- Class Number 4381
- Term Code 3230
- Class Info
- Unit Value 6 units
- Mode of Delivery In Person
- Dr Peter Alwast
- Dr Peter Alwast
- Class Dates
- Class Start Date 21/02/2022
- Class End Date 27/05/2022
- Census Date 31/03/2022
- Last Date to Enrol 28/02/2022
Drawing on the declaration "All artists borrow, great artists steal" this studio-based course explores the diverse ways in which artists have drawn on influences from one another, from other times, and other cultures. This is a studio-based course supplemented by lectures and seminars exploring interesting examples of cross-fertilisation throughout history and contemporary art practice. In the studio students will explore the work of artists of as a means of enriching their own practice and research.
Upon successful completion, students will have the knowledge and skills to:
- demonstrate and describe an active engagement with concepts and processes, drawn from historical and/or contemporary precedents;
- apply advanced skills and knowledge to the development of research interests;
- critically reflect and analyse how ideas and process generate meaning and affect; and
- demonstrate creative, critical, and reflective engagement with course content and independent research.
The course encourages students to research the historical, theoretical and material frameworks that inform contemporary painting beyond provided course information.
ANCA Dickson 1 Rosevear Place
National Gallery of Australia
Field trips subject to change
Additional Course Costs
Students are required to purchase their own materials to complete the course
Optional Workshop Fee
This Workshop Fee is for additional access to the workshop and use of equipment, tooling and consumable items during extra hours. It is not essential to course completion. Payment of the Workshop Fee is optional, but if a student chooses not to pay it, access to the workshops outside of stated course hours is not allowed.
Payment can be made here:
Please bring your own protective clothing, such as painting shirts, disposal gloves, cotton rags. You will also need smaller glass/plastic containers with lids such as empty yogurt etc... containers to store unused paint or mediums
Examination Material or equipment
Required Resources and Incidental Fees – ANU School of Art
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
Picasso's Variations on the Masters, Susan Galassi
Aesthetics and painting: Jason Gaiger
Art and Representation: John Willats
On Rodin and the classical: http://www.musee-rodin.fr/en/resources/educational-files/multiples-fragments-assemblages
Decorative arts, Orientalism to Matisse:
From Bazaar to Piazza: Islamic trade & Italian Art 1300-1600, Rosamund E. Mack
Matisse and the Alhambra 1901-2010: Maria Jaraunta & Villafranca del Mar
Matisse : his art and textiles : ed. Hilary Spurling 759.4MAT
Oleg Grabar: The Mediation of Ornament
Oriental Carpets, Volkmar Gantzhorn
Ornament & abstraction: Ed. Bruderlin 759.0652ORN
Art & Textiles: Fabric as material and concept in modern art from Klimt to the present
On El Anatsui: see link: http://www.kpbs.org/news/2015/mar/09/stunning-el-anatsui-exhibit-museum-contemporary-ar/
Re: What is it about Piero?
Philip Guston: retrospective: Michael Auping
Painter Eleanor Ray on Morandi, Guston etc: Temporary Equilibrium:
Eleanor Ray on her own work:
David Reed "Soul-Beating" on Guston:
Jed Perl on Eleanor Ray, Diebenkorn and the problems of modern painting
Greg Lindquist Piero and Pastrami: Guston in Rome and The Eye Watching the Eye Paint
Jed Perl: The problem with critics praise of Piero della Francesca's Frick show
Indigenous art and painting today
-On Roper River artists eg. Gertie Huddleston , Ginger Riley, Willie Gudabi- excellent education kit:
- Mangkaja Arts website http://www.mangkaja.com/
-How the Aborigines invented the idea of contemporary art, Edited by Ian McLean
-Rattling Spears: a History of Indigenous Australian Art, Ian McLean
-Old Masters: Australia's great bark painters, Wally Caruana
-Crossing country: the alchemy of Western Arnhem Land Art, Hetti Perkins
-Tjukurrtjanu, Origins of Western Desert Art, Judith Ryan & Phillip Batty
-Art & Soul, Hetti Perkins ( see also DVD of this series)
-Papunya Tula: Genesis and genius, Hetti Perkins and Hannah Fink
-Yirrkala Drawings, Art Gallery of NSW
Students will be given feedback in the following forms in this course:
Individual studio feedback
Group discussion and review
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||Friday February 25 Seminar 9-10am SOA&D Lecture theatre 1.42 and online Course Introduction - the community of influences Studio 10-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|2||Friday March 04 Field Trip - Studio visits ANCA studios 9-1pm|
|3||Friday March 11 Seminar 9-10am SOA&D Lecture theatre 1.42 and online The Australian landscape reconsidered Studio 10-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15||Proposal due 6000 level students|
|4||Friday March 18 Field Trip - National Gallery of Australia 10-2pm|
|5||Friday March 25 Seminar 9-10am SOA&D Lecture theatre 1.42 and online The long shadow of Phillip Guston Studio 10-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|6||Friday April 01 Seminar 9-10am SOA&D Lecture theatre 1.42 and online The influence of conceptual art on painting Studio 10-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15||Oral presentations 3000 level students|
|7||Friday April 22 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|8||Friday April 29 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|9||Friday May 06 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15||Work in Progress presentations|
|10||Friday May 13 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15||Work in Progress presentations continue|
|11||Friday May 20 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|12||Friday May 27 Studio 9-1pm SOA&D Painting Drawing Room 1.13, SOA&D Painting third year Studio 1.14 and 1.15|
|Assessment task||Value||Learning Outcomes|
|Work Proposal||10 %||1, 4|
|Work in Progress Presentation||20 %||1, 2, 3, 4|
|Visual Diary||10 %||1,3, 4|
|Final folio of work||60 %||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 Academic Integrity . In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.
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 weekly lectures and to participate in the discussion and analysis of the material presented. 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, 4
By WEEK THREE you will have written a brief (500 words -2 pages max) Work proposal outlining what you plan to explore in the first half of semester- template for this on Wattle. Your influences may change as your work develops and your ideas change, so you in your Visual Diary you will update this, adding any new influences as you go. Indicate the kinds of aspects of the material you have chosen which interest you and with which you will be working.
A clear, achievable and well developed account of objectives, rationale, methods
Very high quality original proposal, well researched, indicating realistic planning and compelling rationale
High quality proposal displaying insightful rationale and research linked to intended objectives
Proposal displays a competent level of research, planning and explains rationale
Proposal displays a moderate amount of research linked to rationale, planning stated but not clearly explained
Objective, rationale and methods not adequately articulated
Assessment Task 2
Learning Outcomes: 1, 2, 3, 4
Work in Progress Presentation
After mid-semester break in the second teaching block you will pursue two new streams of influence, one of which should be drawn from an artwork experienced directly at an exhibition currently open - NGA, Drill Hall or Canberra Museum and Gallery. One should be the work[s] of an artist, the other can be any other form of influence (e.g. music, literature, natural forms, architecture, philosophy etc etc). You will need to experience the work directly, document it and do some background research on the artists or culture from which the work comes so you can discuss the aspects of that work on which you’d like to draw. Presentation is 15min.
Ability to critically reflect on the process of influence and account for creative decision-making process
Astute and insightful understanding of relations of form to meaning & affect in work
Insightful grasp of relation of form to meaning & affect evident in work
Growing ability to link formal qualities to meaning or affect demonstrated
Some capacity for reflection but room to build on this understanding in practice
Lacking insight regarding the relation between form and meaning & affect
Assessment Task 3
Learning Outcomes: 1,3, 4
You will be required to compile a Visual Research Working Diary of your exploration process. This diary is specifically for this course. This will be an assessable item so make it a creative work in itself. This diary can be any size or format - hard copy or electronic. Use this to compile your Work Proposal, images of your source material and related imagery, to make observations, references, thoughts and lecture notes, technical notes, process notes & drawings. Refer also to background reading & gallery research. You should enter some new material into your diary every week. We emphasise using the diary as a place to make drawings- drawings from artworks of interest to you, and drawings to open up your thinking about possible ways of exploring your influences. Drawings can incorporate mixed media, collage etc. Add any of the notes you make for assessable presentations throughout the semester to your diary.
The visual diary will be assessed according to the following criteria:
Your ability to conduct in-depth and effective contextual research currently relevant to your project, discipline and the broader visual arts.
Your exhibiting a comprehensive knowledge of the technical, historical and/or theoretical context for your work.
Your ability to reflect upon, evaluate and analyse your engagement with broader developments in visual arts and design
Visual Diary 10%
Ability to conduct in-depth contextual research
Very high level of understanding and demonstration of relevant contexts linked successfully to studio works in the form of visual studies, notes, analysis, reflection, drawings, etc: analogue of digital
Insightful level of understanding and demonstration of relevant contexts linked successfully to studio works in the form of visual studies, notes, analysis, reflection, drawings, etc: analogue of digital
Growing ability to understand and demonstrate relevant contexts linked successfully to studio works in the form of visual studies, notes, analysis, reflection, drawings, etc: analogue of digital
Limited capacity to understand and demonstrate relevant contexts linked successfully to studio works in the form of visual studies, notes, analysis, reflection, drawings, etc: analogue of digital
No capacity to understand and demonstrate relevant contexts linked successfully to studio works
Assessment Task 4
Learning Outcomes: 1, 2, 3, 4
Final folio of work
A folio of exploratory work: the first part of this folio (for Week 1 to 6) may involve copies/studies and/or colour swatches, analytical exercises mapping pictorial structures or patterns; drawing, collages or roughs exploring approaches to space or form, material experiments, technical exercises etc, using you imagination, curiosity, lateral thinking, open-ended investigative and speculative approaches. The final part of your folio (Week 7 to 12) should demonstrate more resolved works and well as a series of on-going experiments.
Level of inventive adaptation of contextual research to individual interests
Exceptional level of exploration, very high level and wide-ranging exploration of skills & imaginative, conceptual engagement in studio project
Comprehensive exploration of studio materials & processes,
High level engagement and imagination in studio project
Commendable attempts at exploring materials & processes but limited in scope
Adequate engagement with materials and processes but limited grasp of studio research methods
Has not been able to show explorative approach to materials, processes
Level of effective reflection on the role of materiality in meaning and affect as evident in studio work
Astute and insightful understanding of relations of materiality to meaning & affect in studio project
Insightful grasp of relation of materiality to meaning & affect evident in studio project
Growing ability to link material qualities to meaning or affect demonstrated
Some capacity for reflection but room to build on this understanding in studio project
Appears to lack insight regarding the affect and meaning generated by materiality
Academic integrity is a core part of the ANU culture as a community of scholars. At its heart, academic integrity is about behaving ethically, committing to honest and responsible scholarly practice and upholding these values with respect and fairness.
The ANU commits to assisting all members of our community to 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 be familiar with the academic integrity principle and Academic Misconduct Rule, 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 Academic Misconduct Rule is in place to promote academic integrity and manage academic misconduct. Very minor breaches of the academic integrity principle may result in a reduction of marks of up to 10% of the total marks available for the assessment. The ANU offers a number of online and in person services to assist students with their assignments, examinations, and other learning activities. Visit the Academic Skills website for more information about academic integrity, your responsibilities and for assistance with your assignments, writing skills and study.
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) 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.
Assignments will be returned to students by the end of the assessment period
Extensions and Penalties
Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted 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
Resubmission can occur on medical grounds
Distribution of grades policy
Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.
Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.
Support for students
The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).
- ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
- ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
- ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
- ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
- ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
- ANUSA supports and represents undergraduate and ANU College students
- PARSA supports and represents postgraduate and research students
contemporary painting, materiality, painting history, aesthetic debates, post-structuralism ,post-medium debates
Dr Peter Alwast