- Class Number 2613
- Term Code 3130
- Class Info
- Unit Value 6 units
- Mode of Delivery In Person
- Dr Peter Alwast
- Dr Peter Alwast
- Class Dates
- Class Start Date 22/02/2021
- Class End Date 28/05/2021
- Census Date 31/03/2021
- Last Date to Enrol 01/03/2021
This course introduces the basic principles for the development of abstract paintings, considering a variety of historical and contemporary examples. This includes abstraction developed out of organic sources, geometric principles, optical effects, materiality and matter painting, and hybrid forms. Studio projects expand the student's conceptual and historical understanding of abstract painting, introduce a range of paint-handling skills, develop their knowledge of acrylic, oil and other media and understanding of how formal and material qualities contribute to the generation of meaning and affect. Studio work is informed by lectures, seminars and discussions. Work health and safety (WHS) instruction is an integral part of this course.
Upon successful completion, students will have the knowledge and skills to:
- competently utilise a range of skills relevant to abstract painting, in response to course projects;
- explore the potential of material/s used in course projects;
- pursue the inventive application of concepts and processes relevant to course projects; and
- engage with material processes, and historical and theoretical contexts relevant to an independently driven abstraction project.
The course encourages students to research the historical, theoretical and material frameworks that inform abstract painting beyond provided course information.
National Gallery of Australia
Additional Course Costs
Students will be responsible for the purchase of their own materials in order to complete the course.
Students are required to purchase their own materials to complete the course
A Painting Workshop Fee of $40- is paid as a one-off access fee for any student enrolled in Painting courses. This covers your access to workshop facilities outside of your specific course hours as well as incidentals. Even if you are enrolled in more than one Painting course in any semester, you only pay this fee once per semester.
Payment can be made here:
Please bring your own protective clothing, such as painting shirts, disposal gloves, cotton rags. You will also need smaller plastic containers with lids such as empty yogurt etc... containers to store unused paint.
Examination Material or equipment
Required Resources and Incidental Fees – ANU School of Art and Design
Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Course Outline and include tuition, teaching materials and student access to the workshops for the stated course hours.
Students are requested to refer to the School of Art website for information: http://soa.anu.edu.au/required-resources-and-incidental-fees.
Painting Amongst Other Things Exhibition and Catalogue http://paot.com.au/
Article on Erasure https://www.tate.org.uk/context-comment/articles/revelation-erasure
Inventing Abstraction MOMA https://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?page=connections
Abstraction, 2013 (Whitechapel: Documents of Contemporary Art). Edition. The MIT Press. Albers, J 1975, Interaction of Colour Revised Edition, Yale University Press.
Abstraction, 2013 (Whitechapel: Documents of Contemporary Art). Edition. The MIT Press.
Albers, J 1975, Interaction of Colour Revised Edition, Yale University Press.
Briony, F 1997, On Abstract Art, Yale University Press, New Haven and London
Itten, J 1970, The Elements of Colour, John Wiley & Sons, New Jersey, United States.
Gerhard Richter, 1996, Abstract Painting 825-11:69 details/with an afterword by Hans Ulrich Obrist, Zurich.
Lippard, L,R 1981, Ad Reinhardt/Lucy R. Lippard, H.N. Abrams, New York.
Paths to Abstraction 1867-1917, Terence Maloon (editor), 2010.
Schwabsky,B (ed.)Vitamin P2: 2011, New Perspectives in Painting, Phaidon Press Limited, London.
This Way Up, 2009, an Exhibition Series of Recent Abstract Paintings, The Australian National University, Goanna Print, Canberra.
Students will receive individual verbal feedback during the studio workshops.
Students will also receive verbal feedback from staff and students during group discussions.
ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.
|Week/Session||Summary of Activities||Assessment|
|1||Wednesday February 24 Seminar 2-3pm SOA&D Lecture theatre 1.42 and online Project One: Introduction to Abstraction/ The Monochrome and erasure Studio 3-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Erasure and The Monochrome The history of abstract painting in the 20th century is one of historical erasure of representational painting (associated with the past) in favour of future social ideals. Erasure as a painterly process tends to emphasise materiality by negating pictorial illusionism|
|2||Wednesday March 03 2-5pm Visit to the National Gallery (meet at National Gallery of Australia at 2pm in the Foyer)|
|3||Wednesday March 10 Continuation of project one Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Continuation and finalisation of Erasure and The Monochrome studio project.|
|4||Wednesday March 17 Project Two: Gesture/Geometry Project Seminar 2-3pm SOA&D Lecture theatre 1.42 and online 3-5pm Drawing studies - on campus and/or Botanic Gardens and/or at home.||Gesture/Geometry and Translation Appearing ‘spontaneous’, Franz Kline’s monumental black and white line paintings from the 1950’s and 1960’s consist of transposing small automatic drawing into large scale paintings, considering the relationship between line, shape and scale. Since then a variety of artist have used this process including Jonathan Lasker and local artist Peter Maloney.|
|5||Wednesday March 24 Continuation of project two Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21 Studio 2-6pm|
|6||Wednesday March 31 Continuation of project three Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Continuation and finalisation of free-line/geometry project – working with up scaling and projection of organic studies and combing with architectural/geometric line.|
|7||Wednesday April 21 Seminar 2-3pm SOA&D Lecture theatre 1.42 and online Project Three: The Readymade Studio 3-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||The Readymade In 1917 Marcel Duchamp famously gave up painting and produced his first readymade titled ‘The Fountain’. Since then generations of painters have used a variety of different supports and materials to replace painting directly onto canvas|
|8||Wednesday April 28 Continuation of project three Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Continuation of readymade project|
|9||Wednesday May 05 ?Continuation of project three Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Finalisation of readymade project|
|10||Wednesday May 12 Seminar 2-3pm SOA&D Lecture theatre 1.42 and online Project Four: Contemporary Approaches to Abstract Painting Studio 3-6pm Begin self-directed abstraction project SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21|
|11||Wednesday May 19 ?Continuation of project four Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Continue self-directed abstraction project|
|12||Wednesday May 26 Continuation of project four Studio 2-6pm SOA&D Painting Drawing Room 1.13, SOA&D Painting Second Year Studio 1.21||Continue and finalise self-directed abstraction project|
|Assessment task||Value||Due Date||Return of assessment||Learning Outcomes|
|Folio of set studio projects||80 %||06/03/2021||19/06/2021||1, 2, 3, 4|
|Visual Diary and Research/Attendance||20 %||06/03/2021||19/06/2021||1, 2, 3, 4|
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:
The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the ANU Online website. Students may choose not to submit assessment items through Turnitin. In this instance you will be required to submit, alongside the assessment item itself, hard copies of all references included in the assessment item.
Moderation of Assessment
Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.
Students are required to attend scheduled lectures and to participate in studio workshops, local excursions, class discussions and critiques. You are required to devote at least 10 hours per week to this coursework - 4 hours in class and 6 hours towards independent research and homework.
Students will be allocated a scheduled assessment time and venue during the examination period.
Assessment Task 1
Learning Outcomes: 1, 2, 3, 4
Folio of set studio projects
Portfolio 80%: [Specific skills and knowledge are as specified in Workshop notes]
Utilisation and reflection on skills and processes in relation to class projects
Folio demonstrates a high level of experimentation with various painterly processes that have also been successfully applied and critically evaluated in set studio projects.
Folio demonstrates a broad range of experimentation with studio processes that have been applied and critically evaluated in set studio projects.
Folio applies a range of skills and critical evaluation at a competent level
Folio applies a limited range of skills and critical reflection at an adequate level
Critical reflection and Technical skills below standard
Recognition of relationships between concepts, process evident in the work
Insightful and independent thinking evident in folio and in discussions
Clear relationships demonstration in work and discussions
Work reveals and can explain relationships to a degree
Concepts evident in work but not articulated
Not evident in work
Engage with historical and theoretical contexts relevant to the course
High level of critical engagement with historical and theoretical contexts evident in folio and/or through discussion beyond course content
Significant level of critical engagement with historical and theoretical contexts evident in folio and/or through discussion
A competent level of critical awareness evident in work and/or through discussion
Not clearly revealed through work or in discussion
Work shows no research in the field
Assessment Task 2
Learning Outcomes: 1, 2, 3, 4
Visual Diary and Research/Attendance
Keep an ongoing visual diary/research journal (either hard copy or electronic) that reflects your participation and personal research related to course content and extended research in relation to the course content.
This journal should address the follow criteria:
- Your ability to conduct in-depth and effective contextual research relevant to your projects
- You have exhibited a comprehensive knowledge of the technical, historical and/or theoretical contexts that support your folio work
Conduct and reflect on independent research both theoretical and practical
High level of critical
reflection clearly identifiable
but with minimal critique
No reflection evident
Academic integrity is a core part of our culture as a community of scholars. At its heart, academic integrity is about behaving ethically. This means that all members of the community commit to honest and responsible scholarly practice and to upholding these values with respect and fairness. The Australian National University commits to embedding the values of academic integrity in our teaching and learning. We ensure that all members of our community understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with. The University has policies and procedures in place to promote academic integrity and manage academic misconduct. Visit the following Academic honesty & plagiarism website for more information about academic integrity and what the ANU considers academic misconduct. The ANU offers a number of services to assist students with their assignments, examinations, and other learning activities. The Academic Skills and Learning Centre offers a number of workshops and seminars that you may find useful for your studies.
You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) as submission must be through Turnitin.
Any work submitted for assessment (e.g, visual diary and folio) will be assessed on the day indicated for assessment and returned to the student that day.
Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.
Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.
Folio will be available to be picked up after the exam period
Extensions and Penalties
Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. The Course Convener may grant extensions for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.
Resubmission of Assignments
An assignment may be resubmitted on medical grounds
Distribution of grades policy
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Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.
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Contemporary Painting, relationship of abstraction and figuration,post-structuralism, aesthetics, post-medium
Dr Peter Alwast