Course Title: Ceramics Advanced Studio 3A1

Part A: Course Overview

Course Title: Ceramics Advanced Studio 3A1

Credit Points: 12


Course Code

Campus

Career

School

Learning Mode

Teaching Period(s)

VART2952

Hong Kong Arts Centre

Undergraduate

340H Art

Face-to-Face

Offsh 1 09,
Offsh 1 10,
Offsh1 12

Course Coordinator: Sally Cleary

Course Coordinator Phone: +61 3 9925 3858

Course Coordinator Email:sally.cleary@rmit.edu.au

Course Coordinator Location: Blg 4.1.1B

Course Coordinator Availability: By Appointment


Pre-requisite Courses and Assumed Knowledge and Capabilities

Successful completion of Ceramics Studios 1A1,1A2,1B1,1B2, 2A1, 2A2, 2B1, 2B2 or equivalent.


Course Description

This course focuses on developing the student’s capacity to address conceptual, perceptual, formal and aesthetic concerns as related to ceramics within a Fine Art context. Students will develop an approved individual program of student work, planned by the student in consultation with the class lecturer. Students will be expected to show a qualitative response to ideas, materials and processes and show an ability to engage in research as an integral part of their professional development. Regular individual consultations and group critiques form an important component of this course.


Objectives/Learning Outcomes/Capability Development

The course aims to:
Develop the student’s capacity to address conceptual,perceptual,formal and aesthetic concerns as related to ceramics
Develop the student’s materials skills base in clay forming and ceramic processing techniques as relevant to the development of a personal aesthetic
Encourage and support student’s self reliance in undertaking and initiating independent research as an integral part of the student’s professional and artistic development


At the successful conclusion of this subject you should:
Demonstrate self-reliance, self-discipline and self motivation in researching, organising and executing a practical program of work that extends a personalised approach to selected decorative processes
Be able to initiate and pursue studies in directions which inform and further individual professional and creative growth and catalyse invention, innovation and refinement of personal work
Show a qualitative response to ideas and phenomena, materials and processes in the pursuit of an emerging personal aesthetic and show an ability to engage in research as an integral part of one’s professionalism


Overview of Learning Activities

Learning will take place through a program of lectures,demonstrations and studio based learning. A program of individual tutorials and group critiques will be scheduled to review progress and to develop the capacity for aesthetic judgement and self analysis.


Overview of Learning Resources

Recommended References:
Blandino, Betty, Coiled Pottery, Roseville East, NSW: Craftsman House, 1997.
Blandino, Betty, The Figure in Fired Clay, Woodstock, NY., Overlook Press, 2002.
Carnegie, Daphne, Tin-Glazed Earthenware, A & C Black, London, 1995
Clark, Garth, American Potters, The Work of 20 Modern Masters, New York, NY., Watson Guptil, 1981.
Macintosh HD:Desktop Folder:Ceramics:Subject Guides: Ceramics 1A1 Course Guide 2004
Constant, Christine, Ogden, Steve, Potter’s Palette, Radnor Philadelphia, Chilton Book Company, 1996.
Currie, Ian, Stoneware Glazes, Queensland, Bootstrap Press, 2000.
Daly, Greg, Glazes and Glazing Techniques,
De Boos, Janet, Handbook for Australian Potters, Sydney, Methuen, 1978.
Hopper, Robin, The Ceramic Spectrum, Chilton Book Company, Pennsylvania, 1984.
Clark, Garth, American Potters, The Work of 20 Modern Masters, New York, NY., Watson Guptil, 1981.
Macintosh HD:Desktop Folder:Ceramics:Subject Guides: Ceramics 1A1 Course Guide 2004
Constant, Christine, Ogden, Steve, Potter’s Palette, Radnor Philadelphia, Chilton Book Company, 1996.
Currie, Ian, Stoneware Glazes, Queensland, Bootstrap Press, 2000.
Daly, Greg, Glazes and Glazing Techniques,
De Boos, Janet, Handbook for Australian Potters, Sydney, Methuen, 1978.
Hopper, Robin, The Ceramic Spectrum, Chilton Book Company, Pennsylvania, 1984.
Lynn, Martha Drexler, The Clay Art of Adrian Saxe, Thames and Hudson, London 1994.
Pegrum, Brenda, Painted Ceramics, Colour and Imagery on Clay, Crowood Press, Wiltshire, 1999.
Perry, Barbara, (ed.), American Ceramics, the collection of the Everson Museum of Art
Peters, Lynn, Surface Decoration for Low-Fire Ceramics, Capricorn Link, NWS., 1999.
Peterson, Susan, Jun Kaneko, Calmann and King, London, 2001
Peterson, Susan, The Craft and Art of Clay, Laurence King Publishing, London, 1995.
Rawson, Phillip, Ceramics, London ; New York : Oxford University Press, 1971
Rawson, Phillip, Sculpture, University of Pennsylvania Press, Philadelphia, 1997.
Wood, Nigel, Oriental Glazes, Sydney, Craftsman House, 1999.

Rawson, Phillip, Ceramics
A generalist and accessible text which takes an overview of ceramics in history, and our relationship to the traditions of functional ceramics.
Dormer, Peter, Trends and Traditions

JOURNALS
Pottery in Australia,
Turramurra, N.S.W : Potters’ Society of Australia, 1962-
Ceramics Art and Perception Sydney, Australia : Ceramics: Art and Perception, Pty. Ltd., 1990-
Ceramics Monthly Columbus, Ohio, etc., Professional Publications
Crafts London : Crafts Council, 1973-
Studio Potter Goffstown, N.H. : Daniel Clark Foundation, 1972.
American Craft New York : American Craft Council, 1979- (American Craft Council, Membership, 22 W. 55 St., New York, N.Y. 10019)


Overview of Assessment

All students will be expected to make a folio submission of work completed as per independently negotiated studio proposal. Students will also be expected to maintain and present documentation of their project development and technical notes. Students are required to show evidence of the four core areas of focus as described above in ’Learning Activities’. Details of Assessment tasks will be outlined by the Course Lecturers across both courses and will include:

Writing a work proposal
Evidence of research including exhibition and art reviews
Group and individual feedback and reflection
Conceptual development through analytical drawings, maquettes, material investigation and works in progress