In this course, students will investigate a range of approaches to working with and thinking about clay. Students will explore multiple ceramics methods including construction, surface treatment and decoration, as well as the processes and technologies concerned. Students will also be encouraged to consider the material of clay in relation to contemporary conceptual concerns and other art modalities. Through project-based explorations, students will create a unique body of work with a focus on developing a research framework, whilst also developing skills and knowledge of clay and ceramics in relation to the transformation of three dimensional ideas. Self-direction is emphasized in the development of skills that investigate, ideate and execute solutions. Students are expected to evidence substantial research, sophistication of design ideas and planning.
Students may complete this course up to four times for a maximum credit value of 24 units, provided they enrol in a different topic in each instance/semester. Please note that the course content, assessment structure, and reading list will change depending on the topic and the expertise of the lecturer convening the course. Please refer to the class summary for the specific term in which you wish to enrol for a detailed description.
Topics may include, but are not limited to, the following:
- Glaze and Colour
Glaze and Colour explores the practical and theoretical frameworks of glazing in ceramics practice. This includes the sourcing, mixing and testing of glaze recipes for earthenware and stoneware clays, as well as researching and testing out alternative, ‘low-waste’ materials to use in glaze development. Included in this subject is a research project in which students examine the raw materials of certain glazes, mapping out some of the geological, cultural and political intricacies. There are weekly lectures which incorporate examples of artists who work with conventional and alternative materials to develop glazes. The aim of this course is not only to gain experience in making ceramic glazes, but to think creatively about what constitutes a glaze, to experiment with raw materials and to explore the politics and poetics of material origins and transformations that are inherent in ceramic practices.
- Expanded Ceramics
- Ceramic Design
- Ceramic Mouldmaking and Casting
Mouldmaking and casting is centred around the practices of embossing, embedding and creating multiples using clay and other materials. This includes but is not limited to, mixing and pouring plaster, slip casting, and press moulding. There are weekly lectures which incorporate examples of artists who use mouldmaking and casting in their artistic practice. Students will be encouraged to use divergent thinking when considering what it means to take impressions, record and duplicate objects, and to experiment with both the construction of moulds and the material used in the casting process.
- Ceramic Surface
Learning Outcomes
Upon successful completion, students will have the knowledge and skills to:
- demonstrate competency with a range of advancing technical skills in relation to studio area & contemporary art practice;
- independently explore the potential of material/s & methods relevant to the studio area and set projects;
- recognise and analyse precedents and influences on artistic practice; and
- evaluate chosen studio methodologies on the outcomes of studio projects.
Field Trips
The course may involve visits to local institutions and workshops. Transport, parking and associated fees are the resposibility of the student.
Additional Course Costs
This course will have a Materials Fee. At the ANU School of Art & Design, each workshop sources appropriate specialist materials, which are made available to students to facilitate their working effectively, efficiently and safely within our programs. The School of Art & Design is able to supply materials that don’t compromise ANU obligations under the Work Health and Safety Act 2011 (WHS), and that have been assessed as suitable for each course. The Materials Fee is payable for the School of Art & Design to supply consumables and materials that become your physical property. You can choose to pay the Materials Fee and have these materials supplied to you through the School of Art & Design, allowing you to take advantage of the GST-free bulk purchasing power of the ANU. These materials are also WHS compliant. The exact cost of the Materials Fee will be updated in the Class Summary for each semester in which the course is offered. The full SOAD policy can be read here: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees.
AFTERHOURS ACCESS
Students have the option to obtain additional access to workshop and studio spaces outside of class delivery. Afterhours Access is defined as access to workshop and studio spaces outside of business hours (8am – 6pm) between 6pm - 10pm Monday to Friday, and 9am - 4pm Saturday and Sunday. It is afforded to students by paying an Afterhours Access Fee each semester.
Recommended Resources
Whether you are on campus or studying online, there are a variety of online platforms you will use to participate in your study program. These could include videos for lectures and other instruction, two-way video conferencing for interactive learning, email and other messaging tools for communication, interactive web apps for formative and collaborative activities, print and/or photo/scan for handwritten work and drawings, and home-based assessment.
ANU outlines recommended student system requirements to ensure you are able to participate fully in your learning. Other information is also available about the various Learning Platforms you may use.
Staff Feedback
Students will be given feedback in the following forms in this course:
- written comments
- verbal comments
- feedback to whole class, groups, individuals, focus group etc
Student Feedback
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). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.
Class Schedule
| Week/Session | Summary of Activities | Assessment |
|---|---|---|
| 1 | Introductions, welcome. Class representatives. WHS inductions/tours. Guest lecturer: Dr. Sarah Rodigari Lecture: Casting and contemporary art. Choose partner for activity 1, assessment task 2: collaborative sculpture. Begin activity 1, assessment task 2: collaborative sculptures | Assessment task #1 - critical reflection essay, set and explained. |
| 2 | Lecture 1 Tutorial: all about plaster + one-part moulds. Demo: Mixing plaster and pouring for one part mould. Activities: begin one-part mould in pairs, continue on collaborative slipcast sculptures. |
Continue on Activity one, Assessment task 2: collaborative sculpture. Start Assessment task 1: critical reflection essay (due week 4). Continue on one-part mould with your partner and aim to finish this week or early next week. Start making or thinking about objects you might make/use as your models for multi-part moulds next week. Prep. for Black Mountain prior to our walk next week. |
| 3 | Excursion: Field trip to Black Mountain with Wiradjuri ecologist Adam Shipp. 9-9:30: walk to Black Mountain 9:30-10:30: walking with and listening to Adam Shipp. 10:30-11:30: independent research (sketching, listening, writing, in response to the mountain). 12-1: back in studio - finalise collaborative sculpture, monitor one-part mould | Activity one, Assessment task 2 (collaborative sculpture) needs to be finished this week, written reflection on it (assessment task 1) due next week. Monitor one-part mould Choose an object to bring to class next week for making multi-part moulds |
| 4 | Lecture 2 Tutorial: plaster multi-part moulds. Demo: Making a plaster multi-part mould Activity: dissect your object, find seams and plan your mould. Begin making multi-part mould (finish in out of class time). | Due: Assessment task 1 - Critical Reflection essay - upload to Canvas by 11:59pm. Continue on multi-part mould and aim to have finished next week – needs one week to dry to then be cast into in week 6. Bring organic materials to class for initial ceramic burnouts. Check on one-part moulds. Begin slipcasting. |
| 5 | Lecture 3 Tutorial: ceramic burn outs Discussion of readings/videosDemo: pouring/dipping into slip using paper and other organic material for ceramic burn outs Activity: Apply slip to various organic materials. Help with multi-part moulds. Continue on multi-part moulds. Slipcasting in one-part moulds which are dry by now. | Tuesday’s burn-out tests on gas kiln shelf for Wednesday’s firing. Assess these on Thursday and develop further for next week. Monitor your plaster moulds. One-part mould should be dry enough for your partner and you to finish your ‘cup’ casts (3 each, don’t need to be fired). Your multi-part mould might be dry by now, if so, begin your casts. You need 3. |
| 6 | No lecture. No tutorial. Discussion: preparing for assessment, run through assessment rubric etc. Finalising all assessment task 2 work. Troubleshooting and support for making a plaster multi-part mould. | Finish assessment task 2 (due week 7). Your multi-part mould should be dry by now, and you should be finishing off your three casts (don’t need to be fired). Gas firing for more burnouts. |
| 7 | No lecture Tutorial: rehash details of remaining assessment tasks - artwork proposal due this Friday. Assessment task 4 - proposal. Students set up work for assessment in hand-building studio at 9am. No demo Activities: work on artwork proposal outside of classroom (due Friday this week). Pick up work by 5pm. Begin work on assessment task 4 – presentation – write name and date here W8 and W9 Presentation list.docx | Due: Assessment tasks 2 (Tuesday, 9am set up, 5pm collect work). Due: Assessment task 3 (Friday, 5pm upload to Canvas). Readings |
| 8 | Lecture 4 Tutorial: alternative casting techniques, ie. sand-casting Discuss readingsDemo: sand-casting Activity: students casting in sand in pairs. | Continuing project work No reading. |
| 9 | No lecture Student presentations (half of class) Demo: Making your own casting slip from reclaim (or commercially purchased clay powder). Colouring slip. Activity: Students do small tests of coloured slip/marbling. Note: if wanting to continue with coloured slip going forward, students to purchase their own stains/coloured slips. Informal 5-min crits, individual consultations. Independent work. | Due: Assessment task 4 – presentation No reading. |
| 10 | No lecture Student presentations (other half of class) Informal 5-min crits, individual consultations. Independent work. | Due: Assessment task 4 – presentation |
| 11 | Lecture 5 Discussion: where to exhibit after art school - an intro to some ARI's, recent grad work, artist catalogues, and craft galleries. Informal 5-min crits, individual consultations. Independent work. Confirm installation plan by today. | Continuing project work |
| 12 | No lecture Informal 5-min crits, individual consultations. Independent work. | Finalise assessment |
| 13 | Assessment week - | Due: Assessment task 5 - major body of work |
Tutorial Registration
ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.Assessment Summary
| Assessment task | Value | Due Date | Learning Outcomes |
|---|---|---|---|
| 600-word critical reflection | 10 % | 12/08/2025 | 3,4 |
| Portfolio of casting-related studio tasks + Visual Diary | 20 % | 16/09/2025 | 1,2,3,4 |
| Artwork proposal | 20 % | 19/09/2025 | 2,3 |
| Presentation | 10 % | 07/10/2025 | 3 |
| Major body of work + Visual Diary | 40 % | 04/11/2025 | 1,2,3,4 |
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
Policies
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 Integrity Rule before the commencement of their course. Other key policies and guidelines include:
- Academic Integrity Policy and Procedure
- Student Assessment (Coursework) Policy and Procedure
- Extenuating Circumstances Application
- Student Surveys and Evaluations
- Deferred Examinations
- Student Complaint Resolution Policy and Procedure
- Code of practice for teaching and learning
Assessment Requirements
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 Skills website. 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 ‘Canvas’ 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.
Participation
Students are expected to engage in class exercises and studio practice, so that they can become proficient in the relevant skills and techniques. An approach that engenders experimentation, originality, conceptual development and technical competency is encouraged.
It is expected that critical and intellectually rigorous thinking is brought to individual work as well as group feedback sessions - delivered respectively and generously.
Participation in the weekly classes is essential to fulfilling the learning outcomes of this course. Studio clean-ups sessions are scheduled into the end of specific classes and it is expected that you also contribute to these.
Assessment Task 1
Learning Outcomes: 3,4
600-word critical reflection
Write a critical reflection on the collaborative slipcast sculpture you made with your partner using plaster moulds from the SoAD studio.
Rubric
| Task Marking Criteria | HD | D | CR | P | F |
|---|---|---|---|---|---|
Context: Identify historical and theoretical ceramic and contemporary art contexts relevant to workshop projects. LO3 | Essay demonstrates an exceptional understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a confident positioning of their research in the field. | Essay demonstrates a superior understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a clear positioning of their research in the field. | Essay demonstrates a good understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a positioning of their research in the field. | Essay demonstrates some understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, but doesn’t result in a confident positioning of their research in the field. | Insufficient evidence of an understanding of contemporary, historical and theoretical contexts of ceramics and/or broader art movements, and doesn’t result in a positioning of their research in the field. |
Concepts and ideas: Recognise, develop and evaluate conceptual frameworks relevant to contemporary ceramics practice through investigation or a research-based approach to creative practice. LO4 | Studio work is confidently and thoughtfully analysed and evaluated, demonstrating an exceptional understanding of a research-based and collaborative approach to creative practice. There is clearly an exceptional understanding of how the artwork expresses concept through material, surface and form. | Studio work is confidently and thoughtfully analysed and evaluated, demonstrating a superior understanding of a research-based and collaborative approach to creative practice. There is very thorough understanding of how the artwork expresses concept through material, surface and form. | Studio work is thoughtfully analysed and evaluated, demonstrating a good understanding of a research-based and collaborative approach to creative practice. There is a good understanding of how the artwork expresses concept through material, surface and form. | Studio work is analysed and evaluated to an ok understanding of a research-based and collaborative approach to creative practice. There is some understanding of how the artwork expresses concept through material, surface and form. | Studio work is not analysed or evaluated enough, and there is insufficient understanding of a research-based and collaborative approach to creative practice. There is insufficient understanding of how the artwork expresses concept through material, surface and form. |
Assessment Task 2
Learning Outcomes: 1,2,3,4
Portfolio of casting-related studio tasks + Visual Diary
The purpose of these tasks is to demonstrate your ability to slipcast, make plaster moulds, develop a series of slip burnouts, and reflect on these works and the broader field of casting and contemporary ceramics/art. You will submit a series of tasks explained in detail in the assessment brief.
Rubric
| Course Marking Criteria | HD | D | CR | P | F |
|---|---|---|---|---|---|
Technical skills: Utilise skills relevant to ceramic slipcasting and mouldmaking in response to workshop projects. LO1 | Mouldmaking and casting processes demonstrated to an exceptionally high standard. Has approached each technique confidently and from multiple perspectives, leading to the development of unique and outstanding work. | Mouldmaking and casting processes demonstrated to a very high standard. Has approached each technique confidently and from multiple perspectives, leading to the development of original and superior work. | Mouldmaking and casting processes demonstrated to a good quality level. Has approached some of the techniques confidently, and occasionally from multiple perspectives. The resulting work is of sound quality. | Mouldmaking and casting processes demonstrated to an ok level. Hasn’t approached the techniques with confidence or independence. The resulting work is of an ok quality. | Mouldmaking and casting processes are not demonstrated sufficiently. Hasn’t approached the techniques with confidence or independence and the work is not sufficient. |
Progress: explore ceramic materials across the semester leading to resolution in workshop projects. LO2 | Consistently demonstrates curiosity, divergent thinking and critical reflection when exploring, testing and refining casting related processes and materials. Always takes on feedback and implements this in development of the work. The methodical testing and re-testing of materials and processes leads to highly original, exceptional and exciting results. | Often demonstrates curiosity, divergent thinking and critical reflection when exploring, testing and refining casting related processes and materials. Usually always takes on feedback and implements this in development of the work. The methodical testing and re-testing of materials and processes leads to very original and superior results. | Demonstrates curiosity, divergent thinking and critical reflection to a good degree when exploring, testing and refining casting related processes and materials. Often takes on feedback and implements this in development of the work. There is some methodical testing and re-testing of materials and processes, which leads to some good results. | Demonstrates curiosity, divergent thinking and critical reflection to a ok level when exploring, testing and refining casting related processes and materials. Only sometimes takes on feedback and implements this in development of the work. Limited methodical testing and re-testing of materials and processes, which leads to basic results. | Insufficiently demonstrates curiosity, divergent thinking and critical reflection. An unsatisfactory level of testing and refining of casting related processes and materials. Doesn’t take on feedback or implement this in development of the work. Insufficient testing and re-testing of materials and processes, leading to unsatisfactory results. |
Context: Identify historical and theoretical ceramic and contemporary art contexts relevant to workshop projects. LO3 | Project demonstrates an exceptional understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a confident positioning of their research in the field. | Project demonstrates a superior understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a clear positioning of their research in the field. | Project demonstrates a good understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a positioning of their research in the field. | Project demonstrates some understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, but doesn’t result in a confident positioning of their research in the field. | Insufficient evidence of an understanding of contemporary, historical and theoretical contexts of ceramics and/or broader art movements, and doesn’t result in a positioning of their research in the field. |
Concepts and ideas: Recognise, develop and evaluate conceptual frameworks relevant to contemporary ceramics practice through investigation or a research-based approach to creative practice. LO4 | Studio work clearly and thoughtfully demonstrates a research-based approach to creative practice, where ideas are generated independently and confidently. The resulting work expresses concept confidently through material, surface and form and is evaluated in written statements to an exceptional level. | Studio work demonstrates very sound evidence of a research-based approach to creative practice, where ideas are generated independently and creatively. The resulting work expresses concept confidently through material, surface and form and is evaluated in written statements to an superior level. | Studio work demonstrates some evidence of a research-based approach to creative practice, with some ideas generated independently. The resulting work expresses concept through material, surface and form and is evaluated in written statements to a good level. | Studio work demonstrates little evidence of a research-based approach to creative practice, with limited ideas generated independently. The resulting work minimally expresses concept through material, surface and form, and is evaluated in written statements minimally. | Insufficient evidence of research-based approach to creative practice, conceptual content in studio work, or evaluation. |
Assessment Task 3
Learning Outcomes: 2,3
Artwork proposal
This assessment task requires the careful and considered development of an artwork proposal in response to four conceptual prompts which include: place, containers, listening, and industry. The proposal is submitted as a two-page PDF (assessed) and informally presented to the class (not assessed).
Rubric
| Course Marking Criteria | HD | D | CR | P | F |
|---|---|---|---|---|---|
Context: Identify historical and theoretical ceramic and contemporary art contexts relevant to workshop projects. LO3 | Project demonstrates an exceptional understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a confident positioning of proposed research in the field. | Project demonstrates a superior understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a clear positioning of proposed research in the field. | Project demonstrates a good understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a positioning of proposed research in the field. | Project demonstrates some understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements. Doesn’t result in a convincing positioning of proposed research in the field. | Insufficient evidence of an understanding of contemporary, historical and theoretical contexts of ceramics and/or broader art movements. Doesn’t result in a positioning of proposed research in the field. |
Concepts and ideas: Recognise, develop and evaluate conceptual frameworks relevant to contemporary ceramics practice through investigation or a research-based approach to creative practice. LO4 | Studio work is confidently and thoughtfully planned, demonstrating a research-based approach to creative practice and the capacity for ideas to be generated independently and confidently. The proposal highlights an exceptional understanding of how concept can be expressed through material, surface and form. | Studio work is thoroughly planned, demonstrating a research-based approach to creative practice and the capacity for ideas to be generated independently and confidently. The proposal highlights a superior understanding of how concept can be expressed through material, surface and form. | Studio work is planned well, demonstrating a research-based approach to creative practice and the capacity for ideas to be generated independently and confidently. The proposal evidences a good understanding of how concept can be expressed through material, surface and form. | Studio work is planned to a moderate level, and demonstrates some capacity for a research-based approach to creative practice. The proposal evidences a moderate understanding of how concept can be expressed through material, surface and form. | Studio work is not planned to an satisfactory level, there is insufficient evidence of independent research, or understanding of how concept can be expressed through material, surface and form. |
Assessment Task 4
Learning Outcomes: 3
Presentation
You will give a 10-minute presentation on a casting related artwork/artist either from the list provided or your own research (you need to ok this artist/artwork with your teacher). You will submit a two-page document (PDF) from this presentation to Canvas.
Rubric
| Course Marking Criteria | HD | D | CR | P | F |
|---|---|---|---|---|---|
Context: Identify historical and theoretical ceramic and contemporary art contexts relevant to workshop projects. LO3 | Presentation demonstrates an exceptional understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a confident positioning of the research in the field. | Presentation demonstrates a superior understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a clear positioning of the research in the field. | Presentation demonstrates a good understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a positioning of the research in the field. | Presentation demonstrates a moderate understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, but doesn’t result in a confident positioning of the research in the field. | Insufficient evidence of an understanding of contemporary, historical and theoretical contexts of ceramics and/or broader art movements, and doesn’t result in a positioning of the research in the field. |
Assessment Task 5
Learning Outcomes: 1,2,3,4
Major body of work + Visual Diary
Develop and execute a significant body of practical work drawing on your artwork proposal, which responds to one of the four assessment task prompts (Place, Containers, Listening, Industry).
‘Significant’ means that the work is, for example, three large casting-related ceramic works (over 40cm each), a series of 6 or more casting-related ceramic works that sit together on a table/plinth, or an installation of casting-related ceramics that work into the architecture of the ceramics area. In either case, the works need to show a great deal of development, divergent thinking, originality, testing and refinement through the thinking and making as observed through your time in the studio and crit sessions.
Rubric
| Course Marking Criteria | HD | D | CR | P | F |
|---|---|---|---|---|---|
Technical skills: Utilise skills relevant to ceramic slipcasting and mouldmaking in response to workshop projects. LO1 | Mouldmaking and casting processes as well as surface and firing treatments are demonstrated to an exceptionally high standard. Has approached each casting related technique confidently and from multiple perspectives, leading to unique and outstanding work. | Mouldmaking and casting processes, as well as surface and firing treatments are demonstrated to a very high standard. Has approached each casting related technique confidently and from multiple perspectives, leading to original and superior work. | Mouldmaking and casting processes as well as surface and firing treatments are demonstrated to a good quality level. Has approached some of the casting related techniques confidently, and occasionally from multiple perspectives. The resulting work is of sound quality. | Mouldmaking and casting processes as well as surface and firing treatments are demonstrated to an ok level. Hasn’t approached the casting related techniques with confidence or independence. The resulting work is of an ok quality. | Mouldmaking and casting processes and/or surface and firing treatments are not demonstrated sufficiently. Hasn’t approached the casting related techniques with confidence or independence and the resulting work is not sufficient. |
Progress: explore ceramic materials across the semester leading to resolution in workshop projects. LO2 | Consistently demonstrates curiosity, divergent thinking and critical reflection when exploring, testing and refining casting related processes and materials. Always takes on feedback and implements this in development of the work. The methodical testing and re-testing of materials and processes leads to highly original, exceptional and exciting results. | Often demonstrates curiosity, divergent thinking and critical reflection when exploring, testing and refining casting related processes and materials. Usually always takes on feedback and implements this in development of the work. The methodical testing and re-testing of materials and processes leads to very original and superior results. | Demonstrates curiosity, divergent thinking and critical reflection to a good degree when exploring, testing and refining casting related processes and materials. Often takes on feedback and implements this in development of the work. There is some methodical testing and re-testing of materials and processes, which leads to some good results.
| Sometimes demonstrates curiosity, divergent thinking and critical reflection to a ok level when exploring, testing and refining casting related processes and materials. Only sometimes takes on feedback and implements this in development of the work. Limited methodical testing and re-testing of materials and processes, which leads to basic results.
| Insufficiently demonstrates curiosity, divergent thinking and critical reflection. An unsatisfactory level of testing and refining of casting related processes and materials. Doesn’t take on feedback or implement this in development of the work. Insufficient testing and re-testing of materials and processes, leading to unsatisfactory results. |
Context: Identify historical and theoretical ceramic and contemporary art contexts relevant to workshop projects. LO3 | Project demonstrates an exceptional understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a confident positioning of their research in the field. | Project demonstrates a superior understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a clear positioning of their research in the field. | Project demonstrates a good understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, resulting in a positioning of their research in the field. | Project demonstrates an ok understanding of the contemporary, historical and theoretical contexts of ceramics and/or broader art movements, but doesn’t result in a confident positioning of their research in the field. | Insufficient evidence of an understanding of contemporary, historical and theoretical contexts of ceramics and/or broader art movements, and doesn’t result in a positioning of their research in the field. |
Concepts and ideas: Recognise, develop and evaluate conceptual frameworks relevant to contemporary ceramics practice through investigation or a research-based approach to creative practice. LO4 | Studio work clearly and thoughtfully demonstrates a research-based approach to creative practice, where ideas are generated independently and confidently. The resulting work expresses concept confidently through material, surface and form and is evaluated in written statements to an exceptional level. | Studio work demonstrates very sound evidence of a research-based approach to creative practice, where ideas are generated independently and creatively. The resulting work expresses concept confidently through material, surface and form and is evaluated in written statements to an superior level. | Studio work demonstrates some evidence of a research-based approach to creative practice, with some ideas generated independently. The resulting work expresses concept through material, surface and form and is evaluated in written statements to a good level. | Studio work demonstrates little evidence of a research-based approach to creative practice, with limited ideas generated independently. The resulting work minimally expresses concept through material, surface and form, and is evaluated in written statements minimally. | Insufficient evidence of research-based approach to creative practice, conceptual content in studio work, or evaluation. |
Academic Integrity
Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.
The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.
The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.
The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.
Online Submission
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.
Hardcopy Submission
For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.
Late Submission
Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:
- Late submission not permitted. If submission of assessment tasks without an extension after the due date is not permitted, a mark of 0 will be awarded.
- Late submission permitted. 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.
Referencing Requirements
The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.
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.
Privacy Notice
The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.
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 Accessibility 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 supports you make your own decisions about how you learn and manage your workload.
- ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
- ANUSA supports and represents all ANU students
Convener
|
|
|||
Research InterestsKate Hill is a contemporary artist and researcher working at the intersections of material and place-based politics, ceramics and social practice. Her practice-based research focuses on the materials central to ceramics practice—clay and other geological minerals—to think about the enmeshment of ceramics within colonial extractive histories, soil ecologies, and other stories of place. She works across both studio and site, investigating clay through sculptural processes that utilise alternative firings, found materials and reiterative, cyclical processes, as well as socially-engaged projects along waterways and other clay-soil ecologies. |
||||
Mx Kate Hill
|
|
|
Instructor
|
|
|
|||
Research InterestsKate Hill is a contemporary artist and researcher working at the intersections of material and place-based politics, ceramics and social practice. Her practice-based research focuses on the materials central to ceramics practice—clay and other geological minerals—to think about the enmeshment of ceramics within colonial extractive histories, soil ecologies, and other stories of place. She works across both studio and site, investigating clay through sculptural processes that utilise alternative firings, found materials and reiterative, cyclical processes, as well as socially-engaged projects along waterways and other clay-soil ecologies. |
||||
Mx Kate Hill
|
|
|