Architecture, Landscape & Visual Arts

Unit Outline

Art in the Environment

VISA1051

SEM-1, 2015

Campus: Crawley

Unit Coordinator: Dr Jon Tarry

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Unit detailsUnit title Art in the EnvironmentUnit code VISA1051 Credit points 6Availability SEM-1, 2015 (23/02/2015 - 20/06/2015)Location Crawley Mode Face to face

Contact detailsFaculty Faculty of Architecture, Landscape and Visual ArtsSchool Architecture, Landscape & Visual ArtsSchool website http://www.alva.uwa.edu.au/Unit coordinator Dr Jon TarryEmail jon.tarry@uwa.edu.auConsultation hours by appointment thursday 11 am till 12 noon in room 1:16. If you have difficulty finding time to speak at length

with lecturers timetable a session. Consultations can be organized via email.Lecturers Name Position Email Telephone Number

Dr Jon Tarry Unit coordinator jon.tarry@uwa.edu.au 6488 8016

Tutors Vyonne WalkerUnit contact hours Tuesday 10 am till 1 pm

Thursday 2pm till 5 pm in Studio 1.01 A or B, Level 1 ALVA

Online handbook http://units.handbooks.uwa.edu.au/units/VISA/VISA1051Other contact details www.jontarry.com

Unit descriptionThis unit empowers students with a working knowledge of the ways in which the politics of spaces generates art. Since the 1960s tothe present day, art forms have developed where the context for practice, installation art, land art, and public art is defined byresponses to space, time and place. Concepts of duration, spatial power, transition and transaction underpin relationships betweenviewer-specific artworks. What are the social and political conditions that gave rise to these practices, how do they operate, and howare these concerns expressed in contemporary artistic practices? This historical background of land art, public art and installation artpresents a conceptual framework for further exploration.Unit description:Art in the environment examines the critical relationships between art and society. All art exists in a contexture that is framedconceptually by history and the experience of the individual. In the contemporary the situation of art is framed through a philosophicallens, of precedent that accepts the understanding that people are active in the way they engage with ideas. The way art exists is intime and place, it is spatial.The unit will examine in a boarder sense the notion of missing pieces, these will be predominantly societal. The creative enquiry will bethrough the most accessible means and aim to extend and refine pr existing skill sets of individuals. This will be in the medium of handcut collage, photography, sketching, line mapping, sculptural modeling. All this art making work is able be developed on the desktop thefocus to one to expand intelligent thinking through speculation and hypothesis about the subject. The enquiry will be expansive withspecific focused that will include; urban sculptural artworks, city and ocean memorials, current construction sites, art galleries andpublic buildings, performance event spaces.Art is of its time and place. This unit examines and applies art practice in relation to the specific relationship with context. These includepublic space, private space, the gallery space, and spaces offered by developing forms of mediation such as the virtual. The unitexplores, through a combination of lectures and practical projects, art that acknowledges the significance of the interaction betweenaudiences and participants in the context of place. This includes land art, public art, installation art, the conventions and otherwise ofgallery art, art presentation and art that is situated outside these realms in the urban and rural environment. OutcomesBuilding skills through making art is a playful intellectual enquiry. The workshops sessions aim to refine visual acuity and sensibility.Image making, framing, surface quality, texture, form , light, luminocity, composition, organization of structures, all towards a materialthinking, and spatial thinking and time based thinking. The outcomes carry the ideas and observations although the engagement movesbeyond surface, shapes, form into what we will refer to as contexture.The unit explores Art in and how it operates in relation to established and new social frameworks. Students will develop skills in a rangeof areas from presentation of ideas, to archival management and the roles and responsibilities of work in the public arena.

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Build skills in the following: 1 Translate of ideas in Artistic ways in a range of media.2 Speculate about art in relation to spatial conditions.3 Be able to resolve work to a level criticality where it speaks to an prompts ideas, and interpretation from notation to concept andcompleted work.4 Build knowledge and skills in communicating through art as an inter-disciplinary practiceStudents develop an understanding of art as a means of communication, enquiry and expression of ideas, thought and observation.Students will develop a folio of work which includes; drawings,, hand sketch and digital graphics, making in timber and metal, recordingwith photo media, and critical evaluation. These demonstrate the acquisition of new skills and the appreciation and understanding of thedegrees of difference between the notional explorations and resolved work. Art making is expands ways of seeing, ways of thinking andmeans of communicating experience.The investigation of contemporary ideas through these structured approaches is paramount. The development of an ability to criticallyevaluate artwork is also an important objective. While the process of the translation of ideas into finished work is expected, evidence ofbuilding skills and facility in drawing will be an aim within the unit. This is achieved through applied practices and will result in a folio ofguided studio drawings, the completion of a series of interconnected projects forms and a text.

Learning outcomesStudents are able to (1) develop skills in a range of areas from presentation of ideas, to archival management and the roles andresponsibilities of work in the public arena; (2) demonstrate basic skills in three-dimensional model making using a range of techniques;(3) discuss the ideas of art in a variety of environments; (4) evaluate art in relation to the context of contemporary theories andmethodologies; and (5) develop a knowledge of art as an interdisciplinary practice.In this introductory assignment-based unit students are required to participation in the lecture and studio practice study programs. Astudy program offers each student the scope to develop particular working methodologies in art making while exploring broadconceptual frameworks and contexts for art as contemporary practice.

Unit structureAssessment is by two projects 50% eachProject one is taken from studio sessionsMissing Pieces CollageMissing Pieces Photo essayMissing Pieces DrawingMissing Pieces SculptureMissing Pieces Sculpture/photographassembled in a folio A3 size. Due week seven.project two is a 'hypothetic' site situation work that requires making a sculpture and producing an A2 graphic/photo/drawing text collageof object and site. 500 word Text.assembled in a folio due end of assigned class session week twelve. Contact Times: Tuesday 10am till 1 pmThursday 2 pm till 5 pm Sessions will consist of a 45 minute Lecture/seminar at the commencement of session with break between then and StudioPractice. The last hour of studio practice is for individual consultation. Additional individual consultation time is by appointment Thursday 11 am till 12 noon in room 1:16.

Locations: Thursday G22 ALVA Building ground floor.Thursday A1 Studio ALVA Building first floor.Title: The Missing Pieces .The key text provides a creative template for the unit AE is Henri Lefebvre, The Missing Pieces.

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The investigation of missing pieces gives forms to create a new contexture (Dr Riet Eiickhout PhD Thesis RMIT), fragments, cluesmetaphors, absence and presence informs all aspects of the unit. The Missing Pieces is an incantatory text; a catalog of what hasbeen lost over time and what in some cases never existed. Through a lengthy chain of brief, laconic citations, Henri Lefebvre evokesthe history of what is no more and what never was: the artworks, films, screenplays, negatives, poems, symphonies, buildings, letters,concepts, and lives that cannot be seen, heard, read, inhabited, or known about. It is a literary vanitas of sorts, but one that confers analmost mythical quality on the enigmatic creations it recountsrather than reminding us of the death that inhabits everything humanscreate.Lefebvres list includes Spinoza's Treatise on the Rainbow (thrown into a fire); the final seven meters of Kerouacs original typescript forOn the Road (eaten by a dog); the chalk drawings of Francis Picabia (erased before an audience); and the one moment in AndrMalraux's life in which he exclaimed I believe, for a minute, I was thinking nothing. By Henri Lefebvre The Missing Pieces, MIT Press Boston 2014Translated by David L. Sweet The creative template, is as the two words convey, to be, to Create, to play, to invent, to recombine, to problem solve, to initiate, toreimagine, to remake, to re order, to generate new ideas, to offer new ways of seeing, to show what may not be visible, to givemateriality to an idea, to observe, to rewrite, and on the list goes.The template, is a device, a tool, a measure, an instrument, a guide, a constant, a constitution, a toy, a means and the list goes on. The Template the creative template, as Paul Carter discusses in the book Dark Writing, An expansive text that in this situation is intended to be a reference across the semester for ideas that enables interpretation in abroader sense of expression.People look at and or feel experience and react to what has been created and presented as an artistic proposition. Being aware ofmultiple reading of creations, that come through material, mark making, image manipulation and physical experience enables adynamic to be developed, where those engaging with work, i.e. The viewer/audience is not a passive spectator but actually completesthe works, completes as we may say, the missing pieces. The work is first all there to be enjoyed, its important to enjoy making things and, play with ideas and possibility. It understood thatpeople have a pre existing skill set, on to which this unit will build. Most of the work will take place on a desk, however the thinking andspatial projection is into the elsewhere.Weekly ScheduleWk 1 Introduction: Introduction to the unit with overview of requirements and expectations, key dates and process of submission andassessment mechanism.Introduction of the Creative Template.Introduction of key text Missing Pieces.Introduction of critical terms.Introduction of practice based research.How to inform intuitive responsesHow to beginHow to develop ideasHow to critically evaluate and to complete workHow to present work Wk 2 Lecture will present the work of artists who made collage as a device of modern expression, Rodchenko, Eduardo Paolozzi, ManRay, AES+F, Richard Hamilton. Gilbert and George, Jenny Holzer, Barbara Kruger, Mary Kelly.Poster of missing pieces. Working with two-dimensional strategies, create and interpretation form the page of missing pieces, that ismade as a collage of images and texts. Using methods of fine cut outs detailed tearing, allow a work to float across a page, as ameans of talk back. Eventually the collage will be glued down and scanned as pdf or jpeg and printed. 4 A 4 one final A3 posters printedin monotone. Wk 3 this lecture will present artist who have used photography as a primary means of expression. These include, Man Ray, GordonMatta Clark, Bill Henson, AES+F, Andreas Gursky. These examples are particularly high-end technique our method will be to exploretechniques that are accessible. Photograph of missing pieces Make a photographic essay that consists of a photo for each line of thepage, use sources and subjects at hand, that is environment subjects, for example, things from a kitchen, things from a library, thingsfrom a shed, things from a garden, things from a bag, things from a rubbish bin. Photograph these close up as they are tableau orarranged on a white tabletop or placed on a white sheet. With the photograph consider a consistent approach with use of light, framingof subject, focus of lens, filters, and textures and create a dynamic subject. Use any camera as required as long as the images can bedownloaded and printed. Use commercial printing, in monotone.

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These photos will be used in the studio session, it is essential these are done before the session and bought to the studio. Also have acamera available to document the studio arrangement.In the studio the aim will be to organise these into a photo essay which responds as a visual poetic text to a portion of the text formMissing Pieces, chose several lines or recombine these lines as a visual photo essay. These will be pinned or glue mounted or slightlycut and cropped to fit on two A3 pieces of paper. Wk 4 Drawing of missing piecesLecture will present to work of numerous artist who work with drawing as central device of a practice, these include, Irwin Wurm, MerrikBelyea, William Kentridge. We will view a small documentary by William Kentridge of the making of a drawing film; here the process ofmaking is present in the work however the way it was made is absent through time code sequencing. Here the missing pieces are theartistic hands.Studio session:Working from the visual material of the previous two weeks three A3 drawings will be developed using pencil or pen. Each drawing willexamine use of drawing systems.One will be continuous slow unbroken line.Two will be pure tonal rendering with cross-hatching and show clearly three distinct tonesThree will be a highly express mark making free form drawing with lots of energy.Each drawing will need to be worked right to the edges of the page.Each drawing will have a name and wk in bottom left.The aim of this is to re investigate a previous drawing and expand notions of representation of Missing Pieces. Wk 5 Wire and plasticine model of missing piecesAlexander Calder made a fully operating circus that was animated wherever there was an audience in a caf or at home. JosephBeuys, David Mach and artists who have worked with wire, as an expressive method will be presented.Woking from on of the Missing Pieces drawings, remake a missing piece in wire as if is a three-dimensional drawing in space. Approx30cm max in any direction.Working from a previous Missing Pieces photograph remake the form in plasticine, approx 150mm in any direction.With both pieces set these up in a light controlled environment and photograph, working with light and tonal contrasts and shadows.Print these out as quality A4 prints one of each. Wk 6 Record of missing piecesLecture: How to archive and prepare a folio for submission. We will examine precedentMake one two-dimensional artwork in medium of your choice in considers the concept of Missing Pieces, the final work is to be A3 andof a high quality finish. Wk 7 SubmissionUsing a simple A3 cardboard folio with a seem down one edge. Your name on the cover and student number.Inside in exact order of Weeks 2 to 6 arrange to work. Also have a simple 300-word text, which catalogues the works and indicates anoverview of how this body of work developed and how successful you feel it is. Use an official unit cover sheet with the submission andsign it.TUESDAY SUBMISSION AT 12 noon.THURSDAY SUBMISSION at 4 pm. Week 8 Project two The Missing Pieces of HistoryLecture introduces the parameters of the single assignment. There is scope to interpret this broadly however, there are two requiredcomponents. A two-dimensional work, it may be a photo, drawing graphic image and text or combination of all. This is to be presentedat a scale of A2 ready to b e pinned to the wall or hung on the wall. It is to be a resolved image work of high quality and consideration.The second component is a three-dimensional work, an experimental sculptural piece no more than 40cm in any direction and not lessthan 20cm in any direction. Accompany these tow works is a catalogue or record, which situates to the work back into the site.Consider this a hypothesis about how the work may be modified. There is room for the imagination and wider range of material.Developing and presenting hypothetical ideas. Artist include, Christo, Oldenburg and various propositions, by architects, sound artistand so forth.Hypertheiticals, Commence Major ProjectMajor project is study of an existing example of Art in the Environment, a report that describe the work archaically, name of artist, year,materials, methodology, and ownership.

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2 Describe the work as interpretive.3 Describe the context of the work how it sits in the environment.4 Describe how people are intended to interact with the work5 describe how people actually interact with the work6 describe what are the missing pieces in the worksOverall 500 to 800 words.Document the work with photographs and drawings, sketches,Make an image A3 and a Sculpture no more than 40cm in any direction where the work is extended, modified, distorted, broken, andstretched, as a reinvented, reimaged work.Choose on of the following as subject. Missing historiesPhoto of memorial sculpturesFigurativeLord ForrestYaganFire FightersSwimmerCY OConnorBon ScottFishersNon figurative coded by colourGreen Forrest place,Yellow arenaBlack stumpBlack and white arcSelect one of these.Do photo essay of the work, use camera in imaginative ways. Min 6 prints all monotones.Do drawing and describe the work art historically, for example artist, year title, material location commissioning body, owner, copyrightowner, public commentary, archiving. History around the working ideas of the artist. Missing history of the work, this may be anecdotalor part fictional, and or explore your own ideas that take the work into the realm of magic realism or requiting of the work. Essentiallyexpand the notion of Missing pieces of history.Make a scaled sculptural model of the work the work in material of you choice; suggest air hardening clay, wire, and balsa wood.Scaled to be approx 4ocm high no more and no less than 20cm high. Place on mount board or similar quality.In the model make a single modification Wk 9.Lecture Missing Histories reviews a selection of the memorials offering an historical overview in relation to the local sculpturalworks in public places, this will include a survey of memorials and look at the colonial history with an examination through strategicallylocated memorials. Alexander Forrest in St Georges trace will be discussed in relation to Ascolon in from on st Georges Cathedral andthe statue of Yagan on Herissen Island. These examples reveal a historical layering which invite questions of agency and authority.Lecture will look at other sculptural works or public artworks through out the city, for example The fire fighters Memorial in Kings Park,James Angus work in Forrest Chase, Geoffrey Drake Brockmens Kinetic work at the Arena and several of Anne Neils works includingthe Kangaroos in the trce and other works near the Supreme Court. These works will be discuss and highlight the challenges ofpermanencey and territory that comes with working in the public realm.The studio session will review student presentations, each will be scheduled to pin up work and discuss it for 5 minutes. Wk 10 A site visit to Lecture at Naturescape, May drive Kings Park, Perth, Meet at the entrance at 10 am and 2 pm respectively andbring a drink bottle camera and sketch book. We will be walking through small area of bushland so sensible attire is encouraged.Naturescape is an example of art in the Environment; it was designed by Plan E and Jon Tarry as an educational play scape in thebush 2012, it won numerous ways for design, and has over 350,000 visitors per year. Jon Tarry will talk about the design and missingpieces of natural systems. This will consume most of the session Wk 11Lecture will introduce contemporary site and situational practices in art in relation to the environment. Works will include streetart, the fifth plinth, the poppies installation at the Tower of London, and so forth. This lecture looks to the future of art in relation to theenvironment and introduces the work of researchers in ALVA and our partners in fine arts, LWAG and Symbiotica.The studio session will review the sculptural works and graphic and enable students to receive feedback on progress of ideas. Wk12Lecturer is a summary and review of the program of study, highlight and responding to particular interest conveyed by the student workin the unit.

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Studio session is a time to consolidate and submit the project for assessment.TUESDAY SUBMISSION AT 12 noon.THURSDAY SUBMISSION at 4 pm.No late submissions will be accepted Wk 13 is review and feedback and pick up of works. Criteria for assessment is: 1. A disciplined approach to the subject.2. A level of skills in media and technology.3. Articulate conceptual understandings. The Assignments will demonstrate a commitment to a disciplined and sustained effort commensurate to the time and breadth of theunit requirements. The work must demonstrate the following attributes: Each folio/assignment will be graded according to the criteria set out for this unit of studio study (noted above). A single numericalgrade will be assigned to the folio during final assessment - this grade will be entered upon each students record. The Assessment Panel in the formulation of grades will consider the following points:.The level of technical skill used in the development of the work.

The level of conceptual clarity.The resolution required within each project.

Other points relevant to each individual student submission will be considered if deemed appropriate by the Assessment Panel. Mark allocation fail =

7 Tues 14/4 Thurs 16/4

Missing Pieces Tarry Submission of Folio for assessment

8 Tues 21/4 Thurs 23/4

Missing Pieces Sites oftransformation New Porjectintroduction

Tarry new project sites oftransformation.

Missing Pieces9 Tues 28/4

Thurs 30/4 Missing Pieces Tarry

10 Tues 5//5 Thurs 7/5

Missing Pieces Site visit naturescape Kings Park

Tarry Site visit natures cape Kings Park

11 Tues 12/5 Thurs 15/5

Missing Pieces Tarry Presentations work in progress

12 Tues 19/5 Thurs 21/5

Missing Pieces Tarry Submission of folio for assessmentat end of assigned studio session

13 Tues 26/5 Thurs 28/5

Pick up work Tarry Pick up all work.

Teaching and learning responsibilitiesTeaching and learning strategiesThis unit is taught through a strategy of the 'Creative Template'. This term was oringated by Paul Carter in the Dark Writing. A goodintroduction is in the chapter 'Solutions' (in Dark Writing). There are a number of chapters in that book that are useful. Another importantunderpinning theorisation of placemaking informing the 'creative template' is the argument about the double movement of sociability inMeeting Place. Finally, the 'creative template' is primarily a discursive technique, a way of narrating/performing certain relationships. Anarticle which is relevant here is Emargination: a pedagogy of the commons, Architectural Theory Review, 2013, 150-163 Students develop an understanding of art as a means of communication, enquiry and expression of ideas, thought and observation.Students will develop a folio of work which includes; drawings,, hand sketch and digital graphics, making in timber and metal, recordingwith photo media, and critical evaluation. These demonstrate the acquisition of new skills and the appreciation and understanding of thedegrees of difference between the notional explorations and resolved work. Art making is expands ways of seeing, ways of thinking andmeans of communicating experience. The investigation of contemporary ideas through these structured approaches is paramount. The development of an ability to criticallyevaluate artwork is also an important objective. While the process of the translation of ideas into finished work is expected, evidence ofbuilding skills and facility in drawing will be an aim within the unit. This is achieved through applied practices and will result in a folio ofguided studio drawings, the completion of a series of interconnected projects forms and a text.

AssessmentAssessment overviewTypically this unit is assessed in the following way(s): (1) folio submission of all studio projects completed in class; (2) final foliosubmission containing all journals and painting projects; and (3) visual and oral presentation. Further information is available in the unitoutline.Criteria for assessment is: 1. A disciplined approach to the subject.2. A level of skills in media and technology.3. Articulate conceptual understandings. The Assignments will demonstrate a commitment to a disciplined and sustained effort commensurate to the time and breadth of theunit requirements. The work must demonstrate the following attributes: Each folio/assignment will be graded according to the criteria set out for this unit of studio study (noted above). A single numericalgrade will be assigned to the folio during final assessment - this grade will be entered upon each students record. The Assessment Panel in the formulation of grades will consider the following points:.The level of technical skill used in the development of the work.

The level of conceptual clarity.The resolution required within each project.

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Other points relevant to each individual student submission will be considered if deemed appropriate by the Assessment Panel. Mark allocation fail =

Assessment items

ItemTitle

Description Submission Procedure for Assignments

Folio 1 Collage, A3 Photo Essay 6 imagesA4 Drawing A3 Sculpture 1 Sculpture photo 2

Submit in A3 cardboard folio in order with small descriptive catalogue, in weekly order. Pluscover sheet and you name and student number on front

Folio 2 Sites of transformation Sculpture Graphic A2

Submit in A3 cardboard folio with small sculpture and graphic A2 descriptive catalogue, Thiswill be presented as exhibition in foyer space. Plus cover sheet and you name and studentnumber on front.

The Text 500 words text forproject 2

Self-evaluation/critical analysis of Artwork

Textbooks and resources

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Recommended textsPrimary text:Henri Lefebvre The Missing Pieces, MIT Press Boston 2014Translated by David L. SweetTexts: There are many texts that will expand your understanding of the unit, in fact few single texts devoted to critical approaches to thesubject and tend to focus on the technical aspects with instructions, ie how to books. However, a recurring theme in the unit is anexploration of site and culture are important to be familiar with. Several readings will be suggested in the unit. You will be able to findreadings held in closed reserve in the ADFA library relating to the unit.Texts for the unit overview:REFERENCESFeireiss, Lukas, Space Craft 2: More Fleeting Architecture and Hideouts Berlin: Gestalten, 2009 Kipnis, Jeffrey, Perfect Acts of Architecture New York: Museum of Modern Art and Wexner Center for the Arts, 2001 Stewart, Susan, The Open Studio: Essays on Art and Aesthetics Chicago & London: University of Chicago Press, 2005 Wands, Bruce, Art of the Digital Age (London: Thames and Hudson, 2006) Lee Pamela M, Object to be Destroyed Gordon Matta Clark, MIT Press 2001 Liebnitz and the Fold, Gille Deleuze. Anthony Vidler, The Architectural Uncanny, The MIT Press, Massachusetts, 1992 Robert Venturi Denis Scott Brown Steven Izenour, Learning from Las Vegas. MIT press Massachusetts 1972..Barthes, Roland. Camera Lucida New York: Hill and Wang, 1981.Camera Lucida Gordon Matta-Clark: the space between By James Attlee, Lisa Le Feuvre, Gordon Matta-Clark, Centre for Contemporary Arts(Glasgow, Scotland), Architectural Association (Great Britain)PUBLICATIONS Jon Tarry. Catalogues Boomtown, 2050, Richard Weller, University of Western Australia Press, 2009Prix d Amour, Essay and Photo Essay By Jon Tarry.THING: Beware the Material World, Robert Cook, 18April- 5 July 2009, Art Gallery of Western Australia, p. 40 Closet Circus: Works from the Horn Collection, foreword by John Stringer (Perth: Fremantle Press, 2008) pp. 65, 79, 86, 95, 109, 162-163, 166 Reports ACUADS 08/09 Research, Australian Council of University Art & Design Schools, Jon Tarry, Arrivals and Departures (SA: SouthAustralian School of Art, University of South Australia, 2008) pp.32-33 JournalsKerb 14: Journal of Landscape Archiecture, 2005/2006, Representation (Melbourne: Print Media Group, 2006), Tarry, Jon, UnshoreLines, pp. 80-81Kerb 13: Journal of Landscape Architecture, 2004 (Melbourne: RMIT, 2004) Tarry, Jon, Existence: Living anon an off the Strip, pp. 40-41

Suggested alternate textsMoss, Eric. O, Who Says What Architecture Is? California: SCI-Arc Press, 2007

Rosa, Joseph, Figuration in Contemporary Design Chicago: The Art Institute of Chicago, 2007

Shanken, Edward. A, Art and Electronic Media (London: Phaidon Press Limited, 2009

Spiller, Neil, Visionary Architecture: Blueprints of the Modern Imagination London: Thames and Hudson, 2006

Additional texts John Kasarda,Greg Lindsay, Aerotropolis, Allen Lane Penguin, London 2011 Foreign Office Architects, Phylogenesis,Actar, Barcelona,2004 Reiser+ Umemoto, Atlas of NovelTectonics, Princeton Architectural Press, New York 2007Fuller, Gillian and Ross Harley.Aviopolis: A Book About Airports.Black Dog. 2004 Publication Place: London.

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Technical requirementsMaterial Requirements:1: For the studio unit a drawing board exactly A3 dimension no smaller. This is 300mm by 420 mm and aprox 5 mm thick smoothboard, mdf or other. Two clips for holding paper in place top and bottom.2: Each session will require use of A3 cartridge paper.3: Tools required are a pencil or range of pencils or graphite in pen holder, range from 2B to 6B.4: A sharpener enclosed in case.5: scissors6: photo equipment7: plyers, brushes, paints, wire.

Software requirementsPhotoshop may be accessed through the Digital Lab and computers in the building.

Additional resources and readingGeneral notes:For this studio unit each student will need to supply their own consumable materials. These may vary, however it is important to beequipped with a range of diverse, low cost materials. While there are many materials fine artists use such as, paper charcoal, toname a few, contemporary practitioners work with a broad selection of industrial materials and processes. Material and theattitude/situation/methods with which they are applied to the exploration of ideas are pivotal. Developing a facility and skill with materialsis a significant exploration in itself. Contemporary artists often use a combination of materials and technologies. Equipping yourselfwith an abundance of materials will enable an open approach to your work.

Equipment/Equipment LoanThe Faculty provides a number of equipped facilities for student use. These have been significantly refined in preparation for the newstudio structure in Fine Arts. There is a pool of Faculty equipment available for students. All of the students and staff within the variousdiscipline and degree programs of the Faculty have access to this equipment during the semester weeks. Equipment loan of any of theitems available in the Faculty equipment pool should be carefully scheduled and booked through the Faculty Technical Officers (locatedon the Ground Floor of the Faculty building). There are a series of procedures and protocols associated with the use of Faculty loanequipment - all students should familiarize themselves with these in consultation with the technical staff of the Faculty.

Other important informationEnrolled students can access unit material via the LMS in units that use LMSBuilding clean-up and folio collection (for units with folio submissions)Studios are expected to be left clean and tidy. Drawing boards are to be cleaned. Students must remove all personal propertyimmediately after the submission of their folio. If the content of a folio is used for exhibition then the student must write their name onthe back of the work so that when the exhibition is demounted collection is simplified. If staff or the Faculty wish to reserve work forreproduction and/or accreditation purposes then this should be negotiated with individual students.

AttendanceAttendance is required at all lectures, tutorials and workshops. These are the primary means of consultation with your Unit Coordinatorand Teaching Assistants. Do not expect questions relating to content missed through unjustified absence to be answered. Additionally,it will be assumed that students have read all relevant course materials.Authenticity of workFor Studio units, the Faculty may prevent your continuation in this unit if you fail to meet requirements for attendance atclasses to establish the authenticity and originality of your work. SubmissionsThe ALVA Submissions policy is available at:http://www.alva.uwa.edu.au/students/policies/Submission of Late WorkAll assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with theexception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the timeindicated in the assessment mechanism statement without a formal approved extension will be considered LATE and appropriatepenalities will be applied. Information on penalties can be obtained in the Faculty Policy on Submissionsat http://www.alva.uwa.edu.au/students/policies/.Extensions

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The Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and thatsubmission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may beauthorised only by the allocated Faculty Course Advising Office or a delegated representative. In all cases, requests for extensionsrequire the submission of Special Consideration form no later than three University working days after the due date.Students are encouraged in the strongest possible terms to familiarise themselves with the Faculty Policy on Extensions availableat http://www.alva.uwa.edu.au/students/policies/.Return of Student WorkMarked assessments submitted on time will be made available for collection by students at least one week before the next assessmentin the unit is due (if it is related to the previous assessment), or no more than four weeks after submission, whichever is sooner.Special ConsiderationFor information regarding special consideration please go to:http://www.student.uwa.edu.au/course/exams/consideration

Faculty Safety Inductions

The ALVA Health and Safety Induction (Part A) must be completed online by all students enrolled in a unit taught by the Faculty. Thisonline module is available for self-enrol via LMS. Completion of the Part A induction will ensure after-hours access to the ALVA Building(including computer labs) is enabled.The ALVA Workshop Induction (Part B) runs in Week 1 of each semester, and must be completed if the unit involves use of theWorkshop. Your Workshop Induction lasts for five years, after which you will be required to attend a refresher. Please refer tohttp://www.alva.uwa.edu.au/students/facilities for more information on Inductions and Workshop close-down period.

Material and Equipment CostsCosts specific to individual units will be communicated to students in this unit outline or early in semester.All sites will require students to wear protective helmets; students needing to purchase a certified protective helmet may do so fromAlsafe Safety Industries Pty Ltd, 177 Bannister Rd Canningvale. Students must wear appropriate clothing when visiting building sites;open toed shoes and sand shoes will not be accepted and students will not gain entry to site with these shoes. The sites also requiresteel capped boots to be worn this is a condition of accessing these sites. These can be bought from Army Surplus stores orborrowed, they are a worthy investment as will be required on future building sites of your own.

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Unit detailsContact detailsUnit descriptionLearning outcomesUnit structureLocations:Unit schedule

Teaching and learning responsibilitiesTeaching and learning strategies

AssessmentAssessment overviewAssessment mechanismAssessment items

Textbooks and resourcesRecommended textsSuggested alternate textsAdditional textsTechnical requirementsSoftware requirementsAdditional resources and readingEquipment/Equipment Loan

Other important information