arts while at the same time advanced critical and aesthetic judgement in the exposing them to academic research experience research and realisation of a cohesive body of in studio practice by providing an opportunity for artwork scholarly reflection upon issues of contemporary • Advanced capacity to work responsibly applying discourse and practice relevant to the field of professional conventions and engaging critically with Sculpture and their individual practice, including: a broad range of perspectives with autonomy and • Consolidating the necessary technical, conceptual, accountability and critical skills for autonomous art practice and postgraduate research within the studio field of Assessment Sculpture Related Assessment When • Enhancing the student’s ability to undertake Weighting Tasks / Items assessed original research relevant to their studio project Presentation of a MFA with the potential to contribute to the field of Studio Project in the form Sculpture practice and discourse of a cohesive and highly resolved body of artwork • Developing the student’s ability to research and that is substantial in identify the conceptual, theoretical and technical terms of scope, scale and concerns underpinning and informing their Studio originality Week 26 100% The Studio Project is project assessed in conjunction Upon successful completion graduates will with the MFA Exegesis developed in the co- demonstrate though their work the ability to apply requisite Studio Seminar specialised knowledge and skills of the discipline program. with autonomy, expert judgement and professional responsibility.

SCULPTURE STUDIO SPECIALISATION 5 Subject Content SCU500 Sculpture Studio Specialisation 5 is a supervised Award/Level: Master of Fine Art (MFA) Stage 2 studio research component of the MFA. Under the Core or Elective: Elective / Studio Specialisation guidance of supervising academic staff, students Pre-requisites: CER400, STS400 conceive, propose and execute a Studio Project Co-requisites: STS500 that represents an independent inquiry in the studio Credit Points: 36 practice of Sculpture resulting in a substantial and Duration: 26 Weeks / Semester 1 & 2 / 78 Hours resolved body of work that is reflective of an advanced Delivery mode: face to face / on campus capacity for continued professional practice and Student Workload: 1 HPW individual supervision scholarship in the field. 12 HPW personal study In the initial stages of the year, students refine an Subject Coordinator: Ron Robertson-Swann, MFA Studio Research Project Outline clarifying the aims, Head of Sculpture studio methodologies and timeframes of the project, and commence production of preliminary artwork. Description Students attend regular individual and group Sculpture Studio Specialisation 5 supports the tutorials and reviews with their assigned supervisors and development and consolidation of specialised continue to develop this body of work throughout the knowledge and skills of the Sculpture discipline duration of the year. through the autonomous research and production of a With individual supervision throughout the year, substantial Studio Project resulting in the presentation of students consolidate the higher order technical and a substantial and resolved body of work. conceptual skills needed to plan, investigate and resolve Students are provided with access to specialist studio a body of work that extends their knowledge and and workshop facilities on campus and they receive understanding of the aesthetic and professional issues 113 relating to the studio practice of Sculpture. Assessment At the conclusion of the year, students present a Related Assessment When Weighting substantial and resolved body of work for assessment Tasks / Items assessed in conjunction with the presentation of an co-dependent Presentation of a MFA exegesis 9develepoded in the co-requisite Studio Studio Project in the form of a cohesive and highly Seminar 5 subject) that serves to document discuss resolved body of artwork and contextualize the body of work presented for Studio that is substantial in terms of scope, scale and Specialisation 5. originality Week 26 100% The Studio Project is assessed in conjunction Monitoring of Progress with the MFA Exegesis Mid Year review developed in the co- At midyear, the Head of Sculpture and supervising requisite Studio Seminar program. academic staff undertake a formal review of student progress. Students are advised of their progress by sighting, signing and discussing a mid-stage evaluation STUDIO SEMINAR 5 form that includes indication of student progress as STS500 either Satisfactory; Borderline; or Unsatisfactory.. Award/Level: Master of Fine Art (MFA) Stage 2 Core or Elective: Core Prescribed Reading Pre-requisites: Successful completion of Master of Fine There are no prescribed texts for this subject. Art Stage 1 / Graduate Diploma of Fine Art Co-requisites: Studio Specialisation (CER500/ Recommended Reading DRA500/PAI500/PHO500/PRI500/SCU500) Supervising Staff will advise students of reading Credit Points: 24 relevant to their independent research. Duration: 26 Weeks / Semester 1 & 2 / 78 Hours Delivery mode: face to face / on campus Learning Outcomes Student Workload: 52 Hours timetabled symposia / Upon successful completion students are able to semester 1 & 2 demonstrate: 4 HPW personal study • Specialised knowledge of the key principles Subject Coordinator: Dr Ian Greig Postgraduate and concepts of the studio discipline, and their Coordinatorr integration in the development and realisation of a substantial and highly-resolved body Description of artwork Studio Seminar 5 seeks to establish a scholarly • Mastery of theoretical knowledge within the environment that facilitates students’ engagement with discipline with integration of creative and critical discourse relating to the contemporary field of practice. reflection in the generation, research of ideas and The subject is designed to assist students in the research, concepts preparation and development of the exegetical component • Advanced ability to synthesise specialised of the MFA program. knowledge and technical skill within a coherent body The Studio Seminar program is delivered as a regular of work of professional standard and scholarly rigour program of research symposia convened by the Postgraduate • Ability to consider and communicate complex ideas coordinator, in which students present their individual research and propositions with various audiences through the findings for consideration of the MFA cohort and faculty within presentation of artworks the broader contexts of practice and scholarship in the visual arts • Capacity for independent decision-making and The co-requisite Studio Specialisation 5 supports students advanced critical and aesthetic judgement in the in the development of a Studio Project that will be documented, research and realisation of a cohesive body of discussed and contextualised by the written exegisis developed artwork in Studio Seminar 5. • Advanced capacity to work responsibly applying professional conventions and engaging critically with Objectives a broad range of perspectives with autonomy and Studio Seminar 5 consolidates the research methodologies accountability gained in prior study by requiring students to more critically situate their individual studio practice within a broader professional, cultural and critical framework, and to articulate this understanding in a written dissertation that serves to document, discuss and contextualise their individual MFA Studio Project The subject aims to consolidate: • knowledge of research principles and methods applicable to visual arts practice and scholarship • the communication and research skills required to apply research methodologies within art practice, and to convey the outcomes of research based enquiry. 114 • technical and communication skills to concieve, Assessment evaluate, and implement, theoretical developments Related Assessment When Weighting that provide a broader context for professional Tasks / Items assessed practice and scholarship in the visual arts Presentation of a MFA Exegesis in the form of a written dissertation Subject Content of 10,000 words which Studio Seminar 5 subject is delivered as a series of documents, discusses and contextualises the research symposia - held regularly throughout the MFA Studio Project within year – in which students prepare and present individual the broader cultural research presentations for feedback and discussion context of contemporary visual art practice and Week 26 100% among the MFA cohort and with supervising academic documents and discusses staff. the technical, material and conceptual issues relevant The Symposium program also includes guest to the MFA Studio Project. presentations from academic staff and visiting artists/ The MFA Exegesis is academics, that are intended to broaden the profession assessed in conjunction with the MFA Studio and cultural parameters of the cohort and to provide Project developed in specific examples of research practice and professional the co-requisite Studio Specialisation program activity in the visual arts and related fields of practice. Studio Seminar 5 focuses on the consolidation and application of research skills gained in previous study to support students in the development of a written dissertation that contextualises the body of work produced in their individual MFA Studio Research Project undertaken in the Studio Specialisation 5 program.

Monitoring of Progress Mid Year review At mid year a formal review of student progress is undertaken in conjunction with Studio Specialisation mid year review. Students are advised of their progress by sighting, signing and discussing a mid- stage evaluation form that includes indication of student progress as either Satisfactory; Borderline; or Unsatisfactory.

Prescribed Reading There are no prescribed texts for this subject.

Recommended Reading Lecturers will provide specific readings throughout the course.

Learning Outcomes • A mastery of theoretical knowledge of the discipline with understanding of recent developments within the field of practice with the ability to clearly situate one’s own practice within those broader professional and scholarly contexts • Advanced ability to evaluate and clearly communicate complex ideas • Advanced ability to utilise scholarly conventions and research methods to research and evaluate complex information, and to situate that knowledge within a specific context • Advanced communication skills required to convey the outcomes of research based enquiry • Advanced capacity for autonomous enquiry and the ability to apply critical judgement to a range of art works and practices • Advanced capacity to engage in critical discourse applying a range of critical perspectives to critically reflect upon, analyse and discuss their own work and the work of others 115 WORKPLACE HEALTH AND SAFETY STUDIO GUIDELINES

ALL DEPARTMENTS • Do not use the studio equipment/materials if you are under the effect of alcohol or any illegal The National Art School is committed to providing drugs. a safe, healthy environment for its staff, students, • Familiarise yourself with the studio in case of affiliates and visitors. The NAS Workplace Health emergency, eg location of first aid kits, exits, fire and Safety Policy is available online: http://www.nas. extinguisher, fire blankets, safety shower etc. edu.au/degreeprograms/Current-Students as is the • The consumption of food, beverages and NAS Workshop and Studio Safety Handbook: http:// cigarettes is prohibited in the studio area. www.nas.edu.au/degreeprograms/Current-Students • The use of mobile phones and personal stereos These documents provide safety policies and is prohibited in the studio area. procedures relevant to the NAS campus and studio • Please comply with any staff request regarding discipline areas. health and safety. All students, visitors, volunteers or interns who • Do not use tools or equipment that you have not have installation projects on campus are required been instructed to use. Do not help yourself to to complete a NAS Safe Installation Checklist. This tools, equipment or materials unless instructed by document ensures that all risks have been mitigated lecturer. and planned and is available online: http://www.nas. • Do not interfere with other student’s kilns without edu.au/degreeprograms/Current-Students If you permission. need further clarification please see Facilities. • Remove all dust at source, prevent dust from All electrical equipment must be tested to identify becoming airborne, avoid draughts in working any electrical faults, damage or wear. Upon compliance area. all electrical equipment must be fitted with a certified • All works areas are to be kept clean and tidy, safety inspection tag. spray with a light film of water then wipe over Any untagged items will be removed immediately with a damp cloth to prevent dust particles and may be disposed of. Please liaise with your head becoming airborne. of department or studio technician for further details. • When using glaze lab extractor fans must be switched on and dust mask to be worn. CERAMICS • If you feel any adverse effect, immediately notify All students within the NAS Ceramics Department your lecturer, or the Head of Ceramics to review are required to observe safe studio and workshop your situation and devise an appropriate personal practice and acknowledge the principles of strategy. If necessary you may refer questions in Workplace Health & Safety (WHS): writing to the NAS WHS Committee. • If you have an existing medical condition or a • All staff, students and visitors are required to disability or you are taking prescribed medication observe the WHS guidelines. Failure to comply that may affect your ability to use studio may result in you being asked to leave the equipment/materials please notify the lecturer in studio. charge or Head of Department. • Appropriate clothing must be worn at all times in Recommended Reading the studio area including sturdy closed footwear, • Beware – Artist at work, Australia Council no loose clothing, long hair tied back. • Appropriate protective clothing must be worn Ceramics Department Environment Policy in the studio including protective apron, solvent The Ceramics Department is committed to a safe, proof gloves, dust mask/respirator, protective healthy environment. The department has a plan eyewear, ear protection. that will encourage the active participation of staff, • Accidents, injuries and near misses must be students, contractors and service providers to reported immediately to the lecturer in charge or respond and be aware of environmental issues within the Head of Department. the department.

116 Thus, in a spirit of partnership with students and campus will encourage a positive attitude from staff, the department will oversee and commit to the: staff and students. • Reduction of airborne pollution (noxious fumes • More savings on fuel/energy with efficient firings and dust) • Safer environment as students to take an active • Responsible care of hazardous materials role in reporting problems re inefficient kilns and • Responsible general waste disposal generally caring for the department • Reduction of water and energy wastage • Being aware of their environment is important for • Maintenance and care of equipment student education. • A good, sound and effective environmental policy Implementation of the policy will not only create healthy environs but will be Reduction of airborne pollution: cost effective over time. • Exhaust fans to be used at all times when kilns are in use. Student Responsibilities • Exhaust fan must be switched on when spray The college situation is by its nature an intimate one booth is in use. as you will be spending most of your time in a close • Exhaust fans must be switched on when the group situation and as in any such environment a glaze laboratory is in use. degree of tolerance and respect for others becomes • No heavy or extended reduction of gas or wood very important in maintaining a vibrant and harmonious kilns. working dynamic. • No foreign matter to be inserted into the kilns for reduction. Respect the working space of fellow students. • No salt to be used in firings, glazes or clay bodies • Maintain a tidy workspace clear of obstructions. (toxic fumes) • When working in other areas than your studio, i.e. • No soda ash to be used (foul-smelling fumes) the kiln room, throwing room etc. it is important • Regular maintenance of dust prone areas with that you make sure to clean up when finished. water: • Do not interfere with or unpack other student’s • Students must wash all workbenches after use. kilns without permission. • Glaze room must be hosed down each day. • Individual student studios and general studios Dust (wheel room and handbuilding room) to be kept Dust is a major concern for potters. Its control is essential. clean at all times. Invisible super-fine silica particles, which float in the air, cause the most damage. When inhaled they penetrate Care of hazardous materials the air sacs in the lungs which re-oxygenate the blood. • Store all ingredients in airtight containers. Courser particles are filtered out through the nose or • Label all containers with specific ingredient and can be coughed out. Prolonged exposure to fine free level of hazard silica can result in silicosis - an incurable lung disease. • Proper disposal and handling (see EPA and WHS If you allow clay scraps to dry and fall on the guidelines) of glaze materials. Should not be floor, they are trodden on, powdered into dust, that placed in general rubbish. circulates in the air and we breathe these fine dust • Use sinks with properly rated traps particles into our lungs, eventually causing illness.

General waste disposal Prevention of dust inhalation • Skips used for disposal of non-hazardous This is very important in a studio situation in a college materials or school. Remember that if YOU are the teacher your students will visit your classroom on an irregular Reduction of energy and water wastage basis and may not be in too much danger from over • Fire kilns efficiently using a minimum of fuel / exposure to dust, however, you are there everyday and energy. are at much more risk. • Report any gas leakage or fumes. • If possible, remove all dust at the source. • Prevent dust from becoming airborne. Proper water management • Avoid draughts in the working area. • Report leaking taps. • Wipe all spillages before they dry. • Do not dust or sweep, use a damp cloth or spray Maintenance and care of equipment with a light film of water. • Regular maintenance and checks, by authorized • Use the correct type of respirator when mixing personnel, of exhaust fans, kilns and equipment dry ingredients for making up glazes or clay. will help to keep the ceramic environment clean • Wear clean clothing. and healthy. NB: When using the glaze lab to mix glazes the What impact will these implementations have on the extractor fans MUST be turned on at all times, and Ceramics Department? WEAR a dust mask. • A clean environment both inside and outside the

117 DRAWING where available, when working in confined spaces. • Keep lids on solvent containers and solvent soaked Do not use any spray aerosols or spray fixatives in the rags in lidded bins provided in studios studios. Please take your work outside for spraying. For • Do not dispose of paint or solvents in sinks. Solvents your own protection use a mask whilst spraying should be disposed of in drums provided in solvent • If you are aware of any pre-existing skin sensitivity cabinets in studios. Paint should be scraped into you may have, or you experience skin irritation from paper and placed in bins. the use of pastels, charcoals or any other drawing • Confirm competence before using tools and material, please protect your hands by wearing machinery with class lecturers or Technical disposable surgical gloves and/ or using barrier Assistant. cream • Students are required at all times to have at least • If a drawing project involves the generation of one other person of staff member present when excessive amounts of charcoal or pastel dust, working in studios and or workshops. please protect yourself from the possible harmful • Consider the comfort of colleagues in the shared effects from inhalation by wearing a disposable work space. dust mask. • Do not work with excessive solvent based washes • Please conduct yourself in a safe and orderly and glazes inside studios. manner while in drawing studios, (as well as field • Avoid direct skin contact with paints, pigments and trips and excursions) and observe any safety solvents by wearing latex gloves and or applying instructions as directed by your lecturer. In barrier cream. particular safe handling of heaters, fans, portable lights, screens, drawing boards and easels. Take Excessive exposure to solvents can cause headaches, special care when around electrical cords to avoid sore throats, respiratory irritation and long-term electrical hazards and tripping. medical concerns in some individuals. Excessive • Under no circumstances climb on furniture exposure to solvents may cause adverse responses to (donkeys, easels, chairs etc) to reach, install or some medications particularly some antidepressants dismantle studio set ups or exhibitions. Use only and in the long term may be responsible for some the ladders provided. carcinogenic conditions. Solvents and pigments can • Strictly no student access to models change be absorbed through the skin, cuts, abrasions, by rooms or prop stores. respiratory action and through ingestion, (when eating, drinking or smoking). Odourless solvents are less toxic PAINTING than other similar solvents and should be used at NAS. All students within the NAS Painting Department are If you feel any adverse effect, immediately required to observe safe studio and workshop practice notify your lecturer, year coordinator or the Head of and acknowledge the principles of Workplace Health & Department to review your situation and Safety (WHS): devise an appropriate personal strategy. If necessary • If you have an existing medical condition or a you may refer questions in writing to the NAS OH&S disability or you are taking prescribed medication Committee. that may affect your ability to use studio All staff, students and visitors are required to equipment/materials please notify the lecturer in observe the OH&S guidelines. Failure to comply may charge. result in you being asked to leave the studio. • Appropriate clothing must be worn at all times in the studio area including sturdy closed footwear, no Recommended Reading loose clothing, long hair tied back. Beware – Artist at work, Australia Council • Accidents, injuries and near misses must be Saitzyk, Steven. Art Hardware. Watson – Guptil, New reported immediately to the lecturer in charge. York. 1987. (Part 11). • Do not use the studio equipment/materials if you are under the effect of alcohol or any illegal drugs. • Familiarise yourself with the studio in case of emergency, e.g. location of first aid kits, exits, fire extinguisher, fire blankets, safety shower etc. • The consumption of food, beverages and cigarettes is prohibited in the studio area. • The use of mobile phones and personal stereos is prohibited in the studio area. • Please comply with any staff request regarding health and safety. • Open windows and turn on studio ventilation units

118 PHOTOMEDIA trays. • Use tongs when processing prints Wet and dry areas Responsibility • Keep wet materials or equipment in designated wet All students need to cooperate to ensure a safe, areas healthy working environment. • Handle electrical equipment with dry hands: It is vital to: enlargers, timers, print dryers, light boxes, phones, • Familiarise yourself with the following information heaters, radios or studio lights • Follow the instructions and advice of your lecturers • Talk to your lecturers any time if you have any Moving around safely problems or questions • Knock before entering darkrooms and don’t enter if your way is blocked Identifying and Minimising Hazards • Carry materials or equipment in such a way that The main potential hazard in photographic practice you can see where you’re going is exposure to photographic chemicals. If handled • When moving around wet materials, always contain carelessly many of the chemicals can cause skin them in a tray or tank so they don’t drip problems and/or lung problems. Clean processing habits minimise the hazard. Work with care. Always Specific chemical hazards report all breakages, hazards and malfunctioning While staff usually mix chemicals, you need to be equipment promptly. When you finish using a work aware of these hazards. The greatest hazards occur area make sure you take time to clean it up; this during the preparation and handling of concentrated includes studio and tutorial areas. Discuss any stock solutions of various chemicals. During these concerns with your lecturer. procedures, it is essential to wear protective gloves, goggles and a respirator to protect against splashes, Always avoid inhaling chemicals & skin contact with dust and fumes. Take special care to avoid skin contact chemicals with powder, and to avoid stirring up dust which can be inhaled. Good ventilation is important to get rid Working safely in the darkrooms and film processing of vapours, especially from the fixer and stop bath. area Wherever possible, use concentrated liquid chemicals • Avoid spilling chemicals – spills create fumes instead of powdered chemicals. Liquid chemicals are • Mop up all spills straight away usually more expensive but are safer to handle. Read • Always use a tray to move prints and test strips in the safety warnings on the labels of all packages and out of the darkroom before mixing and using chemicals. Be sure that • Avoid spilling chemicals from trays or jugs in the your work area is well ventilated. In particular, avoid wet benches so they mix – this is called cross small unventilated closets when mixing chemicals or contamination. Certain chemicals, eg developer processing negatives and prints. Take special care and fixer, are more toxic when combined than when when mixing dry chemicals and always wear the correct separate. lung and eye protection. Do not share respirators and • Hold all containers and tanks over the sink to store them sealed in a container so the filters don’t prevent chemistry spills or drips. Don’t process film continue to absorb impurities from the atmosphere. away from the sink. • If you spill any chemical on your skin, wash Developer immediately with soap and water The developer usually contains considerable quantities of hydroquinone and metol (monpmethylpñaminophenol Fumes sulphate), both of which cause severe skin irritation • Ensure the ventilation system is switched on in and allergic reaction. These are dissolved in an alkaline darkrooms and the film processing area. If it solution containing sodium sulphite and sodium seems quiet, the system probably isn’t on and carbonate or sodium hydroxide. These chemicals can you’re breathing chemicals. cause skin irritation and burns. NEVER PUT HANDS • Never lean over trays of chemicals INTO THE DEVELOPER. If skin contact does occur, or over the wet bench. wash the skin copiously with water and then with an acid • Always rinse test strips and prints before placing type cleanser. in a tray to evaluate in white light. Otherwise you’ll breathe in fixer. Stop bath • You are more exposed to fumes when processing The stop bath in film processing consists of weak acid large prints (50x60cm+). Wearing a respirator is solution. The concentrated acid can cause burns and recommended. inhalation of the vapours can irritate the eyes, breathing passages and throat. Potassium chrome alum, Personal protection sometimes used as a stop hardener, contain chromium • Eat, drink and smoke outside the department and can cause ulcerations especially in cuts and nasal • Wear a waterproof apron in wet areas membranes. Always add the acid (stop bath) to the • Wear shoes in lab areas; thongs are not allowed water, not the water to the acid. • Wear rubber gloves when handling and developing film. Gloves are also recommended for agitating 119 Fixer • Ensure all tripods, light stands, camera stands are The fixer usually contains sodium sulphite, acetic secured properly and do not cause a trip hazard acid and sodium thiosulphate (hypo), boric acid and • Be aware of other people’s movements in the potassium alum. The mixture of sodium sulphite and space at all times. Inform people sharing the space acetic acid produces sulphur dioxide which is extremely of your movements corrosive to the lungs. Potassium alum, a hardener used • Set up electrical cords so they are not a trip hazard in film fixer, is a weak sensitiser and may cause skin • Discuss potentially toxic or dangerous props with dermatitis. lecturers prior to using

Toners Working safely in the digital studio Handle toners with care. Do not allow toning chemicals • Wash your hands before and after a computer to touch your skin and avoid breathing vapours. session to avoid transmitting and receiving viral Selenium toner is particularly dangerous and some infections manufacturers have discontinued production. • Set up your chair before you begin computer work so your neck, back and arms are not strained. Intensifiers and bleaches • Use a chair with a dynamic chair back and sit back Intensifiers and bleaches can be very dangerous. in it The common two components of intensifiers contain • Sit at arm’s length from monitor, feet on floor or potassium and hydrochloric acid. The separate stable footrest, wrists flat and straight in relation to components can cause burns and the mixture produces forearms to use keyboard/mouse chromic acid. Its vapours are very corrosive and may • Centre monitor and keyboard in front of you with cause lung cancer. Handling of the powder of another top of monitor at eye level intensifier, mercuric chloride, is very hazardous because • Don’t stare at computer screens for long periods - of the inhalation of the dusts and resultant mercury take regular breaks of at least 5 mins every hour poisoning. Summary Reducer Take seriously the possibility of health hazards. The commonest reducer contains potassium The best safeguards are: ferricyanide. If it comes into contact with heat or • Being aware of potential hazards concentrated acid, the extremely poisonous hydrogen • Following these guidelines to minimise hazards cyanide gas may be released. • Using common sense

Hardeners and stabilisers Further reading These often contain formaldehyde which is very • ‘Beyond Basic Photomedia’ by Henry Horenstein poisonous, extremely irritating to the eyes, throat and • ‘Health Hazards Manual for Artists’ by Michael breathing passages and can cause dermatitis, severe Mcgann allergies and asthma. Some of the solutions used to • ‘Overexposure: Health Hazards in Photomedia’ by negatives contain harmful chlorinated hydrocarbons. Susan D.Shaw

Working safely with colour processing PRINTMAKING Keep colour processor door CLOSED at all times to prevent chemical backdraft In the interests of maintaining a safe and productive Wait for your print away from the print exit point – studio, all users the NAS Printmaking Department are avoid breathing in the fumes there required to observe safe studio and workshop practice. Colour processing involves many of the same All staff, students and visitors are required to observe chemicals used in black and white processing. the following Workplace Health & Safety (WHS) Developers use dye couplers, which can cause severe guidelines: skin problems and some solutions contain toxic organic • If you have an existing medical condition or a solvents. As colour printing chemicals are covered disability or you are taking prescribed medication and contained in the processor, the risk to printers is that may affect your ability to use studio reduced. However, if the door to the processing room equipment/materials please notify the lecturer in is left open, the backdraft causes users to breathe in charge or Head of Department before beginning chemicals work. For information about specific chemicals, refer to • Appropriate clothing must be worn at all times in the material safety data sheets (MSDS) the studio area including sturdy closed footwear, no loose clothing, long hair tied back. Working safely in the lighting studio • Appropriate protective clothing must be worn in • Receive class instruction in the use of all the studio including protective apron, solvent proof equipment before handling it gloves, dust mask/respirator, protective eyewear, • Avoid shining lights in people’s eyes; don’t look ear protection. directly at photographic lights • Accidents, injuries and near misses must be • Allow tungsten lights to cool down before moving. reported immediately to the lecturer in charge or Lamps can explode if moved while hot. the Head of Department. • Do not use the studio equipment/materials if you 120 • Keep protective covering on lamps are under the effect of alcohol or any illegal drugs. • Ensure power tools and leads are not damaged or • Do not use tools or equipment that you have not unsafe. Report damage to the lecturer or technical been instructed in the use of assistant. • Do not help yourself to tools, equipment or • Remove all completed work after assessment. materials unless instructed by a member of staff. • Do not put toxic wastes or plaster down sinks or • Students and visitors are not permitted to mix and drains. dispense chemicals • Lift awkward or heavy loads correctly or with the • All works areas are to be kept clean and tidy and lifting equipment provided. designated clean up areas must be used. • Do not use machinery or equipment unless you • Designated clean up areas must be used have received instruction in its use from a lecturer: If • Familiarise yourself with the studio in case of unsure about a safety issue check with your lecturer emergency, e.g. location of first aid kits, exits, fire first. extinguisher, fire blankets, safety shower etc • Be polite when dealing with fellow students, • The consumption of food, beverages and cigarettes lecturers and technical staff. is prohibited in the studio area • The use of mobile phones and personal stereos is prohibited in the studio area • Smoking is prohibited in all buildings. • Compliance with any staff request regarding health and safety is regarded as compulsory. Failure to comply with any of the above may result in you being asked to leave the studio.

If you feel adversely effected by any of these guidelines or feel unable to comply, please notify your studio lecturer or Head of Department to review your situation and devise an appropriate personal strategy. If necessary you may refer questions in writing to the NAS Workplace Health & Safety (WHS) Committee.

SCULPTURE Staff, students and visitors must comply with the following rules: • Students and staff must ensure their own safety and the safety of others when in the sculpture area. • Safe footwear must be worn at all times, either enclosed leather boots or shoes. No sandals or open toed shoes are allowed. No dresses, shorts, loose fitting clothes are to be worn and no dangling jewellery. Long hair should be tied back. • Personal protective equipment such as safety eye protection, hearing protection, gloves and dust masks must be worn when required and must be available at all times. To be purchased by students before classes. • The consumption of alcohol and illegal drugs is prohibited. • Persons using prescribed medication that may affect their ability to use machinery and equipment should notify the lecturer in charge. • Accidents and injuries must be reported immediately. There is a first aid cabinet in each work area in case of injury. For more serious injuries contact campus security immediately. • Students are not to work alone. • Work areas are to be kept clean and tidy, with rubbish and other safety hazards cleaned up promptly. • At the end of each class clean bench tops, sweep the floor, clean and put away tools.

121 nas.edu.au Forbes Street, Darlinghurst Sydney NSW 2010 Australia Front cover [email protected] t [61 2] 9339 8744 National Art School Studio. CRICOS 03197B Photo: Mim Stirling

122