The document provides an introduction and overview of the Studio Project for students in the Academy of Visual Arts at Hong Kong Baptist University. It outlines the learning outcomes, overall and semester schedules, assessment methods and criteria, information on supervisors and consultation hours, differences between Studio Project I and II, and answers some frequently asked questions. The Studio Project involves independent research, experimentation and creation of a body of work according to a student's proposal, with interim presentations and a final exhibition for evaluation.

1. Studio Project – An Introduction
Today’s schedule
Details on the Studio Project
Former graduation exhibitions
Supervisor introduction
On contemporary art/design
The Kaitak campus
Student studios

2. Studio Projects – An Introduction
Learning outcomes
Identify a potential topic/issue and creative approach for in-depth artistic
exploration;
Apply research methods for creative and professional investigation;
Deploy theoretical, practical, professional knowledge to support the Studio
Project development;
Execute a body of experimental works according to the proposal;
Adhere to standard of professional practices.

3. Studio Project – Schedule
Overall schedule
Full-time students
Studio Project IA, IB (Sep – Dec 2018)
Studio Project IIA, IIB (Jan – May 2019)
Exhibition & assessment (Jul 2019)
Part-time students
Studio Project IA (Sep – Dec 2018)
Studio Project IB (Jan – May 2019)
Assessment (Jul 2019)
Studio Project IIA (Sep – Dec 2019)
Studio Project IIB (Jan – May 2020)
Exhibition & assessment (Jul 2020)

4. Studio Project – Schedule
Semester schedule
Full-time students
Identify supervisor (mid Oct 2018)
Mid term proposal presentation to supervisor (end Oct 2018)
Artwork presentation to supervisor/class (08 Dec 2018)
Part-time students
Identify supervisor (mid Oct 2018)
Proposal presentation to class (24 Nov 2018)
Work in progress presentation to supervisor (early Dec 2018)

5. Studio Project – Assessment
Assessment methods
Full-time students
Mid-term presentation (30%)
Term-end display and presentation (50%)
Professional attitude (20%)
Part-time students
Mid-term proposal + work in progress presentation (30%)

6. Studio Project – Assessment criteria
Mid-term presentation (30%)
Application of appropriate research methodologies for creative and professional
investigation in the Studio Project (10%)
Identification of reflective topic/issue for in-depth exploration (5%)
The ability to critically review, consolidate and extend the theoretical as well as
practical knowledge/skills to support the Studio Project development (5%)
The mastering of professional knowledge, skills and attitude for continuous
development in relevant visual arts discipline (5%)
Self-management, communication with supervisors as well as overall engagement in
connection to the Studio Project (5%)

7. Studio Project – Assessment criteria
Final presentation (50%)
The ability to critically review, consolidate and extend the theoretical as well as
practical knowledge/skills to support the Studio Project development. (20%)
The mastering of professional knowledge and skills for the execution of the Studio
Project. (20%)
The application of appropriate format/media to present the final outcome of the
Studio Project. (10%)

8. Studio Project – Assessment criteria
Professional attitude (20%)
Self-management, communication with supervisors as well as overall engagement in
connection to the Studio Project. (10%)
Documentation of the Studio Project development through textual and/or audio-visual
means and adherence to academic standard throughout the process. (10%)

9. Studio Project – Assessment criteria
Very brief rubrics
C (2.0) – just meet all basic requirements of the course;
B (3.0) – exceed some of the requirements of the course;
A (4.0) – exceed all of the requirements of the course.

10. Studio Project – Supervisors
Full-time faculty members and teaching staffs in AVA
Please refer to the people section of the AVA website at
http://ava.hkbu.edu.hk/people-page/

11. Studio Project – Supervisors
Consultation hours
Full-time student
Each student is expected to meet with the supervisor 12 hours in a semester, including
all presentation sessions.
Part-time student
Each student is expected to meet with the supervisors 6 hours in a semester, including
all presentation sessions.

12. Studio Project – Supervisors

13. Studio Project – Studio Project
Grading
The final presentation will be attended by both the supervisors and one concentration
coordinator.The final grade will be given by the supervisors. After all the grades are
ready, the Academy will discuss the overall performance in the presence of
Director of AVA
Programme Director of MAVA
2 concentration coordinators
The Academy may invite external examiner when necessary.

14. FAQs
Difference between Studio Project I and II
Studio Project I
Research
Exploration
Experimentation
Studio Project II
Display
Execution
Reflection

15. FAQs
Modern art vs. contemporary art
Modern Art
1860 – 1970
Contemporary Art
1970 – presence

16. FAQs
Craft & Design vs. Studio & Media Arts
Artist
We train artist to ask questions.
Designer
We train designer to provide solutions.

17. FAQs
Craft & Design in AVA
Graphic design
Typography
Book design
Illustration
Jewelry design
Product design
Exhibition design
Experience design
Media design
Ceramics
Glass art

18. FAQs
Studio & Media Arts in AVA
Chinese calligraphy
Chinese painting
Seal engraving
Sculpture
Painting
Printmaking
Installation
Photography
Video (moving image)
Sound art
Computer graphics
Interactive art

19. FAQs
Art vs. Design

20. FAQs
I don’t know what to do …

21. FAQs
Can I change my topics?

22. FAQs
Can I change supervisor?

23. Exercise
Artist – makes – art
Write the above 3 words on a piece of A3 paper;
Take turn in your group to write down any word comes from your mind;
Connect the new word to any of the existing words on the paper;
Form a mind map without any reasoning.

24. Exercise
Artist – makes – art
Try to analyse all the keywords on your paper;
See if you can categorise those keywords into meaningful groups.

25. Themes
Common themes of contemporary art
Identity
Body
Time
Memory
Place
Language
Science
Spirituality

26. Themes
Whitechapel: Documents of Contemporary Art (MIT Press)

27. Form vs. Content

28. Formalism
The artwork should be enjoyed for its formal qualities (e.g.
composition, material, shape, line, colour) rather than its
representation of a figure, story, nature or idea.

29. Medium specificity
The medium, material and the application of the medium,
material determine the unique artistic qualities of the artworks.

30. Form vs. Content

31. Iconography
Iconography works to retrieve the symbolic and representational
meanings contained in the works of art.

32. Iconographic questions
What does the artwork represent?
Who are these figures? How did you identify them?
How is the artist’s depiction of the subject similar to or different
from other artists’ depictions at the time this was made, or at
different times?

33. Semiotics
Study of sign
Signifier (symbol) vs. signified (thing)
Representamen (form) vs. interpretant (sense) vs. object (thing)
Symbol (arbitrary) vs. icon (resembling) vs. index (connected)

34. Semiotic questions
What part of the image catches your eye first?
What are the denotative and connotative aspects of the image?
How do materials and techniques signify meaning in the work?

35. Anything else other than form and content?

36. Materialist
Materialist art history has focused not on iconography or stylistic
classification, but rather on art’s modes of production – that is, it
focuses on the labour that produces art and the organisation of
that labour. Art is the product of complex social, political, and
economic relationships, not something labeled “artistic genius.”

37. Materialistic questions
Who was the patron? What was her social and economic status?
What was the social status of artist-and that of the artists in
society at this time?
How did the artist receive the assignment from the patron?
Where was the artwork displayed? Who saw it?

38. Extended context
Form vs. Content vs. Context

39. Does it matter if the artist is female, male or transgender?

40. Did the artist presume the sexual orientation of the viewers?

41. How does nationality matter the artist?

42. How would the artwork shape the viewers’ sense of self and others?

43. Does the exhibition location matter?

44. About us
Interpretation on the part of the image make must always be
matched by the interpretation of the viewer. No image tells its
own story.
Ernst Gombrich (1982)

45. About context
I am not an artist any
more. I am a content
provider.

46. Studio – Site – Situation
The public’s experience of the biennale phenomenon has
developed from viewing to participation, giving rise to a marked
shift, in some instances, in the role of the artist from object-
maker to service provider.
Claire Doherty

47. A book

48. Examples
Here are some examples I have used in my class.

49. Wall Drawing, Sol Lewitt

50. Sol Lewitt

51. Harold Cohen – Aaron

52. Harold Cohen – Aaron

53. Drawing automaton

54. Drawing automaton

55. Martin Wattenberg

56. Martin Wattenberg

57. Stelarc

58. Stelarc

59. Marcel-li Antunez Roca

60. Sputniko!

61. Sputniko!

62. Sputniko!

63. Rafael Lozano-Hemmer

64. Rafael Lozano-Hemmer

65. Do Ho Suh

66. Projection mapping

67. Graffiti Research Lab

68. Ben Ruben, Mark Hansen

69. Jim Campbell

70. Touch Cinema, Valie Export 1968

71. Touch cinema

72. Net art, Jodi

73. 0100101110101101 – Biennale Virus, 2001

74. IP Yuk-yiu, Another Day of Depression in Kowloon, 2012

75. IP Yuk-yiu, Another Day of Depression in Kowloon

76. Blast Theory

77. Blast Theory – Can You See Me Now? 2003