Undergraduate - UnitVIS4002 - Major project (visual arts honours)

This unit entry is for students who completed this unit in 2013 only. For students planning to study the unit, please refer to the unit indexes in the the current edition of the Handbook. If you have any queries contact the managing faculty for your course or area of study.

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18 points, SCA Band 1, 0.375 EFTSL

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Level	Undergraduate
Faculty	Faculty of Art, Design and Architecture
Organisational Unit	Department of Fine Art
Offered	Caulfield Second semester 2013 (Day) Gippsland Second semester 2013 (Day)
Coordinator(s)	Dr Daniel Palmer

Synopsis

Studio at honours level in visual arts is research-oriented and the syllabus does not prescribe the content of projects. However, it provides an important creative and critical framework for the development of the individual's imaginative faculties which drive the student toward a particular kind of work. Students are expected to produce a written proposal at the beginning of the semester and consult regularly with their Lecturers on its implementation. Both the intentions of the students and the results of their work are debated in group discussions and critical sessions.

Outcomes

Upon completion of this unit, students will:

cultivate high ambitions to perfect their practice with technical excellence and to establish a relationship between mastery in technique and the visionary dimensions of their area of specialisation in Visual Arts
be able to find working habits which prolifically engage the imagination and expedite both the realisation of artistic intentions and critical reflection on the results
be keen to determine suitable artistic intentions which allow them to achieve an appropriate balance between the sensual faculties and the reasoning or critical faculties
enjoy the prospect of debating or defending a given direction of practice in their discipline against critical interrogation
be keen to engage in a dialogue with the history of their art practices, empowering them not only with familiarity and the ability to manipulate prestigious exemplars but with the confidence to challenge the authority of historical precedents or the uncritical values imposed upon them in received histories
be curious about identifying the poetic dimension of their practice, either with reference to the symbolic use of design objects, the imagery contained in works, the tensions between conflicting semiotic expectations, the artful use of metaphor or humour or anything else
identify inspiration not only with the innovative faculties related to finding new methods or novel imagery but with the power of consolidating old aesthetic ideas with a consistent impetus genuinely felt by the emerging practitioner
be happy, wherever personal inspiration indicates, to embrace traditional methods and intentions in Visual Arts, and be prepared to define traditional practice as research, provided that new or continuing applicability in the recent history of ideas can be demonstrated.