Module Details

Module Code: PNTG H3702
Module Title: Painting Practices
Title: Painting Practices
Module Level:: 7
Credits:: 30
Module Coordinator: Janette Davies
Module Author:: Ciara Healy Musson
Domains:  
Module Description: This major module in painting practices and 2D media spans 2 Semesters and aims to offer an extensive development of the student’s skills and knowledge in painting and associated media within a contemporary context. Painting practices and 2D media are defined in a broad sense as formal and conceptual practices that articulate meaning using a variety of media including drawing, paint, photography and lens media and approaches to expanded painting . The learning environment of the studio aims to foster experimentation and collaboration. The module aims to be flexible with the 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 also offer the students an occasion to work together and reflect on their learning in a different context. Group crits with negotiated questions will be encouraged throughout the year. Subject aims: To develop a sustained and critical examination of the student’s contemporary art practice in terms of content, form, context and reception; To build on and acquire with greater rigor the skills of painting practices and 2D visual 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; To promote self-management of their learning both in studio practice and theoretical subjects; To develop a personalized approach to making artwork that reflects an engagement and meaningful relationship with their work.
 
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 painting practices and 2D visual media and the potential a combination of these practices might have for the students personal expression through (a) Presenting research notebooks with extensive examples of artist’s 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 painting/ 2D visual media through being able to (a) Criticise current assumptions in contemporary art at seminars, debates and crits. (b) Express verbally the primary aims of their developing practice. (c) Describe their own work’s relevance to one or more of the ideological and conceptual tendencies within the spectrum of current contemporary art practices
LO3 On successful completion of this programme students will: Be able to present through a significant body of work, specialized technical and conceptual skills in painting and 2D visual media through (a) Creating a minimum of 4 work outcomes (each containing several works) to 4 distinct projects. (b) Manipulating materials and imaging technology and translating Ideas into and through strategies of representation (c) Using drawing, painting, photography, lens media.
LO4 Be able to evaluate, design and document a personal project in painting/ 2D visual media and confidently communicate the product and process outcomes by (a) Creating artworks 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 notebook and or workbook. (c) Engaging with various presentation strategies.
LO6 Be able to operate as a self reliant learner who can work independently and in a team. (a) Making 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 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.
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 an audience for their art work by (a) Qualifying statements with reference to other and similar art practices and approaches. (b) Experimenting and selecting different strategies to enhance the ideas with Tutor-led and self-directed work. (c)Making changes to the work that improve their clarity of intention
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 Narrative, Identity and Form
Duration: 6 Weeks delivered in two parts This project will expand the conceptual visual skills of the student as it aims to examine the way in which images are spatially arranged to communicate narratives and allegories. Students will be asked to make paintings and or 2D media works that reflect the relationships between story telling and visual composition and material form. Part 1: Location, Research, Translate. Students test their research and visual translating methods in an expansive series of small works responding to a location. Part 2: Making and Remaking. Students test their translating methods and processes through making and remaking a work, now also considering politics and identity as an aspect of their subject and how meaning is translated in the constructed work.
Project 2 Mediated and Observed
Duration: 6 Weeks delivered in two parts. The student will experiment with processes of painting and 2D media while researching source material, developing concepts and critical awareness around the construction of images and the relationship between painting and photography. They will expand their research skills, take ownership of project research, planning and direction, improve their ability to make strategic use of paint and lens-based media for personal projects, be able to discuss intention, content, form, context, reception in artworks which employ mediated imagery and observed imagery. Part 1: Mediated. Students make work in response to imagery from published printed media and make presentations on artists working in this way. Part 2: Mediated and Observed. Students respond in large-scale painting to their own photography while testing the construction of an image with visual aids.
Project 3 Self Directed Painting Practices, Research and Experimentati
Duration: 6 Weeks. 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 that is specific and individual to the student. This project is process 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. Students research and respond to source material recorded and gathered on 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
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 End-of-Semester 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
  • Ralph Rugoff, Barry Schwabsky & more. (2007), The Painting of Modern Life: 1960s to Now, Hayward Publishing, London, p.196, [ISBN: 978-185332263].
  • Kurt Beers. (2014), 100 Painters of Tomorrow, Thames and Hudson, p.288, [ISBN: 978-050023923].
  • Marc Valli. (2014), A Brush with the Real: Figurative Painting Today, (Elephant Books)Laurence King, p.320, [ISBN: 978-178067283].
  • Charlotte Mullins. (2015), Picturing People: The New State of Art, Thames and Hudson, p.192, [ISBN: 978-050023938].
  • Suzanne Hudson. (2015), Painting Now, Thames and Hudson, p.216, [ISBN: 978-050023926].
  • Schwabsky,B. (2011), Vitamin P2: New Perspectives in Painting, Phaidon Press, p.352, [ISBN: 978-071486160].
  • Maria Lind. (2013), Abstraction, Whitechapel Art Gallery, The MIT Press, p.240, [ISBN: 978-085488208].
  • Michele Robecchi, Craig Garrett. (2011), Wilhelm Sasnal, Phaidon Press, p.160, [ISBN: 978-071486079].
  • Barry Schwabsky. (2019), The Observer Effect, [ISBN: 3956794605].
  • Munter,U, Bollamann,. (2019), About Painting: Positions from the Wemhöner Collection, [ISBN: 3735602029].
  • John Seed. (2019), Disrupted Realism, Schiffer Publishing, p.208, [ISBN: 0764358014].
  • Phaidon Editors. (2019), Vitamin P3: New Perspectives in Painting, Phaidon Press, p.352, [ISBN: 0714879959].
  • Achim Hochdörfer,David Joselit,Manuela Ammer. (2015), Painting 2.0, [ISBN: 3791354914].
Supplementary Book Resources
  • Barry Schwabsky. (2002), Vitamin P: New Perspectives in Painting, New edition 2007. Phaidon Press, p.352, [ISBN: 978-07148444].
Recommended Article/Paper Resources
  • Journals: Art Forum, Art in America, Art Monthly, Art Review, Cabinet, Frieze, Modern Painters, Parkett, October, Printed Project, Source, Turps Banana, Flash Art, Irish Arts review, Visual Artists’ Ireland Newsletter.
Other Resources
Discussion Note: