Module Details

Module Code: SCLP H3702
Module Title: Sculpture and Expanded Practices
Title: Sculpture and Expanded Practices
Module Level:: 7
Credits:: 30
Module Coordinator: Janette Davies
Module Author:: Orla Barry
Domains:  
Module Description: This major module in sculpture and expanded practices spans 30 weeks of learning and seeks to offer a sustained immersion in the making of sculpture in a contemporary context. Sculpture and expanded practices is defined in a broad sense as a social and contextual art practice that occupies space with physical materials (animate, inanimate, wood, metal, stone, plastic, fabric, found objects, lens media, sound, text, light, etc.) . The journey through this module will be unique for each student and for each year group. The module aims to be flexible with course content focusing on the development of the student as a self aware and self directed learner. It uses assessment as a tool for working with the student to achieve reflection on, and responsibility for, the creative growth of their art practice. Students are expected to attend and participate in all the formal timetabled sessions for the subject. Students are also expected to manage their directed learning and independent study in support of the subject and project aims. There will also be a mandatory field trip marking a important period in the development of the personal project and it should offer the students an occasion to work together and reflect on their learning in a different context. There Each student must undertake an assessment of their work. Where a divergence of more than 20% between the tutor’s and the student’s notional assessment mark occurs it is mandatory that a negotiated assessment mark is reached.
Group crits with negotiated questions will be encouraged throughout the year.
Subject aims: To develop a sustained and critical examination of contemporary sculptural practice in terms of content, form, context, and reception; To build on and acquire with greater rigour the skills of art production co-production and management, the manipulation of media, the exhibition of work and the completion of projects; To promote and encourage self-conscious and self reflective thinking and individual research concerns and their substantiation in students work; To encourage the student to become fluent in discussing their own work and the work of others.
 
Learning Outcomes
On successful completion of this module the learner will be able to:
# Learning Outcome Description
LO1 Be able to demonstrate specialised and informed knowledge across a variety of areas in contemporary sculpture and the potential a combination of these practices might have for the student’s personal expression through (a.) Presenting research notebooks with extensive examples of artists’ work and personal notes accompanying the research. (b.) Explaining the full cycle in the production of an artwork (their own and work by other artists), at a seminar or crit. (c.) Quoting other artists’ practices in their own work.
LO2 Have a good understanding of critical questions and challenges that apply to the field of contemporary sculpture through being able to (a.) Criticise current assumptions in contemporary art at seminars, debates and crits. (b.) Express the primary aims of their developing practice. (c.) Align their own work to one or more of the ideological and conceptual tendencies within the spectrum of contemporary art practices.
LO3 Be able to present a significant body of work, specialized technical and conceptual skills in sculpture through (a.) Creating a minimum of 4 works as outcomes to 4 distinct projects. (b.) Manipulating materials and machinery and translating ideas into and through physical and spatial forms. (c.) Using drawing, modeling, installation, lens media, performance and ICT.
LO4 Be able to evaluate, design, and document a personal project in sculpture and confidently communicate the product and process outcomes by (a.) Creating an artwork or works that reflect at least one of the tutor led projects. (b.) Participating in a public exhibition. (c.) Making a PowerPoint presentation on project work.
LO5 Have an understanding of the critical and contextual nature of contemporary visual art through (a.) Integrating theory and practice and demonstrating this in their art work. (b.) Creating reflective images and texts in a notebook and or workbook. (c.) Engaging with various presentation strategies including installation, site specific work and art in the public sphere.
LO6 Be able to operate as a self reliant learner who can work independently and in a team through (a.) Making and managing a learning plan/ contract for Project 4 (b.) Collaborating and contributing with other students to produce a public exhibition. (c.) Participating in self and peer assessment
LO7 Appreciate the specific learning needs that can unlock the potential of their personal project through (a.) Developing and recognizing effective and efficient self-directed art making skills (b.) Seeking regular and varied tutor input as self-directed project unfolds and writing reflective tutorial reports. (c.) Participating and evaluating seminars and group crits.
LO8 Be able to learn from experiences in different contexts through (a.) Demonstrating a sensitivity to the ethical issues surrounding contemporary art practices and the role of culture in society. (b.) Demonstrating problem solving skills and learning from mistakes. (c.) Participating in a field trip
LO9 Be able to communicate subjective ideas and at the same time recognize the role of culturally specific meanings in their art work by (a.) Qualifying statements with reference to other and similar art practices and approaches. (b.) Experimenting and selecting with different strategies to enhance the ideas with tutor-led and self-directed work. (c.) Making resolved finished pieces.
Dependencies
Module Recommendations

This is prior learning (or a practical skill) that is recommended before enrolment in this module.
No recommendations listed
Co-requisite Modules
No Co-requisite modules listed
Additional Requisite Information
No Co Requisites listed
 
Indicative Content
Project 1: Location and Ecology
DURATION: 6 WEEKS. ASSESSMENT: FORMATIVE & SUMMATIVE. This project will be an opportunity to work outside the studio and encounter issues of location and ecology. Students will gain experience in a specialist natural environment and have the possibility to create site specific temporary work. The project also address issues related to a social and environmental context for contemporary art practices.
Project 2: The Live Art Space
DURATION: 6 WEEKS. ASSESSMENT: FORMATIVE & SUMMATIVE. Our bodies and voices are made of complex physical materials and expanded practice should be particularly sensitive to body language. Through a series of workshops this project will introduce students to working in the live art field. Students will be asked to devise a specific live art piece and to document the final work.
Project 3: Self Directed Project Research and Experimentation
DURATION: 6 WEEKS. ASSESSMENT: FORMATIVE & SUMMATIVE. In this project, the student becomes more self-reliant and embarks on self directed learning and experimenting in the studio. The initial stage of the semester will entail looking back over previous projects and formulating a research project and learning plan that is specific and individual to the student. This project is both process and product orientated and seeks to unlock the experimental and risk taking sensibility of future artists. It is a project where mistakes and blind alleys are seen as vital learning encounters towards a sustainable art practice.
Project 4: Publication Project
DURATION: 6 WEEKS ASSESSMENT: FORMATIVE & SUMMATIVE Students research a location related to the national field trip and make a small publication. This document can be open to creative interpretation but it is important that the students research artist’s books and the potential of this form to convey ideas, emotions, experiences etc.
Module Content & Assessment
Assessment Breakdown%
Continuous Assessment25.00%
Project75.00%

Assessments

Full Time

Continuous Assessment
Assessment Type Oral Examination/Interview % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4,5,6,7,8,9
Non-marked No
Assessment Description
Continuous Assessment/ Review: Each student will have a formal review interview at the end of a semester and/or module and a report and mark will be filed by the lecturer. The two reports and marks will be the basis for a summative continuous assessment mark. The review reports will be available for the students to see and the aim of the continuous assessment is to support students and identify any weak areas that could be improved on for their project briefs.
Project
Assessment Type Project % of Total Mark 75
Timing n/a Learning Outcomes 1,2,3,4,5,6,7,8,9
Non-marked No
Assessment Description
Aggregate of 4 projects. Each assessment submission will be an opportunity for the student to focus on their work and evaluate their own progress and development. Each student must undertake a self assessment of their work. Where a divergence of more than 20% between the tutor’s and the student’s notional assessment mark occurs it is mandatory that a negotiated assessment mark is reached. Group crits with negotiated questions will be encouraged throughout the year.
No Practical
No End of Module Formal Examination
Reassessment Requirement
Repeat examination
Reassessment of this module will consist of a repeat examination. It is possible that there will also be a requirement to be reassessed in a coursework element.
Reassessment Description
Marks for all projects/briefs are collected at the end of each semester. If a student fails to complete a project, re-assessment can take place if the student obtains the agreement of the tutor to submit completed work at the end of the semester. If part of a project involved group working then it is not possible to require students to submit such work and alternative assignments may have to be issued

SETU Carlow Campus reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Category Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Contact Hours Contact Contact Hours Every Week 8.00 8
Independent Learning Non Contact Studio Based Learning: Research & Studio practice Every Week 10.00 10
Total Weekly Contact Hours 8.00
 
Module Resources
Recommended Book Resources
  • Phaidon Editors. (2019), Great Women Artists, Phaidon Press, p.464, [ISBN: 9780714878775].
  • Lynn Hershman Leeson. (2019), Antibodies, Hatje Cantz Verlag, [ISBN: 978-377574611].
  • Gablik, S.. (2004), ‘Anxious Objects: Modes of Cultural Resistance’ in Has Modernism Failed., London: Thames and Hudson..
  • Grant H. Kester. (2004), Conversation pieces, Berkeley, Calif. ; University of California Press, 2004., p.238, [ISBN: 9780520238398].
  • Caillois, R.. (1998), ‘Mimicry and Legendary Psychasthenia’ in A. Michelson (ed.) October. The First Decade, 1976-198., Cambridge Mass: MIT Find URL.
  • Phelan, P.. (1993), ‘The Ontology of Performance’ in Unmarked, the politics of performance., London: Routledge.
  • RoseLee Goldberg. (1998), Performance Art: From Futurism to the Present, Thames & Hudson, p.256, [ISBN: 9780500204047].
  • De Certeau, M.. ‘Practices of space’ in Marshall Blonsky (ed.) On Signs., Baltimore Maryland: The Johns Hopkins University Press..
  • Foucault, M.. ‘Different Spaces’ in Aesthetics, Method, and Epistemology The Essential Works 2., London: Penguin Find URL.
  • Harvey, D.. (1990), ‘Part III The Experience of Space and Time’ in The Condition of Postmodernity, Oxford: Blackwell.
  • Judith Collins. (2007), Sculpture today, London ; Phaidon Press, [ISBN: 9780714843148].
  • Noni Stacey. (2020), Photography of Protest and Community: The Radical Collectives of the 1970s, Lund Humphries Publishers Ltd, p.208, [ISBN: 1848224095].
  • Karen van den Berg,Cara Jordan,Philipp Kleinmichel. (2019), The Art of Direct Action, [ISBN: 3956794850].
  • Antony Gormley,Martin Gayford. (2020), Shaping the World, Thames and Hudson Ltd, p.392, [ISBN: 0500022674].
  • Adrian Heathfield (Editor), Hugo Glendinning (Photographer). Live: Art and Performance, Tate Publishing, p.256, [ISBN: 1854375016].
  • Claire Bishop. (2005), Installation Art, Tate, p.144, [ISBN: 1854375180].
  • Tim Etchels. (1999), Certain Fragments, Routledge, p.240, [ISBN: 97804151738].
  • Glenn Harper,Twylene Moyer. (2006), A Sculpture Reader, Isc Press, p.290, [ISBN: 0-295-98621-2].
Supplementary Book Resources
  • Buchloh, B.. (1995), ‘Hans Haacke: The Entwinement of Myth and Enlightenment’ in Obra Social Hans Haacke., Barcelona: Fundacio Antonia Tapies.
  • Broude, N and Garrard, M. (eds.). (1994), The Power of Feminist Art, The American Movement of the 1970s, History and Impact., New York: Harry N. Abrams.
  • Colfer, B.. (2004), The Hook Peninsula, Cork: Cork University Press.
  • Deutsche, R.. (1996), Evictions Art and Spatial Politics., Cambridge Mass: MIT Press.
  • Freire, P.. (1997), Pedagogy of the oppressed. Trans., Myra Bergman Ramos. London: Penguin.
  • Hall, J. (1999), The World As Sculpture., London: Chatto and Windus.
  • Hearthfield, A.. (2004), Live Art and Performance., London: Tate Publishing.
  • Kwon, M.. (2002), One Place After Another: Site Specific Art and Locational Identity, Cambridge Mass: MIT Press.
  • Stimson, B. and Sholette, G. (eds.). (2007), Collectivism after Modernism, Minneapolis: University of Minneapolis Press.
  • Suderberg, E. (ed.). (2000), Space Site Intervention., Minneapolis: University of.
  • Warr, T. and Jones, A.. (2000), The Artist’s Body, London: Phaidon.
  • Whelan, K.. ‘’98 After ’98:The Politics of Memory’ in The Tree of Liberty: Radicalism, Catholocism and the Construction of Irish Identity 1760-1830., Cork: Cork University Press/ Field Day.
  • Aine Philips. (2015), Performance Art in Ireland: A history, Live Art Development Agency.
  • Yves Aupetitallot. (1996), Wide White Space, Richter Verlag Publishing, [ISBN: 3928762311].
  • Susan Leigh Foster, André Lepecki, Peggy Phelan. (2010), Move: Choreographing You, Hayward Gallery/Haus der Kunst München, Kunstsammlung Nordrhein-Westfalen, p.176, [ISBN: 9781853322822].
  • Claire Bishop. (2006), Participation, Whitechapel ; 2006., London, p.207, [ISBN: 9780854881475].
  • Maggie Nelson. (2016), The Argonauts, Melville House UK, [ISBN: 0993414915].
 
This module does not have any article/paper resources
Other Resources
  • www.thisisliveart.co.uk.
  • https://www.frieze.com/.
  • www.imma.ie.
  • www.theyesmen.org.
  • www.temporaryservices.org.
  • www.tacticalmagic.org.
  • www.mattress.org.
  • www.nationalsculpturefactory.com.
  • www.bookworks.org.
  • Van Geldren, Finn. (2004), Arc.
  • Kotting, Andrew. (1996), Gallivant.
  • Furtado, Jorge. (1989), Island of Flowers/Isla das Flores.
  • Watkins, Peter. (2001), La Commune.
  • Trinh-T-Minha. (1986), Reassemblage.
  • Pat Murphy. (1984), Anne Devlin.
  • Chantal Akerman. (1975), Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles.
  • John Cassavettes. (1977), Opening Night.
  • MARION CAJORI and AMEI WALLACH. THE SPIDER, THE MISTRESS and THE TANGERINE.
  • Chris Marker. La Jetee.
  • www.printedmatter.org.
  • www.offprintprojects.com/.
  • www.romapublications.org.
  • www.onestarpress.com.
  • Charlotte Cheetman. www.manystuff.org.
  • www.michaelbussaer.be.
Discussion Note: