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ELAM SCHOOL OF FINE ARTS

COURSE OUTLINE: FINE ARTS 210G, Semester 2, 2016


1.0

GENERAL COURSE INFORMATION

Course Code: FINEARTS 210G


Course Title: Understanding Contemporary Visual Arts Practice
Points Value: 15 points
Prerequisite: 60 points at Stage 1 in any subject(s)
Teaching staff
Course Coordinator and Lecturer: Dr Lucille Holmes, Elam.
Office: 432-126 (downstairs from the Fine Arts library foyer)
Phone: 3737599 ext 89328
Email: la.holmes@auckland.ac.nz
Course Tutor: Julia Teale, PhD candidate, Elam.
Email: jtea407@aucklanduni.ac.nz
2.0

CLASS CONTACT HOURS

The class meets for one lecture per week on Thursdays from 1-3pm in HSB2 lecture theatre (building 201N,
room 352 in the Human Sciences Building, 10 Symonds Street).
Please note that some of our classes will be held offsite when we have gallery visits. Consult the lecture
schedule to find out when these offsite gallery visits will take place, and be sure to put this in your diaries.
The lecture schedule may change to allow for additional gallery visits, for which you will be notified in class
and by email.
The study time for this course is estimated at 10 hours per week, including class time and allowing for eight
hours of self-directed and course related reading, researching and writing your assignments, and selfdirected gallery visits.
3.0

COURSE PRESCRIPTION

How does the contemporary art world work? This course presents perspectives on contemporary artistic
practices, milieu, and institutions. The course involves active exploration of the local art scene. This includes
visits to galleries, and guest presentations from artists, curators, gallerists and critics. The overarching
premise for this paper is there are many contemporary art worlds (not just a single art world), and we will
explore the many practices and spaces that constitute these. No prior knowledge or experience of
contemporary art is assumed.
4.0

TEACHING AIMS

The aims of this course are to:


1. Develop your understanding of contemporary artists' methodologies and the institutional structure of
the art worlds that surround them.
2. Encourage you to explore contemporary art in a gallery setting.
3. Increase your capacity to read critically and analytically in secondary sources about contemporary
art.
4. Develop your formal writing skills in relation to contemporary artistic practices.
5.0

LEARNING OUTCOMES

On successful completion of this course, you will be able to research and participate in contemporary art
practices, and discuss examples of practitioners' methodologies and areas of investigation.
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6.0

COURSE STRUCTURE AND CONTENT

There are 12 two hour classes in the course, which include guest speakers, lectures and discussions,
workshops and gallery visits. These are compulsory and it is important that you attend. We will hear from
practicing artists, curators and art writers about their work and issues they face as practitioners, including
their working processes, communities and audiences, finances and sustainability, art institutions and media.
In other lectures we will be visiting galleries to learn where contemporary visual art can be viewed. The key
thing we hope you will learn from these sessions is that there is not a single art world but a wide range of
practices and spaces that are involved in art. Finally, some classes will be focused on guidelines for
researching and writing your assignments. In addition, the course lecturer and tutor offer meeting times for
students to discuss the course and give assistance on the assignments.
Week
1

Date
21 July

Class Topic
Course Introduction

28 July

Lecture: Histories of the Present (postmodernism and postcolonialism)


Gallery visits Auckland Art Gallery: Space to Dream: Recent Art from South
America. No entry fee.

4 August

Guided tours: Group A at 1-2.00pm, Group B at 2-3.00pm


Lecture: Modernism and Its Discontents (modernism, the avant-garde,
originality and appropriation)

11 August

Research, writing, assignment workshop


Gallery visits Auckland Art Gallery. No entry fee. Class tours.
Shigeyuki Kihara and John Pule: Group A at 1-2.00pm, Group B at 2-3.00pm

18 August

Extra Ordinary Everyday: Group A at 2-3.00pm, Group at B 1-2.00pm


Lecture: Value-Systems (value, fetishism, and commodities)

Lecture: Spaces for Art: Investigating the relationships between artists,


artworks, audiences, and the spaces that host them
6
25 August
Guest speaker: Nigel Borell, Curator Maori Art, Auckland Art Gallery.
Lectures: Contemporary Mori Art: A Recent History; Curator/Writer/Artist:
Exploring the Value of Contemporary Visual Arts
Friday 26 August
Assessment due date: Critical Review, by 4pm
Mid-semester break Monday 29 August - Saturday 10 September
7
15 September
Lecture: Primary Tropes (the sublime, the aura, and the uncanny)

22 September

Research, writing, essay workshop


Lecture: Operations of Communication (representation, signs, context and
interpretation)

29 September

Guest speaker: Peter Robinson, Associate Professor of Fine Arts, Elam.


Lecture: Aesthetics of Diversity (comparative aesthetics and social histories of
art)

10

6 October

Guest speaker: Michael Parekowhai, Professor of Fine Arts, Elam.


Guest speaker: Dr Leon Tan, Academic Leader (Postgraduate Education),
Creative Industries, Unitec.

11

12

13 October

Lecture: An International Overview and History of Socially Engaged and Public


Art, from the 1920s to Today
Lecture: Material Cultures (beauty, ugliness, ritual, and the body)

20 October

Guest speaker: George Hajian, DocFA candidate, Elam.


Lecture: Practice-based Doctoral Research on Masculine Representations and
the Male Body
Lecture: Corporeal Exteriors (gender, identity, the gaze and the voice)

Wednesday
26 October

Assessment due date: Artist Research Essay, by 4pm


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7.0

LEARNING RESOURCES

The course is offered by Elam School of Fine Arts in the Faculty of the National Institute for Creative Arts and
Industries (NICAI). The NICAI Student Centre provides support for all NICAI students and is your first point of
contact for administrative questions and a resource for dealing with many issues you face as a student. Visit
their website at www.creative.auckland.ac.nz/uoa/home/about/student-centre
7.1

REQUIRED READING

Wood, Paul. "Inside the Whale: An Introduction to Postmodernist Art." Eds. Gill Perry and Paul Wood.
Themes in Contemporary Art. New Haven: Yale University Press, 2004. 4-43.
7.2

RECOMMENDED OR SUPPLEMENTARY READING

Appignanesi, Richard, and Chris Garratt. Introducing Postmodernism: A Graphic Guide. London: Icon, 2004.
Library e-book.
Buskirk, Martha. The Contingent Object of Contemporary Art. Cambridge, Mass.: MIT Press, 2003. Library ebook.
Cavallaro, Dani. Art for Beginners. New York: Writer and Readers Publishing, 2000. Short loan 3 days.
Cavallaro, Dani. Critical and Cultural Theory: Thematic Variations. London: The Athlone Press, 2007. An
introduction to a wide range of critical and cultural theories, with chapters on textuality, gender and
sexuality, the other, meaning, the sign, representation, ideology, subjectivity, the body, the gaze,
aesthetics, space, time, and the simulacrum. Short loan 2 hours.
Cobley, Paul and Litza Jansz. Introducing Semiotics. Trumpington: Icon, 1999. Short loan 3 days.
Dumbadze, Alexander and Suzanne Hudson, eds. Contemporary Art: 1989 to the Present. Chichester, West
Sussex: Wiley-Blackwell, 2012. A series of essays on the topics of globalisation, modernism and
postmodernism, formalism, medium specificity, art and technology, biennials, participation, activism,
agency, fundamentalism, judgement, markets, art schools and scholarship. Library e-book.
Groden, Michael, Martin Kreiswirth, and Imre Szeman. The Johns Hopkins Guide to Literary Theory and
Criticism. Baltimore, MD.: Johns Hopkins University Press, 2005. A searchable guide with over 240
entries on critics and theorists, critical schools and movements, and the critical and theoretical
innovations of specific countries and historical periods. Library e-book.
Nealon, Jeffrey and Susan Searls Giroux. The Theory Toolbox: Critical Concepts for the Humanities, Arts,
and Social Sciences. Lanham, M.D.: Rowman & Littlefield, 2012. An introduction to critical and social
theory. Topics include: authority, subjectivity, culture, multiculturalism, popular culture, media culture,
ideology, history, space and time, postmodernism, postcolonialism, gender, queer, race, class, nature,
animals, and agency. Library e-book.
O'Neill, Paul. "The Curatorial Turn: From Practice to Discourse." Eds. Judith Rugg and Michle Sedgwick.
Issues in Curating Contemporary Art and Performance. Bristol, BG: Intellect, 2007. 13-28.
Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art After 1980. New York: Oxford
University Press, 2005. Chapter topics include time, place, identity, body, language and spirituality. Short
loan 3 days.
Rodrigues, Chris and Chris Garratt. Introducing Modernism. Cambridge: Icon, 2001. Short loan 3 days.
Perry, Gill and Paul Wood, eds. Themes in Contemporary Art. New Haven: Yale University Press, 2004.
Short loan 3 days.
Smith, Paul and Carolyn Wilde. A Companion to Art Theory. Oxford: Blackwell, 2002. Library e-book.
Wood, Paul. Western Art and the Wider World. Chichester, West Sussex: Wiley-Blackwell, 2014. Library ebook.
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7.3

OTHER MATERIALS

Recommended journals
About Performance
Art and AsiaPacific
The Art Bulletin
Art Monthly
Art New Zealand
Australian and New Zealand Journal of Art
Camera Obscura
Continuum: Journal of Media and Cultural Studies
Critical Inquiry
Cultural Politics
Diacritics: A Review of Contemporary Criticism
Diaspora: A Journal of Transnational Studies
Frieze
Grey Room
History of Photography
Interventions: International Journal of Postcolonial
Studies
7.4

The Journal of Aesthetics and Art Criticism


Journal of Aesthetics and Culture
Journal of Popular Culture
Journal of Visual Art Practice
Journal of Visual Culture
Leonardo: Art, Science and Technology
October
Oxford Art Journal
Parkett
Postmodern Culture: An Electronic Journal of
Interdisciplinary Criticism
Representations
TEXT: Journal of Writing and Writing Courses
Third Text: Third World Perspectives on
Contemporary Art and Culture
Visual Arts Research
Womans Art Journal

USE OF CANVAS

Announcements will be made via Canvas; ensure you regularly check your university email address.
7.5

GALLERIES

It is important for this course that you visit galleries outside of class time. You should make the most of art in
Auckland by regularly going to public and dealer galleries, and the course provides an extensive gallery list
for this purpose (on Canvas). This is in addition to the classes where we travel to certain exhibitions.
7.6

STUDENT SUPPORT AVAILABLE

There are a wide range of resources to support your studies in this course and beyond.
Library Resources
The main research libraries relevant to your studies in this course are the Fine Arts library (building 432, level
2, city campus) and the General library. Remember that the librarians are there to help you find what you
need.
Student Learning Services
The University's Student Learning Services provides first-rate classes on a range of skills. These include
classes on effective reading, essay writing, seminar presentation skills, critical thinking and special courses
for those for whom English is an additional language. Contact details are available on their website:
www.library.auckland.ac.nz/student-learning/
Diagnostic English Language Needs Assessment (DELNA)
DELNA is a free check of your academic English language skills which, if you haven't taken already, is highly
recommended for improving your English language skills which are needed to succeed at university level.
DELNA is a two-step process, so if you have completed the first step, please make sure you've checked your
results for whether the second step has been recommended.
English Language Enrichment (ELE)
If you think your English is holding you back from getting better grades, you may wish to find out about ELE
on campus, including helpful, qualified staff offering language support and innovative computer programmes
that can help you learn. See their website www.library.auckland.ac.nz/ele/
Academic Integrity Course
This is an online course for all students which includes essential information on how to use and acknowledge
the work of others in your assignments.

8.0

INCLUSIVE LEARNING

Students are urged to discuss privately any impairment-related requirements face-to-face and/or in written
form with the course coordinator/lecturer and/or tutor.
9.0

OTHER INFORMATION

How to succeed in this course


We want each of you to succeed. Passing the course should be easy if you follow the assignment guidelines
and submit the required work. Keep in mind too that the study time for this course is estimated at 10 hours
per week, including class time and allowing for eight hours of self-directed and course related reading,
researching and writing your assignments, and self-directed gallery visits.
We are hoping that most of you will get more out of this course than merely not failing, and that you will be
able to show us that you are thinking and learning about contemporary visual art in new and interesting
ways.
The main thing is that you need to show you were paying attention to the discussion in the lectures and talks.
For this reason, we have a NO CELLPHONE policy in class please switch it off. Receiving calls and texting
are distracting for you, your classmates, and your lecturers, so show respect. And while laptops are great
tools for note taking and online researching in class, they are also highly distracting when used as a form of
entertainment for yourself or your classmates. Please be judicious in your use of technology in the classroom
is it helping or hindering your comprehension? In addition to listening, you need to demonstrate that you
have been looking thoughtfully at the art works you see, and show some understanding of these in your
writing. You should also be looking at other art reviews and critical writing and discussing these among your
peers. Dont be afraid to ask questions in the lectures and amongst your friends. There is a lot of material out
there in the visual arts to come to terms with, and even as your teachers we will not know every term,
concept, theory or practice you encounter. The important thing is to keep challenging and developing your
knowledge.
10.0

ASSESSMENT

10.1

METHOD OF ASSESSMENT

FINEARTS 210G is fully assessed by coursework. There is no final examination.


You have two assignments to complete:

Assignment 1: Critical Review. Students are asked to critically review a set text (1200 words, 40% of
final grade).

Assignment 2: Artist Research Essay. Students are asked to research one contemporary visual artist
by exploring and examining the current knowledge on the artist. (1500 words, 60% of final grade).

Full details on these assignments are provided on the final pages of this document.
Lateness policy and extensions
It is important that you submit your work on time to fit the allocated periods of assessment. If you have
missed a deadline and have not received an extension before the due date has expired, the following policy
will apply:
A partial grade step will be deducted for each 24 hour period your assignment is late. For example, if you
submit the first assignment on Thursday morning instead of Wednesday morning, a grade of A- would
become B+, B+ would become B, B would become B-. If you submitted on Friday morning, A- would become
B, B would become C+, B would become C, etc.
Late assignments will be marked and will receive a grade, but may not receive any written feedback or only
minimal feedback. This includes assignments that have received an extension. If you submit your work late,
there is no guarantee that the marker will be able to give you feedback in a timely manner (or give you any
written feedback at all), since your assignment will be dealt with outside of the scheduled time blocked out
for marking and assessment. Thus it is in your own interests to submit your work on time.

Applying for extensions


If you have medical or other urgent issues that prevent you from submitting by the deadline, ensure that you
contact the course lecturer a few days before the assignment due date. We are very unlikely to grant
extensions if you contact us any later than that.
Generally, extensions without penalty will be granted for the duration of the period covered by a medical
certificate, but you must provide the medical certificate or similar written documentation. In the absence of
such documentation, the above-mentioned penalty will apply.
To get an extension, email the course lecturer with your request, and a copy of the medical certificate (or
equivalent documentation).
10.2

Assessment Criteria

Your assignments will be marked according to criteria specified in the Assignment Descriptions below.
Grading will also correspond to the NICAI Grade Descriptors included at the end of this document.
It is important that you note that work is graded C when it is adequate, work at B level is strong, and work at
A level will need to be of exceptionally high quality. By strong we mean that the work demonstrates greater
depth, more detail, and more care taken in evaluating and responding to texts and thinking about your own
writing than might usually be expected.
Discussion of grades
If you are concerned by a mark you receive for your assignment, the best approach is to discuss the matter
directly with Lucille or Julia who will explain why you have received your grade. Please be aware that all
assignments which receive a fail grade or borderline pass are automatically double-marked by the course
moderator. For further information, refer to the Resolution of Student Academic Complaints and Disputes
Statue for both the informal and formal procedures www.auckland.ac.nz/en/about/learning-andteaching/policies-guidelines-and-procedures.html
10.3

ACADEMIC INTEGRITY

The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in
coursework as a serious academic offence. The work that a student submits for grading must be the
students own work, reflecting his or her learning. Where work from other sources is used, it must be properly
acknowledged and referenced. This requirement also applies to sources on the world-wide web. A students
assessed work may be reviewed against electronic source material using computerised detection
mechanisms. Upon reasonable request, students may be required to provide an electronic version of their
work for computerised review.
Plagiarism
It is imperative students understand issues around plagiarism and academic honesty before they commence
their assignments. The University has a license for the Turnitin service for plagiarism detection and this will
be used for your assignments. Please note that if you have a reading of 20% or higher similarity in your
Turnitin assignments, and it is NOT for correctly cited quotations, we will ask you to re-write the assignment
until it is under that percentage. When this happens, your re-written assignment will only be given a bare
pass (50%) at the maximum.
Therefore, it is a good idea to submit to Turnitin EARLY and see what your similarity percentage is. If it is
over 20%, you have the time to rewrite it and resubmit it before the deadline, and your assignment will be
marked as normal.
Even if your assignment makes use of correctly cited quotations, and is over 20% similarity, we suggest you
try submitting it without the reference list. If it is still over, you should undertake editing, put more of the
information in your own words, and rely less on quotations. Judicious use of quotations increases your
marks; injudicious use of quotations decreases your marks.
For further guidance on issues of plagiarism, refer to the Universitys guidelines for academic integrity
including an academic integrity course you should take:
http://www.auckland.ac.nz/uoa/home/about/teaching-learning/academic-integrity

For your reference, here are the Universitys key principles on academic honesty:
1. All students and staff are members of The University of Aucklands academic community, which
shares values such as trust, mutual respect, honesty, integrity and fairness.
2. Work students submit for grading - in coursework and examinations - must ultimately be their own
work, reflecting each students learning and performance.
3. Where work (ideas, statements, data, illustrations or examples) from other sources is used in
coursework, it must be properly acknowledged and referenced.
4. Cheating is a serious academic offence. Marks and qualifications acquired through cheating are
acquired dishonestly and do not truly represent the students abilities. The grades and qualifications
that students earn legitimately through their own efforts are de-valued if other students cheat.
5. The University of Auckland will not tolerate cheating, or assisting others to cheat.
10.4

ATTENDANCE AND PARTICIPATION

Attendance in class as well as engagement with course activities and readings supports academic success.
Therefore it is strongly recommended that students make every effort to attend class and complete all the
necessary in-class requirements. While attendance is not a specific criterion in the assessment for
FINEARTS 210G, there is a known clear correlation in university study between poor attendance and poor
grades, including the failure of courses. The course lectures and workshops are specifically designed to
support and enhance your core learning with regards to the assignments. Lack of attendance at these will
likely adversely affect your performance in assignments in this paper. Conversely, attendance at the lectures
will enable you to better engage with the final assignment, and in doing so, ensure your achievement is
satisfactory or higher.
11.0

STUDENT FEEDBACK

If necessary, information about student feedback processes and student evaluation surveys will be provided
during the course of the semester.
12.0 UNIVERSITY POLICIES AND GUIDELINES
This course is based on the university policies and guidelines. For further information, see the University and
Faculty websites. On the Faculty website, the Quick Reference Guide for New Students provides useful
information on such things as key dates, where to go for help and advice, personal support and academic
policies and procedures.
Students must note the following Copyright Warning Notice that applies to all material provided for this
course. This includes printed material and electronic material, and material posted on Canvas. If you are not
sure about the requirements, ask for clarification from the course coordinator.

COPYRIGHT WARNING NOTICE


This material is protected by copyright and has been copied by and solely for the educational purposes of
the University under licence. You may not sell, alter or further reproduce or distribute any part of this course
pack/material to any other person. Where provided to you in electronic format, you may only print from it for
your own private study and research. Failure to comply with the terms of this warning may expose you to
legal action for copyright infringement and/or disciplinary action by the University.

ASSIGNMENT DESCRIPTIONS
ASSIGNMENT 1: CRITICAL REVIEW
Objectives:
The objectives of this assignment are to develop:

Your understanding of contemporary artists' methodologies and the institutional structure of the art
worlds that surround them;
Your capacity to read critically and analytically in secondary sources about contemporary art.
Your formal writing skills in relation to contemporary artistic practices.

Content:
For this assignment you are asked to write a critical review of a set text. The text is an essay by Paul Wood
called "Inside the Whale: An Introduction to Postmodernist Art." The essay is available on Canvas.
The aims of your critical review are to inform a reader of 1) what the essay is about, 2) the major points and
insights in the essay 3) your responses to it. You should not attempt to comment on each section in the
essay, or organise your discussion in the same way as Wood's essay is organised.
To fulfil these aims, your critical review must include the following content:
1. Background
State the title of the text and the author, comment on the author's background and credentials. Briefly situate
the essay in its wider context.
2. Summary
Describe the thesis, argument and conclusions of the text, and omit the lesser details. Summarise the main
points and avoid extraneous detail.
3. Evidence
Describe and evaluate the kinds of evidence used to support the claims in the text. Were they convincing?
Were there any assumptions that you would query?
4. Review
Evaluate the strengths and weaknesses of the text. What are the key insights this essay provides? What
insights or knowledge did you personally gain from reading the essay? Sum up your overall reaction to the
essay. Why did you find it useful, interesting, or valuable - or not? Were there areas that the essay did not
address and could or should have?
5. Works cited list
Include a works cited list with all full citations. It is recommended you use in-text citations when referring to
Wood's essay.
Submission Requirements:

Allow time to read through, proofread and edit your written work at least three times before submission.

Required word length 1200 words, not including the works cited list. Give the word count at the end of
the assignment.

Your assignment should be written using the MLA writing and referencing style, as described here
https://owl.english.purdue.edu/owl/resource/747/01/. You may also use this tool to help you with the
formatting http://citationmachine.net/.

Full documentation (in-text citations, footnotes or endnotes, works cited list) is important as marks are
deducted for unreferenced work.

Written work must be word-processed, using A4 sized paper, and be sure to only use one side of the
paper.

Allow a reasonable margin on each side of the paper and ensure that your assignment is stapled on the
top left-hand corner. (Tip - please dont insert individual sheets into plastic A4 folders; your markers
prefer it without any kind of folder.)

Use a font that is easy for your marker to read. The font size should be 11 or 12 point, and should be in
the style of Times New Roman, Arial, or Sans Serif. Please dont use Courier font or script-style fonts.

Use single line spacing in your assignment, and use double line spacing between paragraphs. Long
quotes of four lines and more should be indented.

Type your name, ID number and the course number at the top of the first page of your assignment.
Remember to number all the pages.

Submission Date:
Friday 26 August, before 4.00 pm
Submit a hardcopy to 210G Assignment Box at the Elam main office, 431-423.
Submit an electronic copy to Turnitin on Canvas
Assessment:
This assignment is worth 40% of the marks for this course. The assessment criteria are:

The extent to which the critical review gives relevant background and contextual information about the
text;

The extent to which the critical review clearly describes the thesis, argument and conclusion of the text;

The extent to which the critical review describes and evaluates the kinds of evidence used to support the
claims in the text;

The extent to which the critical review evaluates the strengths and weaknesses of the text;

The extent to which the critical review is well written, and written in your own words;

The extent to which the critical review is fully referenced, in accordance with established academic
conventions.

ASSESSMENT SHEET FOR ASSIGNMENT 1: CRITICAL REVIEW


Name:
D- (0-39)

D (40-44)

D+ (45-49)

C- (50-54)

C (55-59)

C+ (60-64)

B- (65-69)

B (70-74)

B+ (75-79)

A- (80-84)

A (85-89)

A+ (90-100)

Criteria
1. The extent to
which the critical
review gives
relevant
background and
contextual
information.
2. The extent to
which the critical
review clearly
describes the
thesis, argument
and conclusion
of the text.

D- to D
Fails to mention
background
information.

C- to C+
Some background
information on text
and author but is
incomplete or
inaccurate.

B- to B+
Some mention of
background
information on text
and author.

A- to A+
Gives relevant
information about
author and
intended audience,
positions text in
scholarly debate.

Lacks basic
understanding of
the theses and
argument.

Describes some
elements of thesis
and argument, but
misses or
misunderstands
some parts of the
text.

Clearly describes
thesis, argument,
and conclusions of
text, but
sometimes gets
bogged down in
detail.

Clearly describes
thesis, argument
and conclusions of
text. Shows good
understanding of
relevant main
points and avoids
extraneous detail.
Describes and
evaluates the
kinds of evidence
used to support
the claims in the
text.

Limited or no
Describes some of Describes most of
3. The extent to
description of the
the evidence used
the evidence used
which the critical
evidence used in
in the text, but is
in the text, and
review describes
not able to
shows some ability
and evaluates the the text.
evaluate relevance to evaluate
kinds of evidence
and usefulness.
usefulness and
used to support
relevance of
the claims in the
evidence.
text.
4. The extent to
None or little
Mostly ignores
Shows some
Thoughtful
which the critical
support for
evaluation and
understanding of
evaluation of
review evaluates
argument,
focuses on
strengths and
strengths and
the strengths and misunderstanding
summary.
weaknesses of the weaknesses of the
weaknesses of
of the text.
text
text.
the text.
English is excellent
5. The extent to
English needs
English is fair and
English is good
which the critical
more work; clarity
content generally
and content clearly and content very
clearly expressed.
review is well
of communication
clear.
expressed.
written, and
is variable.
written in your
own words.
6. The extent to
Referencing is
Referencing has
Referencing is
Referencing is
which the critical
incomplete and
been attempted
mostly complete
complete and an
review is fully
largely incorrect in
but is not correct in and a good
excellent effort has
referenced, in
form.
formatting.
attempt has been
been made to
accordance with
made to follow the
follow the MLA
established
MLA referencing
referencing style
academic
style.
correctly.
conventions.
In addition, if any of the following standard comments are circled, then they also apply to your critical review.
If none are circled, you can assume that none of the comments are applicable to your critical review.
1. This critical review is too short (less than 1100 words).
2. This critical review is too long (more than 1300 words).
3. More care is needed with proof-reading and editing your text.
4. More care is needed with following the submission requirements.
Other comments specific to your critical review:
______________________________________________________________________________________
10

ASSIGNMENT 2: ARTIST RESEARCH ESSAY


Objectives:
The objectives of this assignment are to develop:
Your understanding of contemporary artists' methodologies and the institutional structure of the art
worlds that surround them;
Your capacity to read critically and analytically in secondary sources about contemporary art.
Your formal writing skills in relation to contemporary artistic practices.
Content:
For this assignment you are asked to identify one artist whose work interests you from the artist list below,
and then to source and review a range of literature on this artist.
Your essay should consist of an introduction, body, conclusion and works cited list showing the sources
where you have found information.
The focus of your essay's discussion are the textual sources on your chosen artist. Your discussion should
focus on at least four texts about the artist and no more than seven.
The criteria for choosing your texts are 1) they are available in the university library collections 2) they are
journal articles, chapters in a book, exhibition catalogue essays.
Your research essay must include the following content:
1. Introduction
State your research topic, include some background information on the topic. Briefly explain how you will
review this topic in the body of your essay.
2. Body
The body of your essay contains paragraphs where you summarise, compare and evaluate the sources you
have found. Your discussion should address the following:

the areas of agreement and difference amongst the texts;

the dominant views;

the varying approaches to or perspectives on the topic;

the gaps or areas not addressed in the texts.

3. Conclusion
Summarise the major issues in the literature. On the basis of your learning and findings in this essay,
propose an area that you would like to research further and explain why.
4. Works cited list
Include a works cited list with all full citations. It is recommended you use in-text citations in your essay.
Submission Requirements:

Allow time to read through, proofread and edit your written work at least three times before submission.

Required word length 1500 words, not including the works cited list. Give the word count at the end of
the assignment.

Your assignment should be written using the MLA writing and referencing style, as described here
https://owl.english.purdue.edu/owl/resource/747/01/. You may also use this tool to help you with the
formatting http://citationmachine.net/.

Full documentation (in-text citations, footnotes or endnotes, works cited list) is important as marks are
deducted for unreferenced work.

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Written work must be word-processed, using A4 sized paper, and be sure to only use one side of the
paper.

Allow a reasonable margin on each side of the paper and ensure that your assignment is stapled on the
top left-hand corner. (Tip - please dont insert individual sheets into plastic A4 folders; your markers
prefer it without any kind of folder.)

Use a font that is easy for your marker to read. The font size should be 11 or 12 point, and should be in
the style of Times New Roman, Arial, or Sans Serif. Please dont use Courier font or script-style fonts.

Use single line spacing in your assignment, and use double line spacing between paragraphs. Long
quotes of four lines and more should be indented.

Type your name, ID number and the course number at the top of the first page of your assignment.
Remember to number all the pages.

ARTIST LIST FOR ASSIGNMENT 2


Francis Als
John Baldessari
Joseph Beuys
Xu Bing
Christian Boltanski
Marcel Broodthaers
Louise Bourgeois
Tania Bruguera
Lygia Clark
Tacita Dean
Jeremy Deller
Thomas Demand
Tracey Emin
Theaster Gates
Robert Gober
Nan Goldin

Andy Goldsworthy
Flix Gonzlez-Torres
Douglas Gordon
Wenda Gu
Hans Haacke
Mona Hartoum
Eva Hesse
Susan Hiller
Damien Hirst
Jenny Holzer
Alfredo Jaar
Isaac Julien
Ilya Kabakov
Anish Kapoor
Mike Kelley
Mary Kelly

William Kentridge
Jeff Koons
Joseph Kosuth
Barbara Kruger
Yayoi Kusama
Sarah Lucas
Takashi Murakami
Wangechi Mutu
Bruce Nauman
Shirin Neshat
Chris Ofili
Hlio Oiticica
Gabriel Orozco
Nam June Paik
Michael Parekowhai
Adrian Piper

Peter Robinson
Gerhard Richter
Doris Salcedo
Sebastio Salgado
Andres Serrano
Santiago Sierra
Cindy Sherman
Yinka Shonibare
Frank Stella
Rosemarie Trockel
Cy Twombly
Kara Walker
Jeff Wall
Ai Weiwei
Rachel Whiteread

Submission Date:
Wednesday 26 October, before 4.00 pm
Submit a hardcopy to 210G Assignment Box at the Elam main office, 431-423.
Submit an electronic copy to Turnitin on Canvas
Assessment:
This assignment is worth 60% of the marks for this course. The assessment criteria are:

The extent to which the required amount of information is gathered from appropriate sources;

The extent to which the findings from the sources are compared, contrasted and/or connected to each
other.

The extent to which the conclusion of the essay summarised the knowledge found from the texts and
related the knowledge gained to an area for further research.

The extent to which the essay is well written, and written in your own words;

The extent to which the essay is fully referenced, in accordance with established academic conventions.

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ASSESSMENT SHEET FOR ASSIGNMENT 2: ARTIST RESEARCH ESSAY


Name:
D- (0-39)

D (40-44)

D+ (45-49)

C- (50-54)

C (55-59)

C+ (60-64)

B- (65-69)

B (70-74)

B+ (75-79)

A- (80-84)

A (85-89)

A+ (90-100)

Criteria
1. The extent to
which the
required amount
of information is
gathered from
appropriate
sources.
2. The extent to
which the
findings from the
sources are
compared,
contrasted and/or
connected to
each other.
3. The extent to
which the
conclusion of the
essay
summarises the
knowledge found
from the texts
and relates the
knowledge
gained to an area
for further
research.
4. The extent to
which the essay
is well written,
and written in
your own words.
5. The extent to
which the essay
is fully
referenced, in
accordance with
established
academic
conventions.

D- to D
Information is
gathered from a
single source.

C- to C+
Information is
gathered from a
limited number of
sources.

B- to B+
Information is
gathered from
multiple sources.

A- to A+
Information is
gathered from
multiple, researchbased sources.

The findings of the


texts are not
described.

The findings of the


texts are described
with little or no
comparison or
connection to each
other

The findings of the


texts are
compared,
contrasted and/or
connected to each
other.

The findings of the


texts are
thoughtfully
compared,
contrasted and/or
connected to each
other.

No conclusions are
made from the
evidence offered,
and no area for
future research is
formed.

There is some
indication of
conclusions from
the evidence
offered. A future
area for research
is or is not formed

Conclusions are
reached from the
evidence offered.
A future research
area is formed.

Detailed
conclusions are
reached from the
evidence offered.
A future research
area is formed and
clearly stated.

English needs
more work; clarity
of communication
is variable.

English is fair and


content generally
clear.

English is good
and content clearly
expressed.

English is excellent
and content very
clearly expressed.

Referencing is
incomplete and
largely incorrect in
form.

Referencing has
been attempted
but is not correct in
formatting.

Referencing is
mostly complete
and a good
attempt has been
made to follow the
MLA referencing
style.

Referencing is
complete and an
excellent effort has
been made to
follow the MLA
referencing style
correctly.

In addition, if any of the following standard comments are circled, then they also apply to your research
essay. If none are circled, you can assume that none of the comments are applicable to your research
essay.
1. This research essay is too short (less than 1400 words).
2. This research essay is too long (more than 1600 words).
3. More care is needed with proof-reading and editing your text.
4. More care is needed with following the submission requirements.
Other comments specific to your research essay:
______________________________________________________________________________________
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