Masters of Contemporary Art | Open Day
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Slides presented at the Postgraduate Open Day, 23rd November 2012

Slides presented at the Postgraduate Open Day, 23rd November 2012

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  • Studio\n
  • Issues last year –\n\nNo tutors towards the degree show (Glen left D&P, left a hole)\n\nDegree show not curated\n\nTwo pathways in the DPD not joined up; theory programme could be integrated more.\n\nLack of parity between the workpursued by the studio students and that presented by those in the theory programme.\n\nAll staff to engage with all LOs modules not a barrier to support for the student holistically.\n\nSince September I’ve focused on\n\nStaffing\nAllignment of the Los\nIntegration of modules\nStudent collaboration and peer learning\n
  • The programme will have a common philosophy. \n\nThe pathways will share the same capstone and will have half of their modules in common.\n\nThe kind of model I have in mind relates to, say the ISP or ‘School’ at Coventry / NSCAD in the early 1970s.\n
  • Studio\n
  • Studio\n
  • Studio\n
  • Need for unstructured time to make and play. \n\nFocus on learning rather than teaching. The practice should be led by what the student wants to learn.\n\nDiscipllinarity is a lens or filter - defined by the philosophy and approach of art staff and students in relation to practices.\n\nThis may involve media related learning but should not be constrained by media. \n
  • There’s a tendency among MFAs to view education as a product and teachers as employees who must sell and ‘deliver’ it to customers regardless of its intrinsic worth. \n\nThe assessment process becomes an accounts system. This has to be challenged within the programme through a consideration of work\n\nLabour will be key to the philosophy.\n\n© Martin Creed 2005Work #470\n\nShift to a focus on all aspects of the learning process – all elements of the curriculum are of equal importance:\n\nProduction\nDistribution\nConsumption\n\nTranslates into:\n\nResearch\nStudio\nSite\n\nIntegrated assessment of all work all tutors – focus on the LOs not the modules.\n
  • Art learning is kinetic, it is acquired by doing. \n\n[many of the terms we use are action-based: to sculpt, to perform, to paint, to write, to mould, to edit, to cast, to print]\n\nLearning is a process of trial and error = Art knowledge is tacit and embodied. \n\nArt practice is a continuous cycle of processes.\n\nWe want you to rethink what these processes are and base your learning and practice on them. \n\nLearning through these processes produces the learning outcomes we require of you.\n\nThese are the core qualities that we want Masters students to share, they are what we base the curriculum around. \n
  • Contemporary art is notoriously polyglot. \n\nThe various elements that might make up the field of art in the early 21st Century are moving targets rather than fixed points of reference.\n\nThe field of contemporary art is enormous and growing rapidly. \n\nThis demands a dynamic approach to knowledge. \n\nArt education must continually change in order to engage with and contribute to this expanding field. \n\nBeing contemporary means engaging with multiple perspectives and different ways of learning.\n\nWe have a great deal of flexibility in the School of Art to ensure that we can engage with new developments in the expanded field of practice. \n\nTo enable this we think of there being three elements that you need to Master to be able to call yourself a ‘Master’.\n\nStudio\nVisual Culture\nExhibition\n
  • Visual Culture is concerned with consumption. It enables you to critically re‐examine and re‐contextualise\ncultural practices by engaging in formative discussions of your own research interests in relation to the work of\nleading figures in the field of visual culture. A complementary programme of lectures, seminars, tutorials and\nmoodle‐based directed reading expands upon practical developments in visual and material culture, enabling and\nsupporting you to embark upon a larger research project. [Modules: Research Methods, Studio Contexts and\nTheory; Visual Cultures]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Many of the students, having grown up online, are very interested in the cybernetics of the 1950s and 60s as well as wireless (radio as a pre-internet). \n\nThe suggestions for what to examine in their action based research are led by this. \n\nWe all suggest models to examine and either test them out before we investigate them further or vice versa (not concerned with ‘authenticity’, more with how to use these ideas as tools in the present).\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • Exhibition is concerned with distribution. It\nimproves your ability to creatively manipulate\nthe ways in which your work is distributed,\nrepresented and consumed. It is concerned with\nhow presentation may be best embodied and\nintegrated though innovative curatorial practice.\nLearning takes place in lectures and workshops,\nin CO2, online, off‐campus, on‐site and through\nthe group organisation of a number of\nexhibitions.\nYou are assessed on your ability to plan,\nimplement and realise an inventive exhibitions of\nyour practice within a group context, and to\ncollaborate with your fellow students on\nimaginatively promoting contemporary art to a\nrange of audiences. Organising exhibitions will\nallow you to experiment and showcase your\nwork and give you valuable experience of building a strong social dynamic. This aspect of postgraduate study\nrelates directly to the professional development of your career as an artist, helping you to develop more dynamic\nmeans of supporting your ideas and giving you the confidence to mature as artist. [Modules: Practice 1; Practice\n2; Exhibition; Curatorial Theories and Practices]\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • To summarise:\n\nArt school students are not customers; they are active rather than passive. \n\nA contemporary art school education can’t be consumed, it’s something that involves doing, it demands participation. \n\nArt students are unique in Higher Education in that they are people who want to think and act. \n\nSo our key concern is to encourage you to think about your contribution to the world \n\n- and to help you to take action.\n
  • \n

Masters of Contemporary Art | Open Day Masters of Contemporary Art | Open Day Presentation Transcript

  • MA (eca) | MFA Contemporary ArtPractice | Sculpture | Painting| Photography | Theory
  • Two Awards1. Master of Arts (eca)2. Master of Fine Art
  • Two modes of study: Master of Arts (eca) Full time – 1 yearPart time – 2 yearsMaster of Fine Art Full time only – 2 years
  • You choose one of the following awards:1. Contemporary Art Practice2. Contemporary Art Photography3. Contemporary Art Painting4. Contemporary Art Sculpture5. Contemporary Art Theory
  • Our PhilosophyOpen learning rather than teaching.Methods and approach of staff and students is the discipline. Media-related but not constrained by media.
  • Work is everything, I think. Everything is work.Everything that involves energy, mental or physical. So...everything, apart from being dead. Living...© Martin Creed 2005Work #470
  • Crits, Tutorials and Triads are concerned with your researchand practice.
  • Seminars are concerned with contemporary cultural theory.
  • Workshops allow you to learn alongside your peers and guestartists.
  • Workshop | Learning to Love you MoreMake a poster you had as a teenager….
  • Technical provides induction to the School of Art’s facilities.
  • Projects are concerned with distribution.
  • Projects | C02 Today at 3:30pm
  • Projects | Artist-run Archive
  • Projects | Animal Territories, Roslin Institute
  • Projects | FAIR
  • Projects | Degree Shows in May (MFA) and August (MA Art Festival) David Sherry (2008)
  • Projects |This Must be the Place David Sherry (2008)
  • David Sherry (2008)
  • David Sherry (2008)
  • David Sherry (2008)
  • David Sherry (2008)
  • David Sherry (2008)
  • David Sherry (2008)
  • Slides available at masterscontemporaryart.eca.ac.ukLicensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.