FIRST DRAFT Submitted October, 2011
FACULTY OF FINE ART
NEW COURSE DOCUMENT
3 Year Undergraduate Degree 2013
FACULTY OF FINE ART – COURSE DOCUMENT 2013
CONTENTS
PAGE NO.
1.
1.1
1.2
College Mission Statement
Strategic Plan
Awards
4
4
4
2.
Overview of the College
4
3.
Description of Faculty Structure
5
4.
Course Document Development (3 + 2 + 3)
5
5.
The BA (Hons) Fine Art Course
7
6.
Postgraduate Courses
8
7.
Course Resources
8
8.
Faculty of Visual Culture
10
9.
Faculty Philosophy
11
10.
Educational Situation
12
11
National Framework Document
14
12
Total Learning Effort
15
13.
Entry Requirements and Application Procedures
17
14.
Assessment Strategy
20
15.
Assessment Criteria: Faculty Rubrics
22
16.
Structure of Learning Outcomes &
Assessment Criteria
23
17.
Grade Descriptors
24
18.
NCAD Undergraduate Programme Framework
28
19.
BA Fine Art Stage Level Outcomes
31
20.
Year One
32
21
Year Two
41
2
22.
Year Three
51
23.
Modularisation and Faculty Practices
58
24.
Communications
60
25.
Repeats / Appeals
62
26.
Academic Programmatic Review &
Course Evaluation
65
Fine Art Staff
Core Studies Staff
67
68
Appendix One
69
3
1.
College Mission Statement
1.1
The college strategic plan (2008) states that “NCAD is the premier institution in art and
design in Ireland” its mission ‘is to lead the development of visual art and design in
Ireland’.
The NCAD proposes ‘To speak and be heard in the culture the economy and the society’
1.2
Award:
BA (Hons) in Fine Art
LEVEL 8
BA (Hons) in History of Art and Fine Art LEVEL 8
2
OVERVIEW OF THE COLLEGE
The NCAD offers the widest range of qualifications in art and design in the state. It is one of
the longest established European institutions of art and design education, going back to the
Dublin Society Drawing Schools of the 1740’s. It has been influenced by the 19 th century School
of Design movement, by the Arts and Crafts movement, by various reports in the 60’s, by the
ideals of Modernism in art and design and most recently by the widespread practical, technical
and theoretical re-orientation of visual culture in recent decades. During the 1970s following
four years of student demands for reform the Oireachtas passed the National College of Art
and Design Act which removed direct responsibility for the college from the Department of
Education and established the institution in its own right governed by a board appointed by the
Minister of Education. A significant effect of this was to end the influence of the RHA in the
recruitment of staff. In 1975 the College began to move from its accommodation in the stables
of Leinster House in Kildare Street to its current site in Thomas Street, a period in which it
pioneered undergraduate art and design degrees, including the BA Joint honours degree in the
history of art and design with a studio discipline, a programme based on 50% weighted practical
work and 50% weighted theoretical and historical work Since the late 1980s, postgraduate
research degrees have been offered by the college. Since 2005 PhD research has been
undertaken together with post doctoral research. In 1996 NCAD became a Recognised College
of the National University of Ireland. It is the only Irish university institution specialising in art
and design. The library of the college houses the National Irish Visual Arts Library (NIVAL),
which is a major resource for research in art and design containing original papers by Irish
artists and designers. Academic staff in both studio and theoretical disciplines have
established international reputations in their own specialisations and are a major resource for
the institution. In 2011 it entered into a Memorandum Of Understanding with University
College, Dublin, becoming a constituent college
The NCAD is in the process of reframing its educational offer within a series of broader and
particular alignments. These are critical for art and design education to survive and prosper as
a key field and front, now and for the future.
This process within NCAD - known as 3+2+(3), traces a differentiated educational offer as 3
undergraduate years, 2 postgraduate years (masters) and potentially 3 PhD years. This
represents structural change and a different relationship to scholarship, conceptions of
discipline and interdisciplinary knowledge and experience.
3+2(+3) is conceived as a decisive move forward, building on contemporary art practices
toward renewed 21st Century coordinates. This is not to suggest that educational evolution has
not been a feature of this environment - there are excellent contemporary teaching practices
in this Faculty that exist to support students to work to the limit of their ability. It is however
to posit a renewed set of coordinates and abilities and to link these as a consistent educational
4
offer which renegotiates areas of content, modes and cycles of learning and educational
intensity.
The very nature of art practice straddles conceptions of the known and the unknown. The
dynamic effort to connect, communicate and share experience is the means to produce
alternative knowledge, new spaces and places, altered tools, reframed relationships to models
of practice, and to audience. These eco-cultures of discovery in the junction of virtual and
physical constructions of our world are important sites of scholarship and experiential learning.
Our challenge has been to reset our institutional strengths both in relation to the languages,
and practices centered around activity and the development of work, and to more fully engage
with educational relationships to cultures of distribution, and expanded ‘publication’ both
within and outside the (re)new(ed) academy. These questions of where, why, who with, as well
as the how to, continue to jostle habitual modes.
3.
DESCRIPTION OF FACULTY STRUCTURE
There are currently four Faculties in the college: Fine Art, Design, Education and Visual
Culture, each faculty is led by a professor. In addition to the faculties there is the Department
of Core (First Year Studies) which provides a common interdisciplinary undergraduate year long
programme for all the College’s first year students. The Faculties of Fine Art and Design
contain departmental divisions: four in each case. The Faculty of Education also provides an
innovative range of part-time courses including certificate award bearing courses through the
Centre for Continuing Education in Art and Design (CEAD). The Structure above will change in
relation to the new 3 year undergraduate degree when core staff become part of the Faculties
but with particular responsibility with others for the first 10 weeks of the course. In relation to
the Faculty of Education this Faculty will stop teaching a separate art practice course and its
students will be educated within Faculty of Design or Fine Art practice based modules. There
will also be a greater amount of part time students undertaking degree courses
Each Faculty has a Faculty Board which meets during each term, chaired by the respective
professor, and which manages its academic affairs in matters of policy and procedures within
the framework established by Academic Council. Each Faculty Board has a sub-committee for
Research and Postgraduate Development which develops policy, strategy and specific action
plans for adoption by the Faculty Board. There is a College Head of Academic Affairs which
encompasses research and postgraduate development. The Head of Academic Affairs chairs the
college Higher Awards committee, the Research Committee and the QA/QI Steering Group.
4.
COURSE DOCUMENT DEVELOPMENT - THREE PLUS TWO PLUS THREE
In response to challenges to Art and Design Education The NCAD is moving To a system
characterised as Three Plus Two Plus Three. This suggests 3 undergraduate years replacing 4 2 Masters Years and 3 Phd Years creating a framework of professional qualifications.
The creation of a three year degree has a consistency with other undergraduate courses in the
humanities. This 3 year course is not conceived as a cramming of four years into three but will
offer a suite of teaching and learning challenges that will address the changes to cultural
activity in the world and in relation to the University Sector.
In preparation of this course document we have referred to a number of Documents
Departmental QA documents of Sculpture, Print, Painting and Sculpture
Faculty QA Document
Course Resources NCAD / Teaching Support
Reference to bench marks and standards
The NCAD Modularisation Document
5
NCAD Examination Procedures and Regulations 2010
NCAD Constitution of the Examination Appeals Committee
Faculty of Visual Culture
Core Studies
Paradox Tuning Document
NCAD Quality Assurance Office
Allan Davies workshop
The Existing BA (Hons)Fine Art Course Document Revised 2010.
Ch Ch Ch Ch Changes Ed. Dr John Reardon
The Faculty has also been in discussions with the Faculties of Education, Design, Visual Culture,
Core Staff in addition to Senior Mnagement in workshop formats
This document has been the subject of much dialogue with staff in Faculty Fora, departmental
meetings, workshops and writing teams. There has been a significant discussion in relation to
situational factors which are layered and evolving.
This document has been informed by meetings with staff from other faculties including
Education, Visual Culture and Design . There has been greater dialogue with Core staff ( Year 1
foundational staff from the existing 4 year course) These meetings have contributed to a
greater shared knowledge of the activities, ethos and teaching approaches that define
disciplines across the college.
The document has been written in terms of experiential scholarship and A Backward Design
process. In this sense it is reverse engineering from Course Goals to Level Descriptors and
student capacities. In an interesting way this reverse engineering met a series of meetings
engaged with year one This created a form of 3 piece telescopic process where, to pick up the
metaphor, there are abilities to focus on whats in front of you and through the same device to
see to the horizon.
Our structuring has been evolved in respect of our educational exerience integrated with the
scholarship and advice of Allan Davis who presented to Heads of Department and Faculty.
These documents have been distributed to staff.
In this process we have shared high quality teaching practices and experiences drawn from
across departmental programmes. We have shared experiences drawn from teaching
experience in other colleges. We have referred to Finks ‘Designing Courses That Promote
Significant Learning and cross referenced by other inputs such as Biggs, and the Paradox Fine
Art Tuning Document. Much of our course is evolved in relation to developments in
contemporary art practices and co ordinates
Some of our changes are located in thematic registers and in the real world, but also through
collaborative and public dimensions and in renewed conceptions of how disciplinarity and
interdisciplinarity should ’field’ these modes. There is a commitment to a greater
intensification of learning modes and environments
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5.
THE BA (Hons) FINE ART COURSE
Description
The Fine Art Course is conceived as a 3 year course of 90 weeks. The course conforms to 2
Semesters per year. The course requires practical and intellectual hands on engagement in
relation to inhabiting different models of practice and it has a parallel Visual Culture
engagement which will normally amounts to 20 % of the course. The Faculty teaches Year 1
with colleagues from 1st Year and Design in a common period and years 1,2 and 3 with
colleagues from 1st year (formerly Core) who will participate in the Faculty and Departmental
structure and who will be integrated into the staffing arrangements
Upon entry to the college, Year 1 students are intensively engaged in 3rd level scholarship
within the frame of this art colleges’ university culture. This activity and research is explicitly
related to making informed decisions about faculty and departmental choices within contexts
of contemporary culture. The year is framed around issues of materiality, active consideration
of audience/user and negotiations of the wider fields of practice. This year is conceived as
offering an intensified, shared, common experience for students who, through 3 particular
points in the the year are supported to finesse their studies and interests towards the faculties
of Fine Art, Design, or Education. Within the year at specific decision points students will
select different departments within the faculties. The Faculties also receive applications from
direct entry students from other colleges at this point and at the end of second year.
The Faculty of Fine Art has built sequential modules of teaching and learning for years 1, 2, 3
outlined in the rest of this document
This Level 8 degree is an amalgam of practice and theory and there are visual culture
components to the course organised as a series of lectures. In 3rd year this is presented as a
researched written thesis or equivelant appropriate form In this sense set piece theoretical
lectures are a component of the undergraduate degree. In line with the trajectorys of
contemporary art practice the relationship of theory and practice on the studio floor is a
greater consideration of teaching delivery. A 50% practice and 50 % visual culture component is
also offered. This is known as Joint Course. Visual culture has redeveloped its ‘offer’ to more
particularly share foremats relating to subject matters pertinent to Art and Design and to more
explicitly develop discursive elements in relation to lecture formats. In the following years
subject fields become more specific leading to thesis or another form in 3rd year.
The BA (Hons) course is a modular course. There are greater points of connectivity across the
course, including examples of joint projects, collaborative working real world engagement and
interdisciplinary working are enabled through A Common College Wide schedule .There are
opportunities for more bespoke interdisciplinary contact. There is a greater practice - theory
trajectory generally and more discursive forums. We continue to evolve greater integration of
strategies in relation to exhibition and degree shows.
In the 2nd year of the 3 year programme, there are mandatory and elective projects of a
disciplinary and interdisciplinary character available to students. These afford more
concentrated educational access to elements of public and participatory culture in interinstitutional arrangements with real world stakeholders. Within these elements there are
shared faculty experiences for students. These shared elements are also encountered within
other elements of course delivery including the visiting lecture series, seminars introducing
particular topics, field trips / study visits, professional practice seminars and the delivery of
Visual Culture elements. At second year level in Semester two there is the opportunity for the
development of thematic framing in terms of activity in relation to the end of year exhibition
in terms of clustering research and ouputs.
7
3rd year is conceived as two long modules of theory and practice. In practice terms
examination is in the form of exhibition which has a public viewing period beyond the
examination period. Professional practice lectures formalise practices implicit in the evolving
studentship
Teaching is engaged through individual and group tutorials, crits, seminars, presentation
lectures and demonstrations and off site working
6.
POSTGRADUATE COURSES
The Faculty of Fine Art also has responsibilities for Masters courses
and practice based PHD supervision. The masters courses relate to MFA by Research. Master of
Art in the Contemporary World which is a visual culture course with practice pathways taught
by the Fine Art Faculty. Master of Arts in Virtual Realities is a Media Department Course within
the Fine Art Faculty.
The MFA and ADW cluster are the largest concentration in the state and the longest established
In reality many of the staff teach at undergraduate and postgraduate level and have
supervisory responsibilities across the faculty.
7.
COURSE RESOURCES
SPATIAL
CAMPUS
TEACHING
LIBRARY
PLANT DIGITAL/WORKSHOP
SPACE:
Space is of course a physical property and an educational tool. It is also a conceptual and
intellectual matter in terms of how it is used, produced, framed and deployed. It has value.
Within Fine Art it has been possible to offer almost all students a functioning workspace
becoming larger as the years progress. The departments have had different attitudes to, and
control of, how space is deployed and in relationships between workshop, seminar, communal,
and individual spaces. There are different relationships to conceptions of studio,
workshop/laboratory and relations to digital resources
CAMPUS
In a period when the experimental development of large educational campuses on the fringe of
cities has become somewhat spent, there is a new zeitgeist and value in the metropolitan city
centre as a site of power and experiment. This campus has been a significant site for the
production of visual art but also a site of conference and dialogue. In recent years it has been
more consistently used as a launch pad and base for engagements within our wider
environment. These require complex relationships to old and new community and other
stakeholders whose activities develop constructions of place. This is to say that the Fine Art
Faculty values site, location and situation as significant educational tools and as a site of
practice playing out local, national and international dimensions. The campus is also located
within Liberties Redevelopment Area and is part of the strategically designated Cultural
Corridor stretching from City Council Headquarters to the Irish Museum of Modern Art,
including NCAD, the National Museum at Collins Barracks and the Digital Hub. The hangover of
fiscal contraction has stalled a significant amount of development in the area. In relationships
to UCD, The Faculty anticipates the use of Newman House and particularly its basement area
will be fitted out as a site of collaborative working and discursive activity.
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PLANT
The Faculty of Fine Art is resourced in terms of its workshop, digital and production capacity
and is a significant site of technical know-how. It has the spatial and technical ability to
produce work. In this sense its capacity to produce work of both ambitious architectural,
outdoor scale and intimate domestic scale is considerable. The faculty can access with
negotiation plant across the campus. These narrations are about the capacity to make and do
things - the ability to make things actual and to test them and this does not happen
independently of a conceptual underpinning. Faculty regards access to
workshop/laboratory/plant as centrally important and critical to our transformation. All
departments are resourced with a digital capacity that acknowledges digital tools as significant
vehicles for translating issues of time, space, narrative etc.
The extraordinary potential of these tools is also to understand that the capacity of the user
/operator in developing a range of ability is itself a skill-base that might be chosen from the
expanding conceptions of appropriate skills.
The relationship to cost and quality are creating a new accessibility in relation to forms of
mobile ‘hand held’ connectivity and may, in the future, free the need to hold ‘common’
machinery that is already commonly available. It is critical to acknowledge that students and
staff come to digital tools with very different capacities. That we all share common ‘bundles’
of information may make the education process more efficient and effective. The Faculty has
educational bridges between Faculties and Departments and more specialist capacity.
Relationships with the industrial framing of the ‘workshop’ and greater heat in the sense of the
laboratory have contemporary traction.
LIBRARY RESOURCES
The library holds the most extensive collection of art and design research resources in the
country. It has over 70, 000 items and is home to NIVAL, The National Irish Visual Arts Library.
The library keeps books, catalogues, videos and documents and subscribes to over 300
magazines and periodicals offering international dimensions to contemporary practices. It is
expected that students and staff use the library regularly as an ongoing component of
scholarship. Staff are contributors to the library with pamphlets and publications. In second
year a project is organised which requires library competency in terms of accessing information
in relation to contemporary practice. A specific form of induction and access is created with
library staff which articulates the resources of the library as an active agency in the
development of sculptural practice. These skills build on those established at core level and
provide the student with a skill set appropriate to negotiate the rest of their studentship and
beyond to professional practice. The Library has a whole range of services, books magazines,
CD ROMs. It also facilitates loans and houses photocopy facilities
STAFF
The staff all have national and international profiles as artists who have had, and continue to
have, individual exhibitions, commissions, and research activities which embrace sculpture,
installation, performance, sound, video, curation, and extended contextual practice in the
public realm. There are a number of ongoing approaches to exhibiting in the gallery, some of
which contest ‘the gallery’ but consciously forground the paradox involved in doing so – in the
gallery. Because of these approaches staff have practical and conceptual experience of
organising, making, siting and publishing/distributing work which will help students aquire and
develop new skills and approaches. The culture of research is a shared one, between staff
and staff, between staff and students, and students and students and whilst staff do not teach
their own practice (staff don’t desire to clone themselves) staff practice, and all that is
involved in maintaining a practice, informs their teaching.
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8.
FACULTY OF VISUAL CULTURE
BA (Hons) Fine Art – Visual Culture Component
BA (Hons) in History of Art and Fine Art - Joint Course
The Faculty of Visual Culture engages with the spectrum of visuality, and employs a range of
challenging methodologies to interrogate the field. It is staffed with dynamic specialists and
recognised researchers, who are committed to curriculum innovation; who play a vigorous role
in the holistic formation of the artists, designers and art and design educators of the future;
who are catalysts for the generation of new ideas; and who facilitate the integration of theory
and practice, to the highest academic level. In Visual Culture, students are taught to analyse
their own art and design practices, and those of others. They are educated to become visually
literate, expressive and articulate, so that they can critique objects, processes, institutions
and concepts of visual and material culture.
The Joint Honours Degree Course is a program in which the student pursues study both in the
studio and in the academic areas of Visual Culture, culminating with a degree which is assessed
on a fifty-fifty basis.
This is a two subject degree unlike all other studio-based degrees in the College or elsewhere
in Ireland, where the theoretical concerns of the History of Art, Design,and Media represents a
minor built-in component of a BA(Hons)in Fine Art or BDes(Hons) in one of the Design
disciplines.
The aims and objectives of the program are to strengthen student praxis, developing a
commitment to both practice and theory that can be realized in the student’s work. The
student will follow the same studio and Visual Culture programmes as all other students but
will take other specialized studies in Fine Art, Design, and Media history, theory and
analysis.
This is a versatile primary degree after which many graduates go on to further specialised
study leading towards anything which requires the combination of original, creative work and
theoretical research skills: scholarship, librarianship, research, arts administration, museology,
heritage and conservation, education, critical writing, and careers in film, theatre, television
or in fine art or design studios.
The practice based elements of the Joint Course have exactly the same modules and
components as the BA (Hons) Fine Art Course. The work is marked as a 50% proportion. CHECK
THIS
Please refer to Visual Culture Course Documents
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9.
FACULTY PHILOSOPHY
The Fine Art Faculty is an amalgam of the disciplines of Media, Sculpture, Painting and Print
which currently are organised as four departments. The matrix of perspectives which emerge
have been evolved in relation to the particularity of each department’s relationship to its
geneology and to forces and themes in wider society. The inheritances implicit in our
departmental titles are transformed by contemporary relationships to these geneologies, thus
each department brings a different ethos and perspective to its work and projects, in relation
to the others and the field
It is these differences of ethos and engagement,rather than materiality, that sits in useful
dialogue, in conceptions and demonstrations of effective and affective practice. Increasingly
now, expanded practices and positions developed within and beyond the academy, which may
be informed by other knowledge domains and forms of scholarship, have potentials for new
vantage, association and audience. - A new kind of traction.
The Faculty is invested in the engagement of discipline based learning (to share). This creates
frames and perspectives from which interdisciplinary models, collaborative forms, situated
practices and student placement can be meaningfully engaged. These engagements should be
cultivated rather than undertaken by rote.
Students are supported to construct a research methodology founded in practice lead activity,
discovery and critical reflection with an ability to develop and employ a wide variety of skills.
Conceptions of skills are widely and knowingly interpreted in the service of artist based
engagement but which also find value across a wider human spectrum. The cultures of
innovation, prototype, trial and test that we value, are critical to an open ended relationship
to knowledge, where outcomes are not predetermined. These processes are evolved to
exhibition contexts, presentational scenarios and other distributable forms where meaning is
constructed and negotiated with others and in in relation to its situation.
Consequently the development of a range of communication skills to connect to peers, co
producers of meaning and audience, are primary to the enablement of building an ongoing
discursive and challenging environment. In this educational junction relational abilties to link
experience meets the more associative constructions of knowledge and research. These new
patterns have been enabled by the mass availablity of powerful digital tools of connection.
These connections are changing educational outputs and are part of our transformation and
rationale.
In building educational intensity, through practice based and discursive forms, we are building
confidence, fluency, experience, creative risk taking and exchange. The depth of knowledge
achievable through discipline learning is considerable. The development of pathways which
develop a breadth of experience across the faculty and beyond it are key components in the
development of this course and art practices now and for the future, expanding roots of and
routes to creativity and new knowledge.
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10.
EDUCATIONAL SITUATION
The Fine Art Faculty at NCAD attracts students from a very wide age range. In this sense there
are relationships to life long learning that the construction of the course supports people to
flourish. The Faculty attracts students in gender terms of roughly 65% women to 35 % men. The
faculty intakes students from its own first year but also from direct entry candidates from
across the country and beyond.
In supporting students to learn to learn and in establishing the roots of and routes to creativity
from individual and peer perspectives, the course encourages students to work to the limit of
their ability. Fine art practice and education embodies consistent evolution within the field and
is generated around a body of knowledges where outcomes are not pre determined
Through framing dimensions of materiality, the field, audience, form, disciplines, research
methods, sites of production, spaces and places of distribution and in testing where, how and
with whome meaning is constructed, this is an educational enquiry consistent with supporting
students to prosper in the years after college.
In the development of this course there have been significant amounts of colleague
particpation. There have been frank exchanges discussing and inputting into the negotiation of
this new course in relation to the wide range of situational factors. These co ordinates are
well rehursed.
They manifest themselves as fluid conceptions which are constantly in play and negotiation. In
relation to this faculty they assert themselves as
Communications and Connections
The logistical effort and educational conception of making connections is itself a
powerful dynamic proposition. Increasingly the students we work with have their hands
on powerful tools of connectivity and a relationship to accessing information which is
radically challenging linear constructions of knowledge. This is to say that there is a
much greater associative sense in the way that we make connections, construct
knowledge, operate networks and share experience. This accelerated sense of
connection and association imply new relationships to an educational ‘offer’. The
French philosopher Michel Serres has described this freeform associative pattern as
being more like the route of a fly on a window than linear chronological progression.
Expanded Practices
Within Fine Art practice there has been significantly expanded range of situations of
activity and inquiry. There have been new relationships to forms of engagement with
people and place and affective practices which have offered challenges to habitual
models. These have been accompanied by the development of critical languages which
have themselves have radically expanded communication of the field. There is a much
greater responsibility in relation to educational questions of frames of practice
Theory and Practice
More particularly now there is a much closer dynamic between theory and practice, re
framing and translating roots of and routes to creativity and new knowledge. Theory
and practice have shared roles in relationship to the growth of discursive forums, and
invigorated models of discursive presentation. These expanded conceptions of
practice, and practice and theory, are offering renewed relationships to place, space,
audience and authorship. Clearly there are evolving conceptions of appropriate skills.
These known and alternative models continue to sit in relation to each other as a
useful dialogue.
12
Digital Technology and Materiality
Technology is changing not only how we construct knowledge but considerations of
materiality and process in relation to the eye, the machine and the hand. The language
of the laboratory is annexing the workshop re visioning relationships to research,
production, prototyping, testing and, outsourcing.
The Bologna Agreement
At a structural level Irish Education is ‘signed up’ to the Bologna Agreement which
underwrites dimensions of student transferability and credit recognition. These are
critical in the context of a small island. of ‘young Europeans’ – who are animated by
travel curious ‘smart’, connected, and ambitious. The development of a modular
culture has already been embraced by the faculty and the college. The development of
this 2nd generation modular structure has sufficient flexibility to partner modules in a
bespoke manner but mindful of the horizon modules of others.
University Culture
The NCAD is the only University accredited Art College in the State. In order to secure
the momentum of University status NCAD is recently engaged in a formal Strategic
Alliance with UCD. University cultures of research, innovation and interdisciplinary are
critical drivers.
The Pedagogical Turn
There is the background of the pedagogical turn in education which constructs the new
academy itself as a site of practice and affective change - The aesthetics of
engagement evolved as agency to change the field. There are differing views in
relation to the longevity of this ‘turn’ but no denying its traction.
Art and Design Public Visibility
There has been a notable and increasing trajectory of high quality contemporary art
activity present and visible in our culture at gallery, museum and community levels and
in permeating popular cultural distribution forms of news agendas and media. Arguably
there is a greater interest in and respect in relation to these forms
beyond
Financial Contraction
This transitional period is Ireland is accelerated is not by mass social movements or
war, (indeed this is a post conflict context) but by a chronic deregulated financial
firestorm whose legacy is beggaring this country. The spectre of ongoing cuts in our
core grant allocation from central government familiar to all 3 rd level institutions is
consistent and ongoing.
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11.
NFQ - NATIONAL FRAMEWORK OF QUALIFICATION
The National College of Art and Design, Faculty of Fine Art offers the major award of a 3-year
undergraduate degree, Bachelor of Art (Honours) in Fine Art.
The awarding body is the National University of Ireland (NUI).
The degree incorporates 80% specialist studies and 20% theory (Cultural Studies), History of Art
and Complementary Studies.
The Course is full time and the academic year is of 30 weeks duration.
The BA (Hons) degree can be taken with a specialist emphasis in the final degree
presentation in any of the following specialisations – Fine Print, Media, Painting or
Sculpture.

Level
The BA (Hons) in Fine Art is at Level 8 of the NFQ.
Progression: Graduates who have reached the appropriate level in the final
examination may be eligible to progress to Masters programmes at NFQ level 9 at in
higher education institutes.
Level 8 descriptor is as follows:
Title
Purpose
NFQ Level
Honours Bachelor Degree
This is a multi-purpose award-type. The knowledge, skill and
competence acquired are relevant to personal development,
participation in society and community, employment, and
access to additional education and training.
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Volume
Large
Knowledge - breadth
An understanding of the theory, concepts and methods
pertaining to a field (or fields) of learning.
Knowledge - kind
Detailed knowledge and understanding in one or more
specialised areas, some of it at the current boundaries of the
field(s).
Know-how and skill range
Demonstrate mastery of a complex and specialised area of
skills and tools; use and modify advanced skills and tools to
conduct closely guided research, professional or advanced
technical activity.
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Know-how and skill selectivity
Exercise appropriate judgement in a number of complex
planning, design, technical and/or management functions
related to products, services, operations or processes,
including resourcing.
Competence context
Use advanced skills to conduct research, or advanced
technical or professional activity, accepting accountability for
all related decision making; transfer and apply diagnostic and
creative skills in a range of contexts.
Competence - role
Act effectively under guidance in a peer relationship with
qualified practitioners; lead multiple, complex and
heterogeneous groups.
Competence –
learning to learn
Learn to act in variable and unfamiliar learning contexts; learn
to manage learning tasks independently, professionally and
ethically.
Competence insight
Express a comprehensive, internalised, personal world view
manifesting solidarity with others.
Progression &
Transfer
Transfer to programmes leading to Higher Diploma.
Progression to programmes leading to Masters Degree or
Postgraduate Diploma, or in some cases, to programmes
leading to a Doctoral Degree. Progression internationally to
second cycle (i.e. "Bologna masters") degree programmes.
12.
TOTAL LEARNING EFFORT
The total learning effort is distributed over 30 weeks in an academic year, with students taking
a maximum of forth hours of learning weekly.
The total yearly hours on the programme are approximately 1250 hours, this includes tutor
contact time, self-directed learning, peer learning and learning taking place in
supervised/unsupervised facilities. A student might be expected to undertake visits to galleries
and contexts in the wider cultural field. There will be requirements to read, research and
write essay topics
Practice Based Total Learning Effort
This Fine Art Level 8 Course is a full time, conceived as a 3 year course of 30 weeks per year –
90 weeks duration 180 credits (145 Practice 35 theory)
The ‘day’ is considered as 8 hours comprising both supervised and unsupervised access
15
----------------------------------------------------------------------------------------------YEAR 1
WEEKS
DAYS PER WEEK
HRS
Module 1
10 weeks – 4 days 8 hrs per day
Total Learning Effort 320
Module 2
10 weeks – 4 days 8 hrs per day
Total Learning Effort 320
Module 3
10 weeks – 4 days 8 hrs per day
Total learning Effort 320
----------------------------------------------------------------------------------------------Totals
30 weeks
Total Learning Effort 960
Total Practice Based Credits
Credits
50
Visual Culture
CHECK HRS & CREDITS
10
Total
60
---------------------------------------------------------------------------------------------YEAR 2
Module 1
15 weeks – 3 days
8 hrs per day
Total Learning Effort
360
Module 2
30 weeks – 1 day
8 hrs per day
Total Learning Effort
240
Module 3
15 weeks – 3 days 8 hrs per day Total Learning Effort 360
---------------------------------------------------------------------------------------------Totals
30 weeks
Total Learning Effort
Total Practice Based Credits
Credits
Visual Culture
CHECK HRS AND CREDITS
Total
960
45
15
60
---------------------------------------------------------------------------------------------YEAR 3
Module 1
30 weeks - 4.25 days 8 hrs per day Total Learning Effort 1020
----------------------------------------------------------------------------------------------Totals
30 weeks
Total Learning Effort 1020
Total Practice Based Credits
Credits
50
Visual Culture
CHECK HOURS AND CREDITS
10
Total
60
----------------------------------------------------------------------------------------------Total Learning Effort 2940
16
13.
ENTRY REQUIREMENTS AND APPLICATION PROCEDURE
CAO Course – AD111
Entry Requirements
APPLICANTS MAY BE MATRICULATED AS FOLLOWS:
1) On the Leaving Certificate
The minimum academic entry requirement and matriculation standard based on the Leaving
Certificate is 2 subjects at Grades A1-C3 on Higher Level papers and 4 other subjects at
Grades A1-D3 on Ordinary or Higher Level papers, in NUI recognised subjects. These
subjects must include (1) Irish*, (2) English, (3) a 3rd language or Art. Foundation level
Maths may be included as one of the Ordinary Level subjects. Foundation Level Irish is not
acceptable. LCVP is not counted as a subject. Leaving Certificate results may be combined
over more than 1 year.
*Some Leaving Certificate students who have not taken the subject Irish may be entitled to
an exemption under NUI regulations. In most cases this exemption must be obtained from
NUI by the individual applicant (see www.nui.ie).
For the approved school-leaving examination standard in other countries please consult
the Admissions Office. Some information is available at www.nui.ie and
www.qualificationsrecognition.ie
Or
On an approved school-leaving examination applicable in another member state of
the EU, (e.g. A-levels, Abitur, Baccalaureate, IB, etc.)
Or
On an approved school-leaving examination in a country outside the lEuropean
Union
2) On a full FETAC LEVEL 5 or 6 award with Distinction in 5 modules
3) On mature years. Applicants who were 23 on or before 1.1.2010 who do not meet
the matriculation requirements under 1) or 2) above may apply to be considered for
matriculation on mature years. Please note that matriculation on mature years is
not granted solely on age. Full information on the educational standard of the
applicant and evidence of ability to manage the academic aspects of courses and
other relevant details must be provided. Contact the Admissions Office.
Transfer applicants entering NCAD post-Year 1, having successfully completed recognised
Level 6 or 7 courses elsewhere, may be matriculated on that basis. Contact the Admissions
Office for further information.
17
Application Procedure
Applicants must do BOTH the following in order to be considered for a place:
1. Apply through the Central Applications Office (CAO) for course AD111. On-line application on
www.cao.ie is recommended.
2. Submit a portfolio to NCAD Please note that applicants are not contacted by NCAD or CAO to
instruct them to do this.
Applicants should consult the current CAO Handbook. This is a restricted course and late
applicants cannot be considered.
Guidelines for the Porfolio Submission Brief
The brief is intended to be thought provoking and challenging across a number of key areas. It
rewards evidence of curiosity, visual questioning and sustained enquiry.
The brief focuses on 3 aspects of Visual Enquiry.
1
Observation
2
Creative Process
3
Invention/Design
Guidelines for the Portfolio Brief are available from the Admissions Office of NCAD or can be
accessed at www.ncad.ie/portfolio.
Portfolio: Presentation
The portfolio must be attested to by the School Principal or Art Teacher or another responsible
person (not a relative), as being the applicant’s own work.
Each individual applicant’s work must be presented flat and contained within ONE PORTFOLIO
COVER. Items submitted separately cannot be accepted. Portfolios must be carefully marked
with the applicant’s name and address on the top left hand corner both inside and outside.
Individual pieces in the portfolio must also be marked with the applicant’s name and address.
It must be securely packaged, but easily opened. No work framed, in glass, will be accepted.
N.B. Portfolios in excess of 10 kilos will not be accepted.
Portfolio: Return
Applicants may remove their portfolios as soon as the portfolio examination is completed
(normally during the fourth week in February). While all reasonable care will be taken of
applicants’ portfolios, the College does not hold itself
responsible for any loss or damage. Applicants are responsible for delivery and collection of
their portfolios. Those not removed by the stipulated date may be disposed of at the discretion
of the College.
Interviews
Applicants for First Year (Core) are not normally called for interview. However, the College
reserves the right to call any applicant for interview.
18
Notification of Result of Application
The College currently reserves 50% of places for current year school-leavers who are sitting the
Leaving Certificate or equivalent for the first time. Applicants are notified of the results of
their portfolio assessment in March.
Documentary proof of examinations passed will be required for verification before places are
offered. All place offers are issued through the CAO.
19
14.
ASSESSMENT STRATEGY
INTEGRATED COURSE DESIGN
ASSESSMENT METHODS/TECHNIQUES
CRITERIA FOR ASSESSMENT
GRADING STRUCTURES
WHEN ASSESSMENT TAKES PLACE
FEEDBACK PROCESSES FOR LEARNERS
HOW ASSESSMENT IS REGULATED
WHAT HAPPENS IN RESPECT OF FAILURES ETC
With the renewal of our assessment criteria, the effort has been to align them to Learning
Outcomes which themselves have been reverse engineered from Level Descriptors. Those
abilities outlined and learning objectives undertaken in module forms set by the teacher, will
be nuanced by the assessment criteria which will identify and value that which is learned and
by the forms in which learning is presented.
(with reference to Biggs)
The system chosen should locate a transparency in its form, for the student in terms of what
has been achieved asnd how improvement might be made. The linked components of the
criteria will identify the trajectory and fluency of studentship, practice and learning.
Assessment Evidence
The evidence of assessment within a fine art course will be artworks, artefacts, evolved
proposals, notebooks, journals, presentations, exhibition, events, actions, situated forms
20
Assessment Methods
The methods of Assessment will be an amalgam of the Formative and Summitive. The
formative preserves the construction of longer modules with feedback components to allow
integrated learning to take place with the potential for an exponental maturing of learning
where the integration synthesise, planning and application of what has learned has the greatest
chance of realisation. Feedback can identify the processes of connection and alignment in
terms of the learning components and can facilitate a diagnostic form.
Summitive Assessment will occur at the end of modules and at the end of Semesters where
there may be explicit exhibition requirements in addition to presentation and communication
of research and process.
Assessment Approaches
Assessments will be tutor lead although with the new assessment criteria it becomes more
easily possible to experiment with self assessment and group assessment.
Assessments occur in two forms - With the learner present and not present
Assessment Criteria - Rubric and Grading
The Faculty proposes to cross reference its rubrics against a grading system developed by Allan
Davies. This will produce relations of fluency of requirements and their alignment, with the
transpasrent ability of students to identify how they can improve. The higher achieving student
is one who is able to integrate, sythesise, plan and apply their learning. Assessments are
written and will be kept centrally for students reference
Tutor Feedback
Feedback will be written as well as verbal. Feedback in relation to workcan be effectively
achieved in group contexts where the development of a critical culture between student peers
is a key learning tool.
Tutorial report forms also chart a stiudents understanding of what is occuring in tutorial and
seminar forms in that they are written by the student and viewed by staff. This is designed to
close gaps in understanding and to make sure that information is captured. Tutor forms and
other feedback should conform to the Fidelity model described by Fink as (FIDeLity)
Frequen t- Immediate – Discriminating - Lovingly Delivered
These are consistent with the one to one and group tutorial forms familiar and effective wiithin
Fine Art practices
Student Feedback
The Faculty has had an established feedback mechanism which has been verbal in nature and is
developed in relation to a culture of dialogue through project work. There has also been a
system of Course Feedback in relation to the Exit Survey which occurs with graduates at the
end of each year straddeling their degree results. Feedback has also been gathered in relation
to Departmental Faculty Quality Assurance programmes. Each Department also has a Faculty
Rep. and Deputy who are in regular feedback situations.
In relation to Module feed back the faculty will develop a student feedback mechanism in
consultation with the other Faculties and the Quality Assurance Office.
21
15.
ASSESSMENT CRITERIA: Faculty Rubrics
ACTIVITY
(MAKING AND SKILLS)
Noting levels of research, making and doing in relation to projects set. Development of
appropriate skills
DISCOVERY
(NEW KNOWLEDGE/ INNOVATION/IDEAS IN PROCESS)
Noting what emerges from these processes of trial and test.
CRITICAL REFLECTION
(THINKING/CRITICALITY/CONSTRUCTION OF VALUE)
Noting levels of criticality in relation to processes and field. Noting levels and awarenesses of
decision making and forces and themes informing the work
PARTICIPATION
(ATTENDANCE/ ATTENTION TO THE COURSE)
Noting levels attendance, attention, engagement, studentship, learning to learn
COMMUNICATION
(CONNECTIONS)
Noting levels of skills and professionalism in the execution of work and in verbal presentation
of ideas, concepts and in relation to the field. Noting constuction of meaning
22
16.
STRUCTURE OF LEARNING OUTCOMES AND ASSESSMENT CRITERIA
Example of an assessment structure
Grade
%
A
70100
B
Descriptor
Successfully integrates the elements, processes and
procedures relating to the challenges of the brief.
Media and skills are selected and utilised to
enhance the outcome.
Engages with practice as a creative process within
a broader community of practitioners.
Sees engaging in practice as an act of developing a
personal world-view.
60-69
Focuses on the integration of the elements,
processes and procedures of practice within the act
of meaning-making
Takes a strategic approach to gathering and
interpreting appropriate information.
Sees practice as an act of communication and is
aware of different audiences.
Recognises professional standards in the practice.
C
50-59
Recognises practice as an interpretive process and
gathers information accordingly.
Uses the information to provide a number of
alternative solutions.
D
45-49
Gathers information in a range of formats.
Uses the information to stimulate a number of
possible solutions.
E
40-45
Gathers information in a regular format.
Uses the information to stimulate the making of a
solution (artifact).
Draws on established outcomes and solutions.
F
0-39
Key words
Applying
Planning
Integrating
Synthesising
Analysing
Experimenting
Observing
Recording
Doing
Making
Responding
Gathers information.
Engages in practice.
Provides a solution to the tasks set.
*** Adopted from Allan Davies to be crossed referenced with Faculty Criteria
Revised Assessment criteria, contrasting different approaches,
23
The following are the current Examination Marking Bands.
In this new course Marking Bands from UCD will be adopted.
Grade Descriptors
National College of Art and Design
Coláiste Náisiúnta Ealaíne is Deartha
A Recognised College of University College Dublin
17
GRADE DESCRIPTORS TO BE USED IN CONJUNCTION WITH THE
NUI REVISED MARKING BANDS
GRADE
MARK
DESCRIPTOR
Supreme
performance
and
commitment,
engaging
profoundly, systematically and comprehensively with the
subject brilliantly demonstrating:
A superlative mastery of the subject, with the highest
level of ideas development and resolved outcomes, richly
supported by a portfolio/ submission, reflecting a deep
and broad knowledge and understanding of the work
within the context of contemporary practice.

An outstanding ability to organise, analyse and express
their concepts in an original, sophisticated and
discriminating manner.

An optimal capacity for critical analysis and problem
solving.

The display of rare penetrative insight, originality and
creativity.

The display of rare, creative and innovative use of
appropriate making skills.

Superlative studentship and self-management.
Exceptional performance and commitment engaging deeply
and systematically with the subject, with consistently
impressive demonstration of:

1st Class Honours
90-100%
GPA
3.8 – 4.0

1st Class Honours
80-89%
GPA
3.6 – 3.78





A comprehensive mastery of the subject, with exceptional
development of ideas and resolved outcomes, amply
supported by a portfolio/submission reflecting a wide
knowledge and understanding of the work within the
context of contemporary practice.
Reflecting a deep and a broad knowledge and critical
insight as well as extensive visual research.
An exceptional ability to organise, analyse and present
concepts fluently and lucidly with a high degree of critical
analysis.
A highly developed capacity for problem solving and for
original, creative and logical thinking leading to the
production of a body of exceptional work.
The display of highly developed and appropriate making
skills.
Exceptional studentship and self-management.
24
A highly superior performance and commitment, engaging
closely and systematically with the subject with
consistently strong evidence of:

1st Class Honours
70-79%
GPA
3.4 – 3.58




GRADE
MARK
A comprehensive mastery of the subject, with a high
degree of development of ideas and resolved outcomes,
amply supported by a portfolio/submission reflecting a
wide knowledge and understanding of the work within the
context of contemporary practice.
Excellent ability to organise, analyse and express concepts
fluently and lucidly with a high level of critical analysis.
A highly developed capacity for problem solving and for
original creative and logical thinking leading to the
production of a body of superior work.
The display of highly developed and appropriate making
skills.
Excellent studentship and self-management.
DESCRIPTOR
Excellent performance and commitment together with good
development of ideas and resolved outcomes, well
supported by a portfolio submission reflecting a good
knowledge and understanding of the work within the
context of contemporary practice
2ND Class
Honours
Grade 1
60-69%
GPA
3.0 – 3.44
2nd Class
Honours, Grade
2
Well developed capacity to analyse issues, organise
material and present concepts and material clearly and
cogently.

Excellent level of creative originality and a capacity for
problem solving and thinking and making.

The display of well developed and appropriate making
skills.

Good studentship and self-management.
Good performance and commitment – intellectually
competent work with evidence of reasonable familiarity
with the relevant subject and techniques:

Acceptable grasp of the subject and ability to develop
ideas and progress to resolved outcomes, reflecting a
reasonable knowledge and understanding of the work
within the context of contemporary practice.

Ideas stated rather than developed and insufficiently
supported by portfolio/submission.

Work of sufficient quality to convey a concept.

Lack of fluency in part of the work and command of
suitable vocabulary of form

Omission of parts of the presentation or the appearance
of several minor errors or flaws.

Average critical awareness and analytical qualities.

Limited evidence of capacity for problem solving and or
original and logical thinking.

The display of moderately developed and appropriate
making skills.

Good studentship and self-management.

50-59%
GPA
2.8 – 2.94
25
Satisfactory performance and commitment – intellectually
adequate work with evidence of some familiarity with the
subject:

3rd Class
Honours,
45-49%

GPA
2.5 – 2.74





GRADE
Pass
MARK
40-44%
GPA
2.0 – 2.44
Basic grasp of subject with acceptable development of
ideas and resolved outcomes, but somewhat lacking in
focus and structure.
Some effort to engage, but only a basic understanding of
a concept, supported by a weak and thin
portfolio/submission.
Only some critical awareness displayed.
No evidence of relevant research in the
portfolio/submission.
Appearance of several minor errors or flaws or one major
error or flaw. Lacking evidence of capacity for creative
originality and logical thinking.
Display of poorly developed appropriate making skills
Acceptable studentship and self-management.
DESCRIPTOR
Mediocre/barely acceptable performance and commitment,
only showing limited work and knowledge of the subject and a
superficial awareness of relevant techniques. Displaying some
of the following:











Limited focus.
Limited level of ideas development and resolved
outcomes.
Unclear presentation of work, rushed or random display,
with some omissions or flaws.
Literal rather than innovative finished work.
A lack of detailed explanation or critical reflection in both
work and portfolio/submission.
An incomplete or rushed body of work.
Derivative and lacking evidence of the capacity for
creative originality.
An attempt to solve a moderately difficult problem
related to the subject.
An attempt to solve a moderately difficult problem
related to the subject.
A partially successful attempt to examine the subject in a
critical and analytical manner.
A display of poorly developed and inappropriate making
skills. Adequate level of studentship with weak
attendance.
26
Unacceptable performance and commitment with either:
Insufficient understanding of the subject.
Insufficient work.
Insufficient portfolio/submission
Work that is irrelevant to the concept.
A display of some knowledge of material but with very
serious omissions, errors or flaws and/or major
inaccuracies included in the work.

The work incomplete for lack of time.

The display of unacceptable levels of making skills.

Limited understanding of the subject.

A random, badly planned, or rushed display of work or
portfolio/submission.

Random and undisciplined development.
Also –

Lack of clarity of thinking in work.

Poor attendance record.

Material of marginal relevance predominating





Fail
35-39%
GPA
1.75 –
1.94
27
18
NCAD UNDERGRADUATE PROGRAMME FRAMEWORK
YEAR ONE
<------------ 10 weeks ------------->
--- 5 weeks ---
--- 5 weeks ---
Decision Point
Common
Change
(2.5)
Departmental
in
(2.5)
The User/Audience (5 credits)
Semester
Induction
Materials and Practice (5
credits)
Visual Culture
Decision Point
Faculty
(2.5)
Negotiating the Fields (5
credits)
<----------10 weeks ------------->
(2.5)
5
credi
ts
(2.5)
5
credi
ts
(2.5)
10
credi
ts
5 credits
5 credits
5 credits
Visual Culture - 10 credits in total for Year
28
YEAR TWO
Semester One
Semester Two
<-----5 weeks---->
5 credit module
5 credit module
5 credit module
End of
<-----5 weeks----->
Semester
<-----5 weeks---->
<-----5 weeks---->
<-----5 weeks---->
<-----5 weeks---->
5 credit module
5 credit module
5 credit module
10 credit module (college wide schedule)
5 credit module (college wide schedule)
Visual Culture (5 credits)
Visual Culture (10 credits)




Professional Practice incorporated into studio modules?
5 credit modules in semester one or semester two may be combined
Placements to take place in weeks 20 to 25 and/or weeks 25 to 30
The ‘long-thin’ modules in Semester One and Semester Two are fixed into a college-wide schedule, this allows for but does not require
interdisciplinary possibilities (within and/or between Faculties).
29
YEAR THREE
Semester One
Semester Two
<-----7.5 weeks----->
10 credit module
Visual Culture – 10 credit module (Thesis)
<-----5 weeks---->
End of Semester
10 credit module
<-----7.5 weeks----->
10 credit module
<-----10 weeks----->
20 credit module
Module sited here ?
5 Credit module written exhibition companion ?
debriefing (To be resolved)

Studio modules may be merged, if that meets the programme needs. In cases, and particularly where modules become Semester- or Yearlong, formative assessment points need to be clearly scheduled and identified for students, and clear feedback given.
30
19.
BA FINE ART STAGE LEVEL OUTCOMES
Stage Level 3 –

You will be able to work effectively as an artist
Stage Level 2



Articulate your individual identity as an artist
Work Independently
Locate yourself and your work within broader issues and aspects of contemp practice
Stage Level 1



Identify a personal direction for your practice
Articulate the focus of your practice in relation to other specialisms
Locate your practice within critical / theoretical and historical context.
We looked at stage level 3 and tried to reverse engineer this headline to produce student
abilities / capacities


Demonstrate the ability to innovate and experiment through practice.
Deploy appropriate skills and critical judgment in the realisation of works of art.

Make connections that create meaning between self and audience – learn to make,
speak, read, write listen and site effectively

Take and defend positions regarding the meaning and values of artistic expression in
the contexts from which they emerge, by engaging with various forms of art practice
and discursive processes.

Develop the ability to responsibly take creative risks in relation to ideas, processes,
materials, traditions and contexts of practice.

Develop self discipline, self motivation with the ability to effectively time manage and
know how and when to work collaboratively and or individually.

Integrate and synthesise a developed research methodology through critically resolved
outcomes.
31
20.
YEAR ONE
SHARED EXPERIENCE
MODULE 1
15 CREDITS
Weeks 1 – 10
FORMATIVE ASSESSMENTS DURING MODULE
SUMMATIVE ASSESSMENT AT END OF MODULE
DECISION ON FACULTY CHOICE
FACULTY OF FINE ART
MODULE 2
15 CREDITS
Weeks 11 – 20
SUMMATIVE ASSESSMENT AT END OF MODULE
DECISION ON DEPARTMENT CHOICE
DEPARTMENTAL SPECIALISATION WITHIN FINE ART
MODULE 3
20 CREDITS
Weeks 21 – 30
SUMMATIVE ASSESSMENT AT END OF MODULE
STUDENT PROGRESSES TO YEAR 2
STUDIO PRACTICE = 50 CREDITS
VISUAL CULTURE = 10 CREDITS
32
YEAR ONE SHARED EXPERIENCE
MODULE 1
15 CREDITS
Weeks 1 – 10
LEARNING OUTCOMES - MODULE 1 (WEEK 10)
On successful completion of Module 1 students will be able to Demonstrate through production of notebooks and other evidence, an ability to describe,
record and explain through visual observation.
Show evidence of experimentation and research with materials and processes.
Present, describe and explain an artwork/image/object to a group of peers and tutors using
appropriate vocabulary.
Respond to and follow instruction with due regard to health and safety regulations.
Demonstrate an ability to identify fields of practice and key areas of individual interest and
competency that will inform Faculty choice.
ASSESSMENT
WHAT ARE THE CRITERIA FOR ASSESSMENT
HOW DOES THE STUDENT EVIDENCE THE LEARNING?
ASSESSMENT CRITERIA TO BE AGREED BETWEEN ALL THE
FACULTIES
It was agreed that in Module 1 there should be formative assessment points leading to a
summative assessment at the end.
One suggestion from Gary Granville was that the outcome of the summative assessment
might be that a student was marked as either successful or unsuccessful in completing
Module 1. This was not formally agreed. If this were to be adopted there was discussion as
to what happens if a student is assessed as unsuccessful at this point.*
FOR DISCUSSION*
This is too early to be an exit point – so how might a student who had initially received
an unsuccessful result gain a successful result for the shared experience (weeks 1 -10)
given that at week 11 they will be undertaking Module 2 within a Faculty Experience.
STUDENTS COMPLETE FORM FOR FACULTY CHOICE
33
YEAR ONE FACULTY EXPERIENCE
MODULE 2
15 CREDITS
Weeks 11 – 20
MODULE 2 - INTRODUCTION TO FINE ART
This module aims to introduce students to the Faculty of Fine Art and to the practices,
thinking and philosophies of the field. Students will start to identify and position
themselves in relation to Fine Art practice. They will begin to develop Fine Art working
methodologies and studio practices. At the end of the module a student will be able to
identify their interests and aptitudes and will be able to make an informed and
appropriate decision about Departmental choice within the Faculty.
It is proposed that teaching will occur through pairings of Departments.
Students will be placed within (A) Paint/Sculpture then (B) Print/Media
Students will be placed within (A) Print/Media then (B) Paint/Sculpture
Teaching will be delivered by Departmental and ‘Core’ Staff.
Teaching will be project based.
Students will gain an understanding of the value of interaction and engagement with peers and
staff in progressive learning and the importance of this in building foundations for developing
study and practice. Through group, discursive and collaborative work students will share ideas
and knowledge.
Students will learn about available College and Faculty resources, library, media, facilities and
technical support. Students will engage with studio practice through skills based workshops,
observation, making and doing and the production of work. Students will gain familiarity with
various forms of practice and a range of skills through workshops and project teaching.
Students will gain an understanding of the importance of solid research as a basis for making
art. This will include consideration of primary (i.e. fieldwork, original material) and secondary
research (library, texts etc).
Students will start to establish Fine Art working methodologies through studio practice and
other forms.
The Faculty Field Trip will engage students with possibilities of practice and will introduce
them first hand to a range of historical and contemporary practices, contexts and cultural
nuances. Students will encounter and consider varied forms of presentation, display and
exhibition contexts. They will be encouraged to reflect on notions of audience and
participation. In encountering the art world in its many forms students will be exposed to
contexts beyond the college and the familiar city, and will become aware of opportunities and
forms of output beyond their immediate context.
At the end of the module a student will be able to identify their interests and aptitudes and
will be able to make an informed and appropriate decision about Departmental choice within
the Faculty.
34
YEAR ONE MODULE 2 - AIMS AND OBJECTIVES / TEACHING METHODS
PROFESSIONAL ATTITUDE
Encouraging/insisting on importance of attendance, punctuality and participation
MAKING AND DOING
Studio time, experimentation, practical workshops, projects, enacting
DEVELOPMENT OF RESEARCH FORMS (Primary and Secondary)
Library, lecture, seminar, gallery, books, documentaries, online, collecting, gathering,
notebooks, art events, experiential, field trip
DISCURSIVE PARTICIPATION
Seminars, tutorials, peer learning, field trip, student presentations, consideration of audience
AIMS TO INTRODUCE STUDENTS TO PARTICULARITIES AND RANGE OF MEDIA AND PROCESSES
OF DISCIPLINES
Project brief, lectures, studio practice, workshops, encountering contexts (within college and
externally), consideration of audience
INTRODUCE HISTORICAL AND CONTEMPORARY MODES OF PRACTICE AND ASKS THE
STUDENT TO CONSIDER THEIR WORK IN RELATION
Lecture, seminar, gallery visit, student lead research, discursive modes, Field Trip
EVERYTHING LEADS TO THIS INFORMED DECISION
Discussion and exposure to / involvement with Departmental practices and approaches
35
ASSESSMENT
Formative and Summative
Entry to Department – through interview / presentation with student speaking about work
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
36
YEAR ONE MODULE 2 LEARNING OUTCOMES (WEEK 20)
On successful completion of Module 2 students will be able to Demonstrate active course participation through attendance, effective time management
(including meeting deadlines) and professional interaction with tutors and peers.
Respond appropriately to project briefs through problem solving and appropriate and
experimental use of a range of skills, media and processes.
Demonstrate an understanding of the importance and relevance of good research
methodologies (notebook, galleries visits, events, online methods).
Contribute to discussion amongst peers and staff.
Demonstrate an ability to work in a range of contexts, processes and materials.
Identify connections and links between their own practice and contemporary and historical
Fine Art contexts and cultural and social phenomena.
Demonstrate an ability to identify specialisms of practice and key areas of individual interest
and competency that will inform Department choice.
37
YEAR ONE DEPARTMENT EXPERIENCE
MODULE 3
20 CREDITS
Weeks 21 – 30
MODULE 3 - INTRODUCTION TO DEPARTMENT
This module aims to fully introduce and integrate students into the Department and to
the practices, thinking and philosophies of the discipline. Students will start to identify
and position themselves in relation to the discipline. They will advance their Fine Art
working methodologies and studio practices.
Teaching will be delivered by individual Departments.
Teaching will be delivered by Departmental and ‘Core’ Staff.
Practical workshops, project teaching, lectures, seminars etc
To be expanded upon
This module focuses on students establishing a working ‘studio’ practice.
This module will involve project work leading to self directed study.
Students will engage with specific departmental resources, and will engage with studio
practice through a mixture of skills based workshops and self directed production of work.
Students will gain a deeper understanding of the range of possibilities of their discipline
Students will be introduced to and will become aware of a range of contexts/audience and
possible outputs for work within their discipline.
Students will gain an understanding of the value of interaction and engagement with peers
and staff in progressive learning - in order to build foundations for developing study and
practice. Through group, discursive and collaborative work students will share ideas and
knowledge.
Students will consolidate research, ideas and skills through production of finished work.
On successful completion of Module 2 students will be equipped to proceed to year 2.
AIMS AND OBJECTIVES AND METHODS TEACHING
ESTABLISH THE STUDENT IN THE DEPARTMENT
ENABLE STUDENT TO DEVELOP A WORKING STUDIO PRACTICE WITHIN THEIR SPECIFIC
DEPARTMENT
TO CONSOLIDATE THEIR RESEARCH AND TO ENABLE THE STUDENT TO PRODUCE A BODY
OF WORK
TO ENABLE THE STUDENT TO SAFELY ACCESS AND USE FACILITIES AND EQUIPMENT
TO ESTABLISH STAFF AND PEER WORKING RELATIONSHIPS
38
YEAR ONE MODULE 3 ASSESSMENT
Summative
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
39
YEAR ONE MODULE 3 LEARNING OUTCOMES - (WEEK 30)
On successful completion of Module 3 students will be able to –
Demonstrate an ability to sustain an elementary working/studio practice.
Demonstrate through the development of artworks an ability to effectively employ skills and
processes as experienced through practical workshops and teaching.
Demonstrate an ability to set their own goals, to translate ideas through practice and to
resolve and present artwork.
Demonstrate an awareness of historical and contemporary practices within the discipline and
an ability to locate their work in relation to this.
Demonstrate an ability to reflect on their work and employ this consideration in the
development of work.
Demonstrate course participation through attendance, effective time management and
professional interaction with tutors and peers.
Identify and responsibly access and use resources and materials with due regard to Health and
Safety Guidelines.
40
21
YEAR TWO
YEAR TWO RATIONALE
There is a sequential development within Year Two extending from Year One and leading to
and preparing for Year Three.
In Semester One the student will frame their work in relation to set projects. These projects
create an important framework for the student to work within and in which to consider their
work.
Important aspects of Year Two are the focused development of skills, ideas and research
abilities, leading to more self directed study at the end of the year. Students develop research
skills that can support and engage practice throughout the year. The course provides a
framework for experimentation, where ideas and material competencies can be tested and
developed. There is an emphasis and expectation on an ability to establish good working and
studio methodologies. As the year progresses the student’s enquiry becomes more focused on
the emerging concerns of their practice. Lectures, seminars, tutorials, group crits, workshops,
discussions and negotiated independent learning enables the student to gain a deeper
understanding of the field. Through reflexive thinking and doing the student will develop their
capacities for integration of research and practice and will become more confident and
considered as the year progresses.
Students will gain understanding of the importance of thorough and developed research as a
basis for developing work. They will formalise the components of their research enquiry into
practical approaches to making work. Seminars and discursive situations will challenge and
interrogate ideas and processes of making and display. Students will consider their work in
relation to ideas of audience. Throughout the year there will be practical consideration and
discussion around the notion of resolving work and of exhibition and presentation possibilities.
The intensive nature of studio projects in Module 1 leads to a more self directed approach in
Module 3 in preparation for the Second Year Show. The Second Year Show is an important
component of the course and students are encouraged to work collectively to organize these
shows. The opportunity to present work publicly is an important step toward Year Three where
the student’s final body of work is presented at Degree Show.
Through Professional Practice teaching students will consider outputs and contexts for their
work. They will talk about and write about their work and will develop communication skills.
The Visiting Artist series will become increasingly relevant to the student as they progress
through college and as they imagine themselves as future artists and contributors.
Students will become more aware of and engaged in thinking about their work in relation to
historical and contemporary practices and in relation to cultural and social phenomena. There
are opportunities for students to collaborate and extend their practice beyond the college
through initiatives in the city and beyond. Students are encouraged to not only think of
themselves as individual makers but also as contributors to an enriched society. They will begin
to identify themselves as a part of a wider cultural discourse.
Through individual tutorials and group crits students will discuss ideas and approaches and will
engage with debate about their work and that of others. Students will be encouraged to take
creative risks, to test ideas and develop material processes and will be encouraged to become
more ambitious. This process builds capacity for self directed, independent and collaborative
practices in preparation for Year Three as the student becomes increasingly more professional
in approach and outlook.
41
YEAR TWO - MODULE 1
MODULE 1
15 CREDITS
Weeks 1 – 15
MODULE 1
Year 2 Semester 1 rationale
This semester develops the capacities of students negotiating positions for their practice in
relation to discipline framing and the wider culture. Project based working is a favoured
strategy to support the development of the linked processes of activity, discovery and critical
reflection. Projects are seen as central to the experiential processes of engaging in research
based activity, as a means of selecting and engaging appropriate skills and in developing a peer
culture of participation and reciprocal exchange.
For Fine Art specialisms longer term modules facilitate learning to be engaged, produced,
reflected upon, and communicated as part an evolving integrated process. It is often desirable
to support these projects with site visits / field trips expanding frames of enquiry. The
development of differing models of biennales for example offers useful vivid and layered
educational study visit contexts
Teaching will be delivered by Department.
Also through shared Faculty lectures and exposure to a variety of contexts within the
college and externally.
AIMS AND OBJECTIVES / TEACHING METHODS
DEMONSTRATE THE RELATIONSHIP BETWEEN RESEARCH AND PRACTICE
Self directed enquiry, projects, workshops, practice, one to one tutorials, group tutorials
SELF MOTIVATION / DISCIPLINE
Encouraging/ insisting on the importance of attendance, punctuality and participation,
encouraging student’s initiative and self reliance
DEVELOPMENT OF PRODUCTION AND PRESENTATION SKILLS
Studio practice, workshops, seminars, experimentation and testing, prototyping, encountering
contexts (within and outside of college), consideration of audience, group crits
DEVELOP CONCEPTUAL AND AESTHETIC AWARENESS
Tutorial, gallery visits, research, lectures, seminars, Weekly Artist Talk about practice
RESEARCH AND EVALUATE
Library, lectures, gallery, art events, field /study trips, studio practice, student lead research,
reviews and seminars
MAKE AND TEST A RANGE OF ART WORKS
Tutorial, discussion, exhibition, presentation, workshops
CONSIDERATION OF ART AND AUDIENCE
Seminar, exhibition, tutorial, eventing
42
YEAR TWO MODULE 1 ASSESSMENT
There will be formative feedback points during Module 1
There will be a summative assessment at the end of Module 1
In the event of a student failing a Module, they are entitled to repeat it. However when all
the examination records are assembled at the end of the year at the appropriate exam
board, the exam board will take the final decision based on the amount of repeat work
required and whether this can be located in the Academic Year.
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
43
YEAR TWO MODULE 1 LEARNING OUTCOMES - (WEEK 15)
On successful completion of Module 1 students will be able to –
Demonstrate the ability to integrate research and personal direction through ongoing
development, production and presentation of artwork.
Construct a self-motivated practice through the achievement of individual goals, attendance,
time keeping and engagement with the course.
Evidence through the production of artwork a working knowledge of materials, processes and
technical skills relevant to their practice and intentions.
Demonstrate a conceptual and aesthetic awareness appropriate to their discipline and
practice.
Demonstrate knowledge of historical, cultural and contemporary art theory appropriate to their
discipline and practice and the ability to relate their work to these concepts.
Critically evaluate and employ source material and research methods.
Evidence an ability to generate ideas, identify interests and problems to be solved through a
process of creative visual enquiry in the resolution of an artwork.
Evidence an awareness of the relationship between art and audience by extending their
artwork into the public domain.
44
YEAR TWO MODULE 2 – PROFESSIONAL PRACTICES
15 CREDITS
Weeks 1 – 30
MODULE 2
SEMESTER 1 AND 2
The module facilitates a structure commesurate with the integration of relationships to studio
and situation. It is a structure running concurrently to the larger modules
It creates a frame for multidisciplinary engagements in relation to a college wide schedule . It
creates an ongoing forum where differing discipline perspectives can be shared. The college
wide schedule offers the 'potential for ‘local’ agreements between departments and faculties
within and beyond college.
THIS MODULE CONSISTS A SERIES OF OPTIONS SUCH AS:
Professional Practice Possibilities
Student placement
Gallery assistant
Artist assistantship
Art and Physics
Public Placement
Skills Learning
Fine Art Faculty Initiated Projects
SEMESTER 2
EXHIBITION / PRESENTATION MODULE
This module consists seminars, discussions, cross departmental discourse, gallery visits etc
It considers and presents questions about the nature of ‘the exhibition’ and other public forms
of presentation / intervention.
This module informs and asks the student to consider exhibition and event formats.
This module supports learning and encourages students to be thoughtful, critical and ambitious
with the exhibition component of Module 3.
45
YEAR TWO MODULE 2 ASSESSMENT
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
46
YEAR TWO MODULE 2 LEARNING OUTCOMES - (WEEK 30)
On successful completion of Module 3 students will be able to –
Demonstrate knowledge and understanding of engagement with a range of opportunities and
situations beyond the college.
Demonstrate the ability to professionally and responsibly participate in opportunities and
situations beyond the college.
Evidence levels of professional development.
Evidence a deeper understanding of the field of Fine Art.
47
YEAR TWO MODULE 3
MODULE 3
15 CREDITS
Weeks 16 – 30
Year 2 Semester 3 rationale
The module is concerned with the development of a more self directed generation research
and practice. Critical to this module is the the consideration of forms of distribution–
exhibition/ publically sited work / relationships to audience, viewer, user. These distribution
formats are seen as being carried out exterior to the campus location.
In relation to the students self directed development is the opportunity to offer discursive
thematic framing generated from across the faculty to culture joint exhibition forums between
the fine art disciplines. There is expected to be a developing fluency in relation to research
methodologies, skills acquisition in the service of the work, and its deployment in the
construction of meaning.
Teaching will be delivered by Department.
Also through shared Faculty lectures and exposure to a variety of contexts within the college
and externally.
AIMS AND OJECTIVES / TEACHING METHODS
INTEGRATION OF RESEARCH AND INTEREST
Self directed or collaborative enquiry, through research and practice, tutorials, seminars and
dialogue
AN INFORMED AND DISCIPLINED SELF DIRECTED STUDY
Tutorials, library, critical debate, group discussion, student initiative, self reliance
DEMONSTRATE EVOLVED PRODUCTION AND PRESENTATION SKILLS
Studio practice, workshops, seminars, experimentation and testing, prototyping, encountering
contexts (within and outside of college), consideration of audience
HAVE A DEVELOPED CONCEPTUAL AND AESTHETIC AWARENESS
Gallery visits, research, lectures, seminars, library through presentations, critical debate
ANALYSE AND SYNTHESISE RESEARCH AND PRACTICE
Tutorials, Dialogue, studio practice, student lead research,
MAKE RESOLVED ARTWORKS
Through production, problem solving, and appropriate use of materials and concepts
ENGAGE WITH THE PRINCIPLES OF ART AND AUDIENCE
Establish staff and peer feedback mechanisms, on and off campus dissemination of work,
exhibition, presentation, study trip, participation in art events
48
YEAR TWO MODULE 3 ASSESSMENT
SUMMATIVE ASSESSMENT
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
49
YEAR TWO MODULE 3 LEARNING OUTCOMES (WEEK 30)
On successful completion of Module 3 students will be able to –
Demonstrate the capacity to integrate personal interests and research in the development and
production of a range of artworks.
Establish a disciplined, independent approach to studio practice, demonstrating a
comprehension of appropriate professional and ethical standards.
Evidence through the production of artworks, an applied knowledge of materials, processes and
technical skills appropriate to the student’s intentions and chosen contexts.
Demonstrate a conceptual and aesthetic understanding appropriate to their discipline and
practice.
Integrate conceptual and technical processes into the making and presentation of an artwork.
Evidence the ability to develop and build on ideas by employing a process of creative
experimentation, analysis, and self-reflection in the resolution of work.
Evidence an understanding of the relationship between art and audience by devising work for
exhibition and situating work in the public domain.
Demonstrate decision making processes based on developed analysis and critical reflection.
50
22.
YEAR THREE
YEAR THREE MODULE 1 – SEMESTER 1
MODULE 1
60 CREDITS
Weeks 1 – 30
Module divided over two semesters formative reviews at end semester 1 (week 15)
Final assessment at end of semester 2 (week 30)
STUDIO PRACTICE = 50 CREDITS
VISUAL CULTURE = 10 CREDITS
** Potential for five further Visual Culture Credits as in the form of Written Exhibition
companion. ??
YEAR THREE RATIONALE
Modularisation in 3rd year is conceived as two long thin modules of visual culture and practice.
3rd year is understood to be a year where the student, having engaged with ranges of practice
in the previous years, takes responsibility for developing particular strands of research and
practice to a standard which will allow them to functional professionally and to be able to
access post graduate study if desired.
Examination is by exhibition which encompasses aspects of research, criticality, studentship
and the development and transmission of ideas into place, space and form. As a result of the
Department offering different frames of practice in earlier years of our course, more recently
some students are choosing forms of practice and location which expand on the more familiar
art college modes of presentation but which can be accommodated with negotiation and the
flexible effort of staff. This has included accessing work off-campus and outside normal hours.
The student is expected to have a greater degree of self motivation, to working independently
and to know when or where to call on institutional supports. There are no set projects; rather
the student initiates a brief at the beginning of the year which is discussed by a gathering of
staff and students. The student is supported by tutorials, seminars and professional practice
requirements.
Students select a personal tutor but are encouraged to have other tutorial contact, to access a
range of voices and opinions. At third year there are departmental deadlines beyond review
dates where students are encouraged and supported to make decisions about showing/eventing
their work rather than storing up research and not committing to decisive outcomes. The
effort is to further build practical experiences of creating work which segue into the final
degree presentation. The transmission of briefs and assorted proposals, into made reality, is a
critical and decisive tool of learning in an art education. The Faculty supports this transmission
where it can with transport, contacts, placements, engagements which may be activated.
Running concurrently with practice is the writing of a thesis. The student has a personal thesis
tutor from Visual Culture with whom they meet regularly. The student is expected to produce a
first draft by the beginning of January with the final thesis due by mid-February. It is valuable
for there to be a conceptual link between the thesis component and the practice; this is
advised but not required and forms a point of discussion late in 3rd year to facilitate summer
research.
In 3rd year feedback to students is delivered through tutorials and a tutor report is placed
on file before Christmas. This report carries no mark but will reflect on scholarship and the
students work and progress consistent with the Assessment Criteria.
The mid term review is a point at which students who are seriously struggling will be advised by
staff of their concern of the students’ ability to pass the course. Where there are serious
concerns the student will be written to by the Head of Department and advised of their
position. In some cases this might mean the students voluntary withdrawal.
51
MODULE 1 – SEMESTER 1
Teaching will occur in Departments. Also through shared Faculty lectures and exposure to a
variety of contexts within the college and externally.
The final year is self directed in order that the student is equipped to work in a self motivated
and professional manner in a range of contexts and/or to progress to further study. The
emphasis of the final year is on the steady progression from negotiated experimentation
toward consolidation and resolution in the final exhibition.
The strength of this module is in the harnessing of exponential learning and synthesis of course
elements.
AIMS AND OBJECTIVES / TEACHING METHODS
Objectives & Aims
Methods / Teaching Delivery
Produce a body of work
Studio practice,
One to one tutorials.
Thematic seminars
Individual and group presentations
Workshops
Use of appropriate materials, skills and
technologies.
Professional practice seminars.
Gallery’s and art events,
Field trip,
Visiting lectures.
Library
Trial and test
Consideration of audience
Support self direction
Professional practice seminars.
One to one tutorials
Thematic seminars
Individual and group presentations
Gallery’s and art events,
Field trip,
Visiting lectures.
Library
Trial and test
Project brief, lectures, studio practice,
workshops, encountering contexts (within
college and externally), consideration of
audience
Publically Present/ Exhibit to professional
standard.
Professional attitude
Link theory to practice
52
YEAR THREE MODULE 1 – SEMESTER 1 ASSESSMENT
Discussion point:
The review outcome is satisfactory/ not satisfactory.
An not satisfactory review will result in a student being recommended to defer.
FORMATIVE ASSESSMENT
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
53
YEAR THREE – MODULE 1 – SEMESTER 1
FORMATIVE ASSESSMENT POINT - WEEK 15 REVIEW
LEARNING OUTCOMES - SEMESTER 1
On successful completion of this semester students will be able to
Consolidate a working methodology that will generate a body of work.
Demonstrate that they have integrated their research into their practice in a relevant manner.
Establish the ability to bring individual or collaborative work to completion.
Evidence the capacity to direct personal and professional development.
Evidence a process of decision-making through analysis and critical reflection.
Understand the relationship between form and content in the generation of meaning in the
work of art.
Identify links between formal theoretical written requirements and their practice .
54
YEAR THREE MODULE 1 - SEMESTER 2
AIMS AND OBJECTIVES / TEACHING METHODS
Produce a body of work
Publically Present/ Exhibit to professional
standard.
Professional attitude
Link theory to practice
Studio practice,
One to one tutorials.
Thematic seminars
Individual and group presentations
Workshops
Use of appropriate materials, skills and
technologies.
Professional practice seminars.
Gallery’s and art events,
Field trip,
Visiting lectures.
Library
Trial and test
Consideration of audience
Support self direction
Professional practice seminars.
One to one tutorials
Thematic seminars
Individual and group presentations
Gallery’s and art events,
Field trip,
Visiting lectures.
Library
Trial and test
Project brief, lectures, studio practice,
workshops, encountering contexts (within
college and externally), consideration of
audience
55
YEAR THREE MODULE 1 - SEMESTER 2 ASSESSMENT
These assessment rubrics are charted against Allan Davies’s grade descriptors. How does this
relate to the descriptors created by NUI / UCD and their use of subjective superlatives which
may not be appropriate for this course.
SUMMATIVE ASSESSMENT
FACULTY OF FINE ART
ASSESSMENT CRITERIA
Mark
Comment
ACTIVITY
(Work, Making and Skills)
Noting levels of research, making and doing in
relation to projects set. Development of
appropriate skills
DISCOVERY
(New Knowledge / Innovation / Ideas in Process)
Noting what emerges from these processes of trial
and test.
CRITICAL REFLECTION
(Thinking/Criticality/Construction of Value)
Noting levels of criticality in relation to processes
and field. Noting levels and awarenesses of
decision making and forces and themes informing
the work
PARTICIPATION
(Attendance/ Attention to the Course)
Noting levels of attendance, attention,
engagement, studentship, learning to learn
COMMUNICATION
(Connections)
Noting levels of skills and professionalism in the
execution of work and in verbal presentation of
ideas and concepts. Noting constructions of
meaning.
These criteria should be used in conjunction with the Grade Descriptors.
56
LEARNING OUTCOMES - MODULE 1 – SEMESTER 2
On successful completion of Module 1 / Year 3 students will Produce a coherent body of work .
Publicly Present/ Exhibit a body of work in a professional manner that displays relevant
exhibition practice.
Evidence through the production of work, a critical engagement with contemporary discourses
within Fine Art.
Be able to demonstrate a comprehension of, and familiarity with, a range of strategies/tactics
in the production, dissemination and distribution of artworks.
Demonstrate a consideration of the viewer/audience/participant role in relation to the work of
art, in a range of contexts.
Synthesise conceptual and technical ideas into the making and presentation of artworks.
Present an in depth method of critical analysis, argument and evaluation in relation to their
practice.
57
23.
MODULARISATION AND FACULTY PRACTICES
Module
Modules are time-based, NOT studio-based. The word `time-based’ refers to the time that the
student is expected to satisfactorily complete the requirements of the module, i.e., not just
studio time or contact time with tutors, but ALL the time the students is expected to put in to
satisfactorily complete the work. Student learning time is based on an average 40 hour week.
A module is made up of tutorial contact lectures/seminars, self directed learning, workshops
and assessment, and can contain multiple projects.
Module Learning Outcomes are a threshold for completing a module successfully.
Assessment criteria will indicate a student’s level of achievement.
Successful attainment of module learning outcomes by students results in credits being
awarded.
Credits
The three-year degree programme has 180 credits in total.
Each academic year at NCAD amounts to 60 credits ( an amalgam of practice based and visual
culture credits ).
Credits are NOT marks or results. They are a method of recording how many hours an
individual spent studying a specific subject to a satisfactory standard (attaining a pass) They
enable transferability because they communicate information about a students learning
history, not their academic performances / success
Staff consider the sequencing of modules. Consideration should be given to running Linear
Modules in parallel, thereby offering the opportunity for students to cross-relate their learning
over the parallel modules. This could mean that they would be dealing with more complexity
and therefore more interesting challenges to develop complex relationships in their projects.
It would allow assessments to be carried out for all modules at the end of a twelve week
period.
Assessments and Reviews
Assessments occur typically at the end of modules. Students are notified of the assessment
dates in a timetable issued to them. The nature of the assessment evidence occurs on
modular documents and this is further finessed on specific project briefs. It is also
communicated verbally. Typically students present their work rather than being absent from
the assessment process.
Assessment timetables are issued on notice boards with dates and times. Each student presents
for around 20 minutes with 10 minutes discussion between students and staff.
Formal Assessments are always tutor led and are carried out in individual and group contexts as
appropriate to the brief.
Assessments are considered in terms of active studentship, the development of critical
processes, the evolution of ideas and appropriate levels of skills and professionalism Feedback
formally happens in terms of written reports available to all students. In report forms
students can identify relative strengths and weakness in their efforts, and increasingly in verbal
de briefing of the Assessment. Tutors verbally feed back on student assessments.
58
Tutorials
Whilst specific staff have year responsibilities there are varied teaching deliveries and locations
which may occur in studio or on site or in context outside the campus. There is teaching
contact through group critiques, discussions, seminars, presentations, formal lectures and
workshops. A valuable teaching method is the one-to-one tutorial, introduced in 1st year and
continued in years 2 and 3. By 3rd year each student elects a personal tutor who oversees their
development through to examination. Whilst the student is expected to seek tutorial contact,
staff will also make contact with students directly through setting up appointments and/or by
issuing a tutorial appointment sheet which can be freely accessed on notice boards.
After each tutorial the student is obliged to complete a tutorial form to be signed off by staff.
A file containing the record of these tutorials is kept in the office of the Head of Department
and is available to staff. The student keeps a copy record. There should be at least 8 tutorial
contacts per year of individual and group character.
The purpose of the forms is to confirm that the student is in regular tutorial contact and that
there is a shared understanding of what has been communicated during the tutorial. This is to
eliminate misunderstandings. The student is not obliged to act on any piece of tutorial advice
unless understood as a directive, (e.g. a deadline). Students are asked to consider what is
being communicated and respond to it in practice/research. This may include differing
advice/emphasis from different staff. The role of the student is to evaluate the advice and act
on it by their own determination. Blind acceptance or ignoring advice short circuits the critical
process of evaluating information.
It should be noted that not all staff/student contact requires record or is recorded and that not
all contact is of a 30/40 minute variety. In years 1 & 2 there is particular emphasis on group
tutorial contact, discussion and showing and telling. The Departments will introduce a series of
individual tutorial contacts with all second year students from all academic staff in the
Department beyond the 2nd year tutor. The Head already has contact through participation in
debates and through review and assessment forums.
Critiques and Seminars
Both critiques and seminars occur regularly for 2nd and 3rd years. There is a weekly critique
(crit) where students are asked to make presentations by rota and there is a lively debate
around the issues raised. These crits provide students with the experience of making a
presentation (which may or may not use projected media) in a peer supported environment.
The discussion is useful rather than the crit being an exercise ‘to be got over with’. This
experience is a useful bridge to more formally structured presentations. Critiques and
seminars may be led by staff arising out of particular subject matters appropriate to the
concerns of the Module brief.
In addition to crits, Department projects are launched by speakers with project experience.
Seminars launching various projects over the last number of years have involved contributors
from Public bodies, private industry, artists, community bodies, other universities, citizens,
students and our own staff.
In addition students have attended postgraduate days and Fine Art seminar days organised by
the Faculty and Research staff. Field trips and study visits also support and frame student
learning.
59
Lectures
There are the Weekly Fine Art Lectures available to all students from a diverse range of art
practitioners, former students and staff.
There are professional practice lectures/seminars for 4th year students dealing with aspects of
applications, proposals, gallery practices, public realm contexts, art criticism, research,
documentation, marketing, collaboration, etc.
Field trips / Study visits
The Faculty undertakes visits to various locations which support student practice and the
research energies of each individual year. These field trips are often Fine Art Faculty Trips but
are also organised by individual departments reflecting their ethos of practice.
Field Trips and Study Visits are important in the following ways
.
.
.
.
They foster a non-virtual awareness of contemporary practice location
and different contexts and situations
They help to create an awareness of practice nationally and internationally
They help to bond groups of students (and staff)
They create launch pads for the creation of new work and debate
They close the gap between student practices and work carried out by professional
artists in different conditions.
There are visits in 1st, 2nd and 3rd year, appropriate to course Modules
Placements
The Faculty is enthusiastic about forms of placement, embedded practice and residency, and
facilitates and supports this kind of engagement. We understand that the opportunity to
evolve and test work in ‘real world’ environments requires a sophisticated and layered
engagement and can enable growth in artistic and personal development and non virtual
experiences of professional practice.
A significant placement strand occurs as part of the second year. As a result of introductions to
public realm practices and collaborative and participatory processes, some students elect to
work with these broad thematic concerns.
24
COMMUNICATIONS
Student Communications
Students meet staff as year groups through the everyday business of teaching, but formally at
the beginning of each term. The Head of Department goes through course issues, studentship
issues, pastoral issues and makes regular space for students to feed back issues, queries or
observations they may have relating to scholarship and studentship The Head of Department
also makes clear that he can be seen individually and in confidence as required and students
take this opportunity. Students are directed to various services which the college provides.
Each Department issues handbooks to students containing academic calendar information,
modules, booklists and course information. The handbook is not designed to replace oral
communications which still remain effective.
60
Information handouts or references and Fine Art Faculty information is handed out and placed
on notice boards. The handbook are evolved in part in response to aspects of the student
survey and feeding back mechanisms.
Moodle (Modular Object-Oriented Dynamic Learning Environment) is used for sharing
curriculum information – timetabling, course document, contact details, file sharing, posting,
project briefs and documents, messaging. Moodle is a very useful resource for timetabling,
information sharing and online seminars but also has limitations and so we are looking at
replacing it with a more Media specific online tool. Moodle is used as a supplementary source
of information for students. It is essential that students in 2 nd and 3rd year check it regularly.
At present there are year representatives of students . There is a formal meeting structure in
place for student representatives as there are regular group meetings.
College Communications
College Communications come through a variety of sources. These include:
The Directors Office
The Academic Registrar
The Admissions Office
CEAD Office
Research Committee
Faculty Secretary
MFA Coordinators
Head of Faculty
The Fine Art Faculty Office is the hub of official communications. There is one Fine Art
Secretary who manages communications relating to day to day Faculty business.
There are also more formal mechanisms for communication. There are regular meetings of
Heads of Department; Faculty Forum where Departmental matters are discussed with all staff;
Heads of Department meets with the Head of Faculty on a weekly basis.
61
25.
REPEATS / APPEALS
Repeat Procedures
The Regulations for Progression from year to year are set out in the Examination Regulations
2010
The following additional points should be noted:
Repeats for Non-Award Bearing Examinations
A recommendation to allow a student to repeat an examination, or part heretofore to re-attend,
will be taken by the Examination Board on the advice of the Head(s) of the relevant discipline(s).
Normally, a student may only repeat (i.e. re-attend) a year of study once. In certain cases, this
rule may be waived by the Examination Board where there are extenuating circumstances.
Students may repeat certain modules for Exam Board 3.
Failure to achieve the minimum Pass standard within the period allowed will
result in termination of study at the College.
Students must pass each year of study before progressing to the following year of that course.
Students who take a year out must have passed the previous year of study.
Repeats for Award Bearing Examinations
A student may not repeat a year of study more than once. In certain cases, this
rule may be waived by the Examination Board where there are extenuating
circumstances.
For the award of a Degree or Postgraduate Diploma, a minimum Pass standard
must be achieved within the period(s) allowed for the examination.
The following penalties will apply in the case of referred/repeat students: Grades will be
reduced as follows:
First Class Honours
to
H2.1
H2.1
to
H2.2
H2.2
to
H3
H3
to
Pass
In addition to the penalties specified in 11.2.3 a similar penalty will
apply in relation to the reduction of the GPA awarded for Teaching
Practice on the Postgraduate Diploma in Art & Design Education course.
Deferrals granted shall remain valid for 3 consecutive examination sessions only following the
initial presentation of the degree examination. If the deferrals are availed of in the year
following the first presentation, an honour award grade will be reduced by one classification.
Subsequent to the first year, a Pass grade only can be awarded.
62
Probation and Pass by Compensation
Probation decisions are in the hands of the relevant Faculty or Departmental
Board on the advice of the staff concerned. This should be clearly
communicated in writing by the Head of Faculty/Department to the student and
a copy sent to the Registrar. It is at the discretion of the boards of the relevant
area to apply probation as they deem fit, working within the requirements of
their courses and the standards expected by the staff.
Decisions on passing or failing a student can only be taken officially in the name
of the College at the College Examination Boards. The records of students
who have been on probation should be reported to the Examination Board.
This could be failure and total withdrawal from the course, a repetition of the
entire year, repetition of the examination subject or the taking of a year out
with the possibility of repeating the year on return. All decisions will be taken
at the end-of-year examination meetings.
Probation may be defined as a period of varying length during which students
and their work are under particular scrutiny in order to establish their
capacity to complete the course successfully.
The purpose of putting a student on probation is to warn the student of an
unsatisfactory level of achievement and thus to improve the quality of the
student's performance.
A student may be put on probation for any of the following reasons:

Overall attainment is below the required standard.

Failure in particular modules of the course.

Incomplete submission of course work or work presented which was below the
required standard.

Standard of work needs to improve as otherwise student may fail.
A student may receive a Pass by Compensation on the recommendation of the
Head of Faculty or Department, as appropriate.
Pass by Compensation may be given within a subject area where a failed
module is compensated by double the difference of a passed module.
Similarly, Pass by Compensation can be considered between studio and theory marks if
BOTH Heads of Faculty are in agreement.
63
APPEALS - Please refer to Constitution of the Examination Appeals Committee
Grounds for Appeal
An appeal may be made on one or other of the following grounds where it is claimed
that:
a)
The Examination Regulations of the College have not been properly
implemented.
b)
Compassionate circumstances exist which relate to a student’s examination
situation.
In each case, information, in writing, must be supplied by the appellant to explain the
basis for the appeal.
Guidelines to means of communication
An appeal, by definition, must have been explored through either of these channels before
being brought before the Examination Appeals Committee:
(a)
(i)
For the Student
Personal Tutor or Year Tutor
Head of Department
Head of Faculty
Directorate
(ii)
Students’ Union
Directorate
64
26
ACADEMIC-PROGRAMMATIC REVIEW AND COURSE EVALUATION
There are four key internal strategies to assuring standards and quality of provision on the
BA (Hons) in Fine Art:
1.
2.
3.
4.
Role of the External Examiner
Faculty Planning and Development Meetings
Quality Assurance Reviews
Faculty Board and Academic Council
1. The External Examiner
The responsibilities of the External Examiners are defined by the National University of
Ireland.
The function of the External Examiners is to monitor standards
External Examiners Refer to: Examination Procedures and Regulations 2010
The Faculty deploys external examiners of international calibre.
They possess a
variety of art and academic experiences to provide feedback to us in our annual review
of our processes.
External Examiners are agreed by Faculty Board at the suggestion of the Department.
Generally speaking a number of individuals may be considered who might bring a
particular acumen to the process and with a background that may be useful and
consistent with contemporary practice. Discussions with these individuals are very
useful. External examiners can be appointed for up to 3 years. Examiners are agreed
by the NUI, the Degree Validating Body.
It is the practice within the Fine art Faculty at the NCAD that all four departmental
examiners will tour the examination together with the intention of achieving marking
parity.
Generally the external examiner makes two visits to the Department. The first visit
provides the external examiner with a background to student research which will
inform how they have performed in the final examination in terms of meeting the
questions they have set themselves and how they meet course requirements.
The second visit occurs at examination time and a discussion occurs between staff and
the Examiner around the nature of work, course components and marking bands.
The Examiner submits a report to NUI.
2. Faculty Planning Meetings
Purpose:
To plan, coordinate and promote existing programmes.
Frequency:
7 meetings each year, 30-45 minutes duration.
Week before Academic year begins
Weeks 4, 8, 12, 16, 20
Week after Academic year ends.
Personnel:
Head of Faculty or nominee, Heads of Departments, key postgraduate
tutors and postgraduate supervisors, Head of Research.
65
Faculty Development Meetings
Purpose:
Developing a new programmes, and new programme content:
Frequency:
Fortnightly meetings of 1 hour duration.
Preferred early in the day/week. Begin in the week prior to
commencement of academic year.
Personnel:
Faculty development team.
3. Quality Assurance (QA) Reviews
QA is a framework and process to help Departments/Faculties and staff members to
better understand what it is they, as educators, artists and designers do, in order to
plan and improve for the future. It does not involve individual assessment, it does
involve an assessment of the systems, policies and structures that are in place to
support and enhance learning. The key questions addressed during the QA process are:
 What are we trying to do?
 How are we trying to do it?
 How do we know it works?
 How do we change in order to improve?
Unlike external review procedures, QA is a 'root and branch' review involving all
members of Departments/Faculties in the process of critical reflection, discussion and
analysis. It results in a balanced and objective assessment of the strengths and
weaknesses of a Department/Faculty. Staff members are encouraged to actively
participate throughout the QA process.
4.
Faculty Board and Academic Council
The Faculty of Fine Art has its own separate board, which meets regularly to agree
policy and monitor adjustments on the various degree courses including the initiation
of any new course. The Director and the Registrar are ex-officio members of the Board.
The Head of Core Studies is also invited to attend each Faculty Board. Each
department submits a written report to Faculty Board. The Head of Faculty presents a
Faculty report to Academic Council.
The academic policy of the College is formulated by Academic Council. The Council meets six
times per academic session. Academic Council nominates external examiners for all College
courses and those nominated are advised to the National University of Ireland for formal
appointment. The QA Steering Group is a sub-committee of Academic Council.
66
STAFF
Head of Faculty
Faculty Secretary
Senior Lecturers/
Heads of Dept.
Name
M/F
Years in
NCAD
Main
Qualifications
Prof. Philip Napier
Acting HOD Sculpture
Angela Dennis
R. Armstrong
HoD Painting
M
12
MFA
F
M
26
20
MFA
Painting
Permanent
Kevin Atherton
Head Postgraduate
Pathways
M
11
PhD
Sculpt. Perf.
Permanent
M
10
DipAD (BAHons)
PG Chelsea
Paint / Print
Permanent
M
37
MFA
Photo/Media
Permanent
Mike Birtchnell
HoD Fine Print
Research
Group/
Centres
Discipline (If
Appropriate
Permanent/
Contract
(P/C)
Permanent
Anthony Hobbs
Acting HoD Media
Assistant Lecturer
P. Cummins
F
12
MPhil
Sculpture
Job Share
Contract
Lecturer
Oliver Whelan
S. MacWilliam
Louise Walshe
Mick O’Kelly
Andrew Folan
Cliona Harmey
Leah Hilliard
Catherine Lynch
D. Copperwhite
Chris Maguire
M. Moore
Paul Nugent
Alanna O’Kelly
Brendan Earley
Clare Nidecker
Ben Gaulon
Sarah Browne
Enda Walshe
Brendan Begley
John Kavanagh
C. O’Sullivan
Julia Kemperman
Mickey Smyth
Denise Becks
Mark Jones
Mark Ferguson
M
F
F
M
M
F
F
F
F
M
F
M
F
M
F
M
29
11
19
26
30
7
10
6
10
20
8
8
MFA
BA (hons)
MFA
PhD
MFA
MA
MSC
Painting
Painting
Sculpture
Sculpture
Printmaking
Visual Practice
Multi Media
Printmaking
European FA
Permanent
Permanent
Permanent * (jobshare)
EPL
Permanent
EPL
Permanent
CID
CID
CID
CID
CID
Part Time
Part Time
Part Time
M
M
M
F
F
M
F
M
M
31
18
13
30
10
8
3
3
2
Part Time Lecturer
Technical Officers
1
4
4
MFA
MA
MFA
BA
MFA
PhD
MA
MA
NCAD Dip.
City & Guilds
City & Guilds
NCEA Dip.
BA – Germany
BA
MA
BA
Painting
Virt. Realities
Media
Sculpture
Sculpture
Constr. / Eng.
Veh. Constr.
Fine Print
School of Film
Media Prod.
Computing
3D
Media
Permanent
Permanent
Permanent
Permanent
EPTA
EPTA
EPTA
EPTA
The staff encompass a broad body of professional and educational experience which amount to
a significant breadth of knowledge. The educational and research based activities offer a more
expanded spectrum than has been the case at other periods in the Faculty, consistent with
contemporary development. Relations in the Faculty are generally cordial and staff are active
and busy with ongoing levels of discourse. Broadly speaking a number of cross-faculty initiatives
67
YEAR 1 (CORE) STAFF
Head of Department
Theresa McKenna
ANCAD, MA, MA (Learning and Teaching)
Department Secretary
Patricia McDonnell
Lecturers
Eamon Connors ANCAD
Mary Cullen BA (Hons)(UU), MA Design (NCAD)
Mary Fitzgerald BA, MA
Feargal Fitzpatrick BDes, M.Phil
Taffina Flood BA, ANCAD, MA
Elaine Griffin BDes, MA
Kristina Huxley BFA (Hons), MA
Kirsty McGhie BA (Hons), Post Grad (Environmental Art)
Anthony O'Connor BDes (Hons), ANCAD, MA
Marc Reilly BA, MA
David Timmons BA, MA
John Waid BA (Hons) adv dip. ATD
Technical Assistants
Aonghus Fallon FETAC Printing and Film
Seán Kelleghan Dip. Fine Art, BFA
Aisling McLoughlin BA (NCAD)
68
APPENDIX ONE
NCAD Undergraduate Programme: Year 1
Curriculum Framework for the First 10 Week Block
for incoming year 1 students.
Note 1: Nomenclature
The contested use and meaning of certain terms in the process of curriculum design in NCAD
continues to be a challenge. Thus terms such as ‘interdisciplinary’ are the subject of much
legitimate intellectual contestation. Other terms that have emerged in the process of
curriculum review associated with the 3+2+3 process, such as ‘thematics’ and ‘negotiating the
field’ can support different interpretations. This draft document tries to adopt language that
is non-contentious and neutral. Thus the three underpinning motifs that will run through Year
I (variously referred to as ‘thematics’, modules, strands, themes etc) are called ‘core themes’
in this draft. The term ‘core’ itself has its own history and connotations in NCAD but is here
used in a literal sense.
The concept of interdisciplinarity is highly contentious. It is of course perfectly true to state
that the study of a particular discipline can in itself adopt interdisciplinary approaches. When
used in this document, however, the proposed meaning is an educational context where
teachers and researchers from different disciplines pool their approaches and modify them so
that they are better suited to the task in hand, which will tend to be problem-based learning
projects.
The term ‘thematic’ is not used in this document, as that term is understood to be a
conceptual frame within which different disciplines can be accommodated and applied. Such
thematic concepts might include abstract entities such as ‘The City’ or ‘Silence’ and they
would be likely to change regularly over time.
Note 2: Issues for resolution
In setting out the curriculum framework for the 10-week Common Block, a number of critical
operational issues emerge. One central issue is the logistical one of dealing with up to 250
students. Finding sufficient space for such numbers will be difficult at any time. This
difficulty will be exacerbated in the first few years (2013-16) when full classes of second,
third and fourth year students will continue to be taught by Faculty staff. Provision of
dedicated ‘workshops’ will be particularly challenging for a first year cohort of such a scale.
Another issue that is highlighted within a three-year undergraduate cycle is the mechanism for
progression or ‘repeat’ facility. For instance if a student’s work in the first 10-week Block is
deemed unsatisfactory, what are the implications for progression?
69
NCAD Undergraduate Programme: Year 1
NCAD Undergraduate Year 1 comprises three parts, each of 10 weeks duration –
1. Common Block (15 credits)
2. Faculty Block (15 credits)
3. Departmental Block.(20 credits)
These three Blocks are complemented by a 10-credit common programme of Visual Culture
running through both semesters.
The first Block is designed on an interdisciplinary basis to facilitate and orient learners in
finding the pathway that will best suit their aptitudes and interests in Design, Fine Art or
Education1.
The second Block is intended to introduce students to the general fields of practice, in terms of
knowledge, skills and understanding, of dispositions and attitudes and of modes of working as
typically practiced in the fields of Design, Fine Art and Education (a schematic outline of
provision for undergraduate studies in Education is contained in the appendix to this
document).
The third Block provides a specific disciplinary engagement within specialist departments. This
disciplinary engagement will be pursued by the student up to degree level over the subsequent
four semesters.
Year One Block One: Common Course for all NCAD first year students
Three core themes underpin all Year 1 courses:
 Materials and Practices
 The User/Audience
 Negotiating the Fields
Materials and Practices
This theme involves the learner in a process of making and doing, informed by ideas and shaped
by the materials being used, the activities organised and the contexts within which they are
experienced. The theme is fundamentally concerned with studio practice and the development
of dispositions and aptitudes of self-management, experimentation and application of
appropriate research methods. The theme is characterised by the acquisition of appropriate
skills and techniques, with due reference to Health and Safety issues. Students are engaged in
problem-solving in diverse environments, incorporating 2D and 3D work.
User and Audience
This theme is concerned with the context within which art and design work is generated. It
addresses questions such as – for whom is the work intended? For what purpose or with what
intention? With what potential effect or impact? It is centrally concerned with communication
in diverse contexts and through diverse media, with evaluation and with presentation. Through
engagement with this theme, learners will develop practice in working individually and
collaboratively, working with others in teams or on shared projects and they will develop an
appreciation of the challenges of mediating, explaining and engaging with others through their
own practice.
Negotiating the Fields2
Successful NCAD graduates will be able to engage with and ultimately shape the professional
environment for which they have been prepared. This process commences with the start of
1
The nature of undergraduate Education provision within the 3+2 (+3) format is
summarised in the appendix to this document.
2
Some dissatisfaction exists with this title in terms of its comprehensibility for young
students entering from school. Some other titles which might be considered, without
affecting the meaning of the theme are: Engaging with the Field, OR The Spectrum of Art
and Design Activity OR Making Sense of the Field OR …?
70
First Year. At this first stage, the emphasis is on the development of knowledge, understanding
and awareness of the history and contemporary practice of the various fields to which the
learner is exposed. These fields will include those within the fine art and design domains,
history and cultural studies and education contexts and structures. Learners will develop an
understanding of the various structures and the range of practices within the various fields, the
diversity of career paths available and the possibilities for development and enterprise. They
will develop competence and confidence in engaging in the various discourses of the fields, in
developing a critical literacy in relation to these fields and a capacity to communicate their
own practice to others in and associated with the field.
Structure of Block 1
Each of the three themes will be explicitly addressed in each accredited module or unit of
study in the course. Fifteen credits will be assigned for Part 1 of the First Year course. Design
and implementation of all units within Part 1 will be undertaken by inter-disciplinary teams of
staff drawn from all college faculties.
The 10 week block will be structured as follows:
Weeks
1, 2, 3
4, 5, 6
7, 8, 9
10
Title
Project 1
Project 2
Project 3
Assessment
Credits
5
5
5
While all three ‘core themes’ will be addressed in all projects, there will be a particular focus
on Materials and Practice in the early stage, with a view to embedding learners within the
culture of studio practice. The latter part of the block, especially the final week, will be
especially concerned with feedback and advice to students in respect of their subsequent
Faculty orientation.
71
Learning Outcomes for Part 1 (first 10 weeks) of year 1:
Student should be able to
1. Demonstrate through production of notebooks and other evidence, an ability to
describe, record and explain through visual observation
2. Show evidence of experimentation and research with materials and processes
3. Present, describe and explain an artwork/image/object to a group of peers and tutors
using appropriate vocabulary
4. Respond to and apply instruction with due regard to health and safety regulations
5. Demonstrate an ability to identify fields of practice and key areas of individual interest
and competency that will inform Faculty choice
Course Content of 10 week Common Block:
As set out, above, each student will engage in three projects, each of three week duration.
The final week will be devoted as appropriate to student presentations, assessment and
feedback. Project tasks will be designed and taught by staff from all faculties and departments
in the college. These projects will be problem-based learning tasks, in which students will gain
experience in working in an interdisciplinary manner. Project tasks will reflect the model and
approach set out in Core Studies tasks in recent years (samples to be included in Appendix).
In designing and teaching the projects, staff will ensure that students develop knowledge, skills
and understanding in a wide-range of art and design practices as well as other forms of
disciplinary knowledge. These will include
Drawing
Drawing as a communication tool, the discipline of looking (visualising ideas and
concepts)
Figure drawing, observational drawing, analytical drawing
Colour
Theory and psychology of colour
How colour can be used to convey mood, describe reality and codify information
3D literacy
Creation of 3D outcomes and prototypes in a wide range and combination of materials
through the exploration of structure, form, texture and functionality.
Research methodologies
Undertaking relevant research, idea/concept exploration and development, leading to
an appropriate and creative outcome
While the programme will be student-centred and project-led, a number of skills-based
workshops may be provided to augment the intrinsic dynamic of the projects. Such workshops
are likely to include
Photography
Competence in use of digital camera as a research tool
Computer literacy
File format, file management
Microsoft Word
Adobe Photoshop (in the context of image manipulation)
While each Project will carry 10 credits, ancillary credit-free workshops may be provided, as an
additional resource for students to acquire specific skills, such as the above, that are required
for successful progression through first year. These workshops might be provided at ‘off-peak’
times such as late afternoon/early evening (4.00 - 7.00pm).
72
Assessment
During the 10-week Common Block, assessment will be predominantly of a formative nature.
The main purpose of assessment at this time is to facilitate the learners in finding the form of
art and design practice that best suits them individually. In this respect, continuous feedback
and advice from staff to students will be particularly important. While some summative
assessment will be expected at the end of the 10 week block, this will tend to be of simple
judgements of ‘satisfactory’ or otherwise, or possibly pass/merit/distinction, rather than rankordered percentages.
The rationale for this emphasis on formative assessment is two-fold:
 It should minimise the competitive component of study, allowing for collaborative
learning among students and encouraging learners to take risks in their work, even to
fail perhaps in some tasks but to learn from those failures;
 It should facilitate staff in adopting a supportive and facilitatory, rather than an overly
judgemental role.
Project Specifications:
The three projects to be carried out by first year students will each be shaped by the criteria
set out above in terms of learning outcomes, learning content and assessment procedures. The
project tasks will be designed jointly by staff from the former Core Studies department and
from the various Faculties and Departments in NCAD. The project tasks will be assigned to
students working in small groups, facilitated by inter-disciplinary teams of staff.
73
Appendix
Undergraduate Studies in Education
Proposed Provision for Education students
Students intending to study Education at undergraduate level will be following both an
academic programme as validated by UCD/NUI and a professional programme of study
accredited by the Teaching Council for entry to the teaching profession at Second Level and/or
Further Education sectors. This programme will be offered as a Joint Honours degree over a
four year period. Students successfully completing the programme after four years will be
awarded a BA in Design and Education, or in Fine Art and Education.
Students will follow the same Common Block as all other Year 1 students. At the end of the
Common Block they will opt for Education as a Joint Honours subject. (Alternatively, it may be
necessary to have a separate initial ‘ring-fenced’ entry to Year 1 to meet entry requirements of
Teaching Council and to clarify routes for registration).
For the Faculty Block, students will follow the programme defined by the respective faculties,
together with some additional inputs of an informational and experiential nature provided by
the Education Faculty. These may be scheduled for ‘off-peak’ times.
For the Departmental Block, students will follow the programme of the studio department they
have chosen together with some additional inputs of an informational and experiential nature
provided by the Education faculty
In Year 2, students will follow the programmes provided by the studio departments within
which they are located. However, they will follow a dedicated programme delivered by the
Faculty of Education for the College-wide module that extends across the academic year in
Year 2.
They will also be required to follow a particular pathway through the studio courses, including
for example such modules as may address community engagement, work placements and
museum studies.
In Year 3 they will follow the programme provided by their studio department, on the same
terms as above. A major intervention will occur at Semester 2. Education Students will step out
of their studio course at this point to engage in a full-time education programme. This will be
characterised by extended placement in schools and by ongoing supplementary college
tutorials, methodology sessions and courses in Education Studies.
In Year 4 Semester 1, this model will continue, with Education students following a separate
dedicated programme. At the start of Semester 2, they will re-enter the studio departments,
engaging this time alongside a cohort of students one year behind them in chronological terms.
They will reconnect with their studio practice and bring this to completion to degree level.
In summary:
 The Joint Honours Degree of Education and Design of Fine Art will consist of 240 credits
as compared to the 180 credit three-year degree;
 The Design or Fine Art experience will be identical in terms of time spent and
standards achieved as those taking the those degree courses alone.
 The Joint Honours degree will be subject to the validation procedures of both UCD and
the Teaching Council.
A brief schematic outline of the proposed format is provided below (graphic to be inserted)
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