MA FINE ART
Course Guide
2009-10
Faculty of Media, Art and Communications
T: 01242 714940
www.glos.ac.uk
1
MA FINE ART COURSE GUIDE
Please note that the most up-to-date versions of documents and information
can be accessed through the University of Gloucestershire’s web-based
resources.
Contents:
Page:
1.
Introduction
3
2.
MA Staff Contacts
3
3.
The Postgraduate Modular Scheme
4
4.
Faculty of Media, Art & Communications
4
5.
Course Description
4–7
6.
Course Map
7
7.
Module Descriptors
8 – 19
8.
Assessment
20 – 23
9.
Teaching and Learning
23 – 27
10.
Course Commentary on
Personal Development Planning
27 – 29
11.
Support for Disabled Students
29
12.
Course Management and Evaluation
29 – 30
13.
Communications
30
14.
Resources
31
15.
Lectures, Study Visits and Exhibitions
31
16.
Health & Safety
32 – 33
Appendices:
Programme Specification
34 – 39
Assessment Criteria and Grade Descriptors
40 – 41
Health & Safety Guidelines
42 – 44
Form for ‘Work requiring formal negotiation’
44
Study Agreement
45
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MA FINE ART
1 INTRODUCTION
The MA Fine Art course was validated in 1996, with provision for both
full-time and part-time study. We are delighted to welcome you as a
student on the course and hope that you will find your time on the MA
stimulating, challenging and enjoyable.
This guide is intended to provide course specific details and should
help you appreciate the course’s aims and objectives.
Module descriptors provide an overview of what a module sets out to
achieve and the territory it encompasses and this guide includes a full
set of Fine Art (FT) coded module descriptors.
2 MA STAFF CONTACTS
This course guide should ensure that you have sufficient information
but you may still need to contact one of your tutors for clarification of a
meeting time, hand in date, or of absence at one of their sessions. The
following list provides you with the MA staff‘s room, telephone and e
mail contact information.
Course Leader:
Paul Rosenbloom MB102a
714968
prbloom@glos.ac.uk
Contributing Lecturers:
Andrew Bick
MB102 715025 abick@glos.ac.uk
Richard Billingham MB044b 714964 rbillingham@glos.ac.uk
Tony Clancy
MB044b 714963 tclancy@glos.ac.uk
Nat Goodden
MB102 714957 ngoodden@glos.ac.uk
Andrew Stonyer MB102a 714967 astonyer@glos.ac.uk
Technical Support Staff:
Dan Young
714903 Painting
Dave Childs
714958 Wood/Metal Workshops
Ashley Benson-Wilson 714959 Sculpture
Mark Unsworth
715029 Printmaking
Course Administrator:
Jayne Sedgwick MB005 715016 jsedgwick@glos.ac.uk
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3. THE POSTGRADUATE MODULAR SCHEME
The MA Fine Art course operates within the University’s Postgraduate
Modular Scheme (PMS).
All students should receive a copy of the Postgraduate Modular
Scheme Handbook. This includes the formal document
Postgraduate Modular Scheme: Structure, Regulations and
Procedures. You should ensure you are familiar with the material in
this document and are aware of the procedures that you are required to
follow.
These documents and others are available on the University intranet.
Select Information for: Students: Postgraduate Modular Scheme, or go
to http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
Electronic newsletters will be sent out throughout the year via your
University email account. It is important that you consult your University
account regularly. You will be sent information on training opportunities
available to all postgraduate students, including IT and Research Skills
training workshops, Dissertation workshops and the Careers
Management programme.
Contact details:
Postgraduate Modular Scheme (general email) pms@glos.ac.uk
Malcolm MacLean, Associate Dean, Academic Frameworks
(mmaclean@glos.ac.uk)
4. FACULTY OF MEDIA, ART AND COMMUNICATIONS
The Faculty hosts a range of undergraduate programmes based at the
Pittville campus. These include: Fine Art Painting & Drawing; Fine Art
Photography; Film Studies; Illustration; Digital Film Production and
Graphic Design. There are also a number of research students in fine
art and media who are working towards the award of doctorate.
5 COURSE DESCRIPTION
The following section is extracted from the course validation document
and while written in a style more appropriate for validations it should,
nevertheless, provide you with:



an overview of the course structure (paragraph 5.1)
the aims and objectives (paragraph 5.2)
the modules that can be taken to achieve each level of
award (paragraph 5.3)
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5.1
Overview of the course structure
The programme provides a Master’s level education for graduates of
appropriate disciplines who wish to develop their education with more
depth and focus. It provides the opportunity for a more specialised
study of Fine Art than is available at undergraduate level, thereby
meeting the needs of students who wish to continue or return to higher
education at the Masters level. For those graduates who take the MA
as a means of progress to a research degree, the programme provides
the skills and intellectual challenges that are the pre-condition for an
MPhil or PhD.
The essential elements of this MA are for each student to develop their
studio practice, to underpin this development with a sound theoretical
framework, so that practice and theory become interdependent, and to
be able to relate this development to the contemporary and historical
context of art.
5.2 The aims and objectives of the MA are:
to develop the student's awareness of the processes involved in studio
practice and to relate this awareness to an understanding of the work's
wider context through critical and theoretical discourse. The course
encourages intellectual enquiry, conceptual clarity, innovation, and a
high level of practical and technical ability.
The general objectives of the MA are:

to facilitate learning which is intellectually challenging and
recognises the contribution of research, scholarly activity and
academic rigour to knowledge in general, and to the discipline of
Fine Art in particular;

to provide educational opportunities for students that enable them
to achieve knowledge, skill, and competence;

to enable students to reflect meaningfully on their academic
experience in relation to personal responsibility and scholarly
commitment;

to evaluate and critique the visual, theoretical and cultural contexts
of Fine Art;

to offer students opportunities to pursue supervised but selfdirected study in areas of their choice alongside a taught
programme of practical and theoretical enquiry.
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5.3.1 Course Structure
The factors which normally demonstrate the requirement from each
student in order to pass through each stage of the course are as
follows:Postgraduate Certificate (awarded to a student on the successful
completion 60 credits):
Acquiring, through the introductory part of the course sufficient
foundation in both studio and critical studies: to demonstrate the
potential for further progression; embarking on a programme of
practical work; becoming familiar with various methods of research and
enquiry; and developing and enhancing these abilities.
Postgraduate Diploma (awarded on the successful completion of 120
credits):
Applying and developing a challenging response to studio practice and
its integral theoretical discourse; examining in depth the context within
which work is produced and consolidating an area of practice.
M.A. Degree (awarded on the successful completion of 180 credits):
Presenting and realising significant competence and autonomy in the
chosen field of study, substantiated through focused outcomes and
demonstrated by an articulate debate showing contextual
understanding and critical awareness.
While the awards are staged, they are all taught at a comparable
postgraduate level. The focus of study, however, differs as each
student progresses through the course.
The pattern of the degree requires that all students take two
compulsory modules, RM499 and FT410, plus one other module, for
the Postgraduate Certificate. Students pursuing the Postgraduate
Diploma will be required, in addition, to take modules FT412 and
FT413, to a total of 120 credits.
For the Masters award, students must take FT444, to a total of 180
credits.
In RM499(FT), students will be tested on their ability to demonstrate
critical awareness of historical and contemporary debates in art and art
theory, in both written and oral form. This will be complemented in
FT410 by the presentation of a body of work, which appraises the
aims, and objectives of the Study Agreement. These two modules will
establish a correlation between theory and practice. FT411 offers the
opportunity to further extend studio practice or to investigate an
alternative but related theme. FT412 assesses the student's ability to
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develop and present their work in seminar discussion, concentrating on
practical developments. FT413 presents the correlation of theory and
practice at an advanced stage, preparing the context for the final
presentation of work in exhibition form in FT444.
6 COURSE MAP : FINE ART (FT)
You must pass 60 CAT points for each award stage and meet the
following requirements:
Postgraduate Certificate: RM499(FT), FT410, FT411 or an alternative
module from the Scheme
Postgraduate Diploma: Should include FT412 and FT413
Masters: Should include FT444
Code and Title
CAT
Points
Study Period
FT410: Visual Enquiry: Methods
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SEM1
FT411: Studio Practice: Independent Study
20
SEM1 or SEM2
FT412: Studio Practice: Development
Prerequisites: Pass FT410
20
SEM2
FT413: Consolidation: Visual Enquiry/Rationale
Prerequisites: Pass FT411 and FT412
40
SEM 2
FT444: Theory And Practice: Realisation
60
YEAR
RM499(FT): Methods Of Enquiry
20
SEM1
Version date: 01.09.2009
Course Structure
Full Time
Semester 1: RM499(FT), FT410, FT411
Semester 2: FT412, FT413
Semester 3: FT444
Part-time
Year One Semester 1: RM499(FT), FT410
Semester 2: FT411, FT412
Year Two Semester 1 and 2: FT413
Semester 3: FT444
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7.
MODULE DESCRIPTORS
Code and Title:
Tutor:
RM499(FT) Methods of Enquiry
Paul Rosenbloom
Other staff:
Richard Salkeld, Alan Ford
CATS rating:
20
Status:
Compulsory for PGCert
Pre-requisites:
None
Description:
This module aims to provide a broad introduction to research methods at
post-graduate level, and to provide research guidance for specialists in visual
art theory and production; to develop students’ awareness of their art practice
as a form of research, and to foster a critical approach to the relationship
between theory and practice; to equip students with independent research
skills applied to theoretical study and art practice, including bibliographic
searches and field work; to develop a critical awareness of historical and
contemporary debates in art and art theory, particularly where these affect the
production and reception of art work; to develop the ability to debate and
defend an argument in verbal and written contexts; to develop an ability to
deploy evidence in support of an argument.
Content:
Content is delivered in a 12-week programme of lectures and seminars. The
sessions will be lead by staff and visiting lecturers, but students are expected
to contribute substantially. The content of the programme will be influenced by
the interests of the students and issues that they raise in relation to core
topics.
The core of the programme focuses on the relationship between the practice
and theory of art, and on a consideration of research methods in both theory
and practice. A range of theories concerning art will be introduced to provide
students with methodological tools with which to think through their research,
including theories of aesthetics, psychoanalysis, ideology and philosophical
and critical ideas about modernism and postmodernism. More specifically
topics may include: practices and forms of truth telling in art, the concept of
the self in postmodernism, or art’s relationship to politics and the public
sphere.
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Learning Outcomes:
By the end of this module the student should:
 have demonstrated acquired skills in analysing works of art and an
understanding of relevant theoretical perspectives
 have researched a given project independently, using a range of
appropriate resources
 have demonstrated knowledge and awareness of both current and past
debates applied to the areas of theory and practice
 have demonstrated the ability to produce an evidenced discussion or
presentation of a critical theme
 have discovered and applied links between theory and practice both in
their own work and others
 have understood ideological frameworks and contexts affecting art and its
production
Delivery:
This module will be delivered via lectures, seminars.
Assessment:
1,500 word essay (40%) on a topic related to material covered in the
programme.
2,500 seminar paper (60%) on a negotiated topic linking material covered in
the programme with student’s studio practice.
Indicative Resources:
Berman, M. (1983) All that is Solid Melts into Air, (Verso, London)
Best, D. (1992) The Rationality of Feeling, (Falmer Press, London)
Foster H (1985) Recodings (Bay Press, Washington)
Frascina F & Harris J (eds) (1992)Art in Modern Culture, (Phaidon Press, London)
Harrison, C. and Wood, P. (2003) Art in Theory 1900-2000, (Basil Blackwell,
Oxford)
Harrison, C., Wood, P. and Gaiger, J. (1998) Art in Theory 1815-1900 (Basil
Blackwell, Oxford)
Harvey, D (1989) The Condition of Postmodernity, (Blackwell, Oxford)
Krauss, R (1985) The Originality of the Avant-Garde and Other Modernist Myths,
(MIT Press, Cambridge, Mass.)
Mirzoeff, N. (1999) An Introduction to Visual Culture (Routledge, London)
Pollock, G. (1999) Differencing the Canon: Feminist Desire and the Writing of Art’s
Histories (Routledge, London)
Rose J (1986) Sexuality in the Field of Vision, (Verso, London)
(1998) No guru, no method? Discussions on Art and Design Research
(Research Institute, University of Art and Design, Helsinki, UIAH)
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Code and Title:
FT 410 Visual Enquiry: Methods
Tutor:
Paul Rosenbloom
Other staff:
Nat Goodden
CATS rating:
20
Status:
Compulsory for PGCert
Pre-requisites:
None
Description:
The purpose of this module is to provide the opportunity for students to:






establish, through the Negotiated Study Agreement, the area of discipline
pertinent to each student;
review, question and extend students previous practice through
exploration and experimentation;
identify the technical and academic resource needs of each student;
impart specialist information, and promote technical excellence and
dexterity, including sound and safe working practices;
embark on a programme of creative work;
introduce students to the range of knowledge, interest and expertise within
the group.
Content:
This is a period of induction and orientation, leading to the generation of a
body of studio work, which will vary according to the individual needs of each
student and which functions as an establishing statement of intent.
Learning Outcomes:
By the end of this module the student should:
 have demonstrated an ability to generate and develop an area of practice
at post-graduate level by establishing and defining particular needs, and
 have appraised the stated aims and objectives of the Study Agreement
and made appropriate use of its contents
 have demonstrated an ability to focus the direction of study, based on past
experience and reasoned speculation about future concerns
Delivery:
Tutorials, Demonstrations, Study Visits, Lectures, Study Agreement
Assessment:
100% coursework. Students will present a body of work or documented
practice assessed by a single grade.
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Indicative Resources:
Coles, A. and Bentley, R (1998) The anxiety of interdisciplinarity (BACKless
Books, London)
Craig-Martin, M. (1995) Drawing the Line: reappraising Drawing, Past and
Present (South Bank Centre, London)
Elkins, J. (1998) What painting is (Routledge, London)
Ferguson, R. (1998) Out of Actions: Performance and the Object 1949-79
(Thames and Hudson, London)
Harrison, C. (2001) Conceptual art and painting; further essays on Art &
Language (MIT Press, Cambridge, Mass)
Lacey, J. (2002) The Complete Guide to Digital Imaging (Thames and
Hudson, London)
Paine, S. (2000) Artists emerging; sustaining expression through drawing
(Ashgate, Aldershot)
Platzker, D. (2000) Hard pressed: 600 years of prints and process (Hudson
Hill Press, New York)
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Code and Title:
Tutor:
FT 411 Studio Practice: Independent Study
Paul Rosenbloom
Other staff:
Andrew Bick
CATS rating:
20
Status:
Acceptable for PGDip
Pre-requisites:
For students applying from outside the course, acceptance is by interview,
with appropriate supporting evidence, including an acceptable proposal.
Description:
This module enables each student to develop and extend further an
appropriate area of investigation; promote personal initiatives and selfdiscipline in working practice; develop a body of creative work which
demonstrates the ability to generate and develop personal ideas; define and
focus the progression of work.
Content:
Students will have the option of continuing to develop their work in their
established area, or pursue an alternative mode of presentation which may
complement their work at this stage. It will be necessary for each student to
understand the processes involved in managing time and resources.
Learning Outcomes:
By the end of this module the student should:
 have demonstrated an ability to work independently and critically in pursuit
of their stated aims as contained in the Study Agreement
 have demonstrated their ability to engage inventively in their chosen arena
of practice
 have demonstrated an ability to work independently and critically with
regard to a particular project
Delivery:
Tutorials, Study Agreement, (for students outside the course, a Study
Proposal), Study Visits.
Assessment:
100% coursework. Students will present a body of work or documented
practice assessed by a single grade.
Indicative Resources:
Collings, M. (1999) This is Modern Art (Univ California Press, Berkeley)
Frascina, F and Harrison, C (1988) Modern Art & Modernism: a Critical
Anthology (Paul Chapman, London)
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Fineberg, J. (2000) Art since 1940: Strategies of Being (Weidenfield &
Nicholson, London)
Marshall, L. (1993) A guide to learning independently (OU Press, London)
Mulvey, L. (1989) Visual and Other Pleasures (MacMillan, London)
Grosenik, U (1999) Art at the Turn of the Millennium (Taschen, Germany)
Stangos, N. (1994) Concepts of modern art (Thames And Hudson, London)
13
Code and Title:
Tutor:
FT 412 Studio Practice: Development
Paul Rosenbloom
Other staff:
Andrew Stonyer
CATS rating:
20
Status:
Compulsory for PGDip
Pre-requisites:
Normally FT410
Description:
This module requires students to: strengthen further and to consolidate
working practice; develop an awareness of the different contexts in which art
is made and the theories to which it may relate; demonstrate an awareness
and grasp of alternative points of view, and an ability to debate issues,
through group discussion; review the Study Agreement
Content:
Students will concentrate on independent research and development of studio
work. Students will present this and other work to date in an exhibition or by
other appropriate means. Substantive issues in the work or arising from it will
form the subject of formal group discussion in student-led seminars
Learning Outcomes:
By the end of this module a student should:
 have begun to accumulate a substantial body of personal creative work or
documented practice
 be familiar with a range of theoretical debates and be capable of
contextualising them in relation to their practice
 be capable of reflecting on work-in-progress
 be able to evaluate their own work and that of their peers
 have re-assessed the Study Agreement and taken steps to ensure its
continued function
Delivery:
Tutorials, seminars, lectures, Study Agreement
Assessment:
Students will present an exhibition or other appropriate means (70%), which
will form the basis for a seminar presentation with supporting text of 1000
words (30%)
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Indicative Resources:
Barthes, R. (1984) Camera Lucida (Jonathan Cape, London)
Bois, Y-A. (1995) Painting as Model (MIT Press, Cambridge, Mass.)
Chambers, E. and Northedge, A. (1997) The Arts good study guide (OU
Press, London)
Clark, T.J. (1999) Farewell to an Idea: Episodes from a History of Modernism
(Yale University Press: New Haven and London)
Collings, M. (2001) Art Crazy Nation (21 Publishing, London)
Danto, A.C. (1981) The Transfiguration of the Commonplace: a Philosophy of
Art (Harvard University Press, Cambridge, Mass.)
Ratcliff, C (2000) Out of the Box: the Reinvention of Art 1965-1975)
(Allsworth Press: New York)
Sandler, I. (1998) Art of the potstmodern era: from the late 1960s to the early
1990s (Westview Press, Colorado)
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Code and Title:
Tutor:
FT 413 Consolidation: Visual Enquiry: Rationale
Andrew Stonyer
Other staff:
Paul Rosenbloom
CATS rating:
40
Status:
Compulsory for PGDip
Pre-requisites:
Normally FT 412
Description:
The aim of this module is for students to:
re-focus and evaluate an individual enquiry through reference to new
knowledge and experience gained;
to relate experiences by establishing links with relevant theoretical discourses.
Content:
This module will develop the means for both establishing a link with theory
and providing a context for studio work. Students will be expected to
demonstrate the underlying theoretical interests that inform their practice. In
the seminar programme students will be expected to present work that
anticipates the work for final assessment, albeit at a formative stage.
They will work on the writing or presentation of theory work, supported by
individual tutorials. The seminar presentation will comprise an area of theory
investigated that directly supports and anticipates the body of studio work
presented for final assessment. The paper will consist of a rationale for and
explanation of the main idea and an account of the reasoning leading to
realisation. There will be evidence of an understanding of context, and critical
reflection.
Proposals should set out a clearly defined topic, aims and objectives.
Completed work should demonstrate awareness of appropriate methodology,
incorporate well-constructed argument that is supported with evidence, lead to
a conclusion and show awareness of relevant current debates.
Learning Outcomes:
By the end of this module the student should:
 have demonstrated critical awareness of progress and an ability to provide
a rationale for the work
 be able to present a coherent evaluation of their practice
 have further developed and focused their personal creative work
 be able to demonstrate a convergence of practical and theoretical
concerns
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Delivery:
Tutorials, Seminar, Study Agreement
Assessment:
Students will present a seminar with text/documentation of 4000-5,000 words
(60%) and a body of work or documented practice (40%), .
Indicative Resources:
Derrida, J. (1987) The Truth in Painting (University of Chicago Press, London)
Freeland, C (2001) But is it Art?: an introduction to art theory (Oxford
University Press, Oxford)
Harrison, C. and Wood, P. (2003) Art in Theory 1900-2000, (Basil Blackwell,
Oxford)
Jones, Lois Swan (1999) Art information on the internet: how to find it, how
to use it (Oryx Press, Phoenix, Ariz.)
Kolocotroni, V. (1998) Modernism: An Anthology of Sources and Documents,
(Univ. Chicago Press, Chicago)
Roberts, J. (1994) Art Has No History (Verso, London)
Sim, S. (1992) Beyond Aesthetics: Confrontations with Poststructuralism and
Postmodernism (University of Toronto Press, Ontario)
Stiles, K. and Selz, P. Contemporary Art: a Sourcebook of Artists’ Writings
(Univ, California Press, London)
Wood, P. (1999) The Challenge of the Avant-Garde (Yale University Press,
New Haven)
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Code and Title:
FT444 Theory & Practice: Realisation
Tutor:
Paul Rosenbloom
Other staff:
Andrew Bick, Nat Goodden
CATS rating:
60
Status:
Compulsory for Masters
Pre-requisites:
PGDip or its equivalent
Description:
This module provides an opportunity to:
achieve a body of resolved work in a chosen area of investigation which
demonstrates a synthesis of knowledge, invention, skill and experience, and
shows developmental progression and a resolution of the issues raised in FT
413; sustain an in-depth enquiry, demonstrating a critical engagement with
the subject and with its contextual frameworks, and a discriminating grasp of
pertinent practical and conceptual methodologies.
Content:
In this module students will work independently towards a final presentation of
a resolved and conclusive body of studio work. This will function as a
coherent articulation in material form of salient issues of content, process and
theory identified and developed through previous modules. The role of the
module is to offer a continuous period of studio time free from other curricula
demands, in order to allow full concentration on a final resolution of the studio
work. The module thus offers a framework for a synthesised point of view,
where theoretical issues previously addressed can inform the work.
Learning Outcomes:
By the end of this module the student should:
 have demonstrated articulation of new levels of discourse and the ability to
assimilate and synthesise ideas
 have shown an ability to present coherent and autonomous results
 have demonstrated an understanding of their practice in both intention and
resolution
 have developed and sustained a high level of professional practice
 have thoroughly demonstrated their understanding of the relationship of
theory and practice in their work
Delivery:
Independent study and practice with tutorial guidance; Study Agreement
Assessment:
Assessment will be based on a final presentation of a body of work or
documented practice, in the form of either an exhibition or appropriate
18
alternative exposition, including all supporting study material, notebooks,
records, etc., and will include a Viva Voce examination.
Indicative Resources:
Crow, T. (1996) Modern Art in the Common Culture (Yale University Press,
New Haven)
Druckrey, T. (1996) Electronic Culture: technology and Visual Representation
(Aperture, New York)
Harding, D. (1997) Decadence: public art, contentious terms and contested
practice (Foulis Press, Glasgow)
Pistoletto, M. (2000) Site Specific Art - Performance Place and
Documentation (Routledge, London)
Kern, S. (1983) The Culture of Space and Time (Harvard University Press,
Cambridge, Mass.)
Krauss, R. (2000) A Voyage on the North Sea: art in the age of the
postmodern condition (Thames and Hudson, London)
Lefebvre, H (1991) The Production of Space (Blackwell, Oxford)
Kuspit, D. (2000) Redeeming Art: critical reveries (Allworth Press, New York)
Reiss, J. (1999) From Margin to Centre: the Spaces of Installation Art (MIT
Press, New York)
Schaffner, I. (1998) Deep Storage: Collecting, Storing and Archiving in Art
(Prestel, Munich)
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8. ASSESSMENT
The University Regulations for Assessment are distributed at
Registration; this document is also available on the Postgraduate
pages on the University Web site: www.glos.ac.uk
You should also refer to the assessment regulations for the
Postgraduate Modular Scheme (in the Postgraduate Modular
Scheme: Structure, Regulations and Procedures), in particular
those concerning deadlines, dishonest means in assessment, and
failure and reassessment. Copies of this document are distributed at
Registration, and it is also available on the Postgraduate pages on the
University Web site at
http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
a. Standard of Assessment
Your tutors expect a high standard in the work submitted for
assessment at Masters (postgraduate) level.
The pass mark for all modules is 40%. General guidance on the
standard of work required is provided in the Postgraduate Modular
Scheme: Structure, Regulations and Procedures. The attached
table has been adopted by MA Fine Art as a framework to guide
assessment within the course. Please also refer to the Master’s Credit
level Descriptors in the PMS Handbook. (Samples of the Assessment
Criteria and Grade Descriptors are in the Appendix).
Individual assignment briefs will provide more detail on the assessment
criteria used by markers. If you take a module from another course
you should check whether there are different course- or modulespecific criteria for assessment.
b. Submitting work
In submitting work for assessment you declare that it is your own work
and has not been submitted for any other assessment. You also
confirm that the work does not infringe the ethical principles set out in
the University’s Handbook of Research Ethics. A copy of this
Handbook is available on the Postgraduate pages on the internet at:
http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
Completed coursework assignments should be submitted with an
Assignment Cover Sheet. These sheets are available from the
dispenser outside of the Assignment Office, Course Leader or from the
Student Helpzone. It is your responsibility to ensure that work is
submitted by the deadline stated on your assignment brief. You should
retain the receipt for your assignment.
20
A4 assignments should be submitted via Pittville Learning Centre dropbox at the following times:
Term Time
Monday and Wednesday 9 am - 8 pm
Tuesday/Thursday/Friday 9 am - 5 pm
Saturday/Sunday
12 pm - 3 pm
Vacation Time
Monday - Friday
See notice boards and website
To submit larger pieces of work and collect marked assignments, the
assignment hatch will be open from 2 pm – 4 pm, Monday - Friday.
Marks on work are provisional until they have been agreed by the
Board of Examiners. You are entitled to written feedback on your work,
and this will either be on the assignment cover sheet or module
feedback form.
c. Deadlines and extensions
A mark penalty applies when work is submitted late and no extension
has been granted. If the work is submitted up to seven days after the
deadline, a mark of 40% is the maximum mark which can be awarded.
Work submitted seven days or more after the deadline would receive a
mark of zero.
Extensions to submission deadlines can be requested where there
have been mitigating circumstances beyond your control (eg illness). If
you are suffering a short-term illness close to a coursework deadline,
you can obtain a 48 hour extension by requesting one from your
campus Student Information and Advice Centre/HelpZone. You can
only use this system in relation to written coursework, not in relation to
examinations or presentations. Your may use only one 48 hour
extension per calendar year.
Requests for mitigating circumstances of up to three weeks must be
recorded on a Mitigating Circumstances Form (MC2), accompanied
by evidence (eg a medical note) in support of the request. This goes to
the Senior Tutor (not module tutor or course leader) who will make a
response. The response is likely to be in the form of an agreed
extension to your submission deadline. Remember:
 it is your responsibility to bring information to the attention of Senior
Tutors; normally this should happen prior to the submission
deadline;
 requests for extensions must be accompanied by supporting
evidence;
 only the Senior Tutor can grant extensions, not module tutors.
21
Requests for mitigating circumstances of more than three weeks must
be recorded on a Long Term Mitigating Circumstances Form (MC3),
normally accompanied by evidence (eg a medical note) in support of
the request. This goes to the Coordinating Senior Tutor (not module
tutor, Course Leader or Senior Tutor) who will make a response. The
response is likely to be in the form of an agreed extension to your
submission deadline. Remember:

it is your responsibility to bring information to the attention of
Coordinating Senior Tutors; normally this should happen prior to the
submission deadline;

requests for extensions must normally be accompanied by supporting
evidence;

only the Course Leader can grant extensions, not module tutors.
d. Failure and reassessment
The pass mark for all modules is 40%. If you fail a module with a mark
of 30-39% you will normally be entitled to reassessment of the
elements failed. The details of the work required for reassessment will
normally differ from the work required for initial assessment (e.g.
different essay title).
Any entitlement for reassessment will be signalled on the transcript
sent to you after the end-of-semester Boards of Examiners, and you
will need to confirm details of the work required and the submission
deadline/examination date with the relevant Course Leader/module
tutor. Normally, work required for reassessment on a module taken
and failed in semester 1 must be completed by the end of term 2/start
of term 3 (depending on timing of Easter), and reassessment on a
module taken and failed in semester 2 will be completed by the end of
August/beginning of September.
e. Breaches of Assessment Regulations
This term refers to misconduct by students at any stage of the
assessment process (coursework or examinations). The University
Regulations for Assessment provide definitions and guidance on
Breaches of Assessment Regulations, including plagiarism,
syndication, collusion, re-presentation, impersonation, and cheating in
a closed assessment (the Regulations are available at
http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
You should seek guidance from your Course Leader or module tutor if
you are unsure about any of these points. In particular, at an early
stage you should familiarise yourself with the conventions acceptable
within your course for using and referencing sources (such as book
22
and journal articles). Links to resources, which will help you follow
those conventions, are on the Postgraduate pages of the internet at
http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
Where an allegation of the use of Dishonest Means is proven, strict
penalties will be applied. At a minimum you will lose all credit for the
module concerned, but heavier penalties apply in certain cases. See
the University Regulations for Assessment for a full description of
penalties.
f. Alternative assessment arrangements
Except in the case of Disabled students, variations in assessment
arrangements from those which have been published (including timing
of examinations) can only be made in exceptional circumstances. Any
request from individuals for a variation in assessment arrangements
must be approved by a panel at Scheme level. A case with evidence
must be made in writing to the Head of Scheme.
9
TEACHING AND LEARNING
Academic tutors will be provided for all students along with academic
tutorial support.
Students will be required to manage their own practice with tutorial and
cohort support. Alongside teaching, there is an emphasis on
independent learning, personal responsibility, reflection and critical
evaluation, with the encouragement of shared participants' knowledge,
experience and perceptions. Teaching will be by means of individual
and group tutorials, seminars, lectures, study visits, a methodology
component, and through negotiated study agreements.
At the beginning of the course students will formulate a programme of
study, based on their initial proposal, through a negotiated study
agreement. The programme will be planned with the Course Leader
and appropriate subject specialists. At this stage (FT 410 and 411),
students will begin to develop their individual practice in conjunction
with research methods.
The Methods of Enquiry module, RM499(FT), will not only facilitate the
development of research skills, but also establish links between theory
and practice. This will be further underpinned by an integrated seminar
programme, which will address the variety of subjects that have
increasingly impinged on studio practice, such as philosophy, art
history, psychology, theory, and criticism. Students will be exposed to a
wide range of informed opinion and criticism in order to clarify their
ideas and extend their perceptions, ensuring that a high level of
intellectual and practical engagement is sustained.
23
In the following modules (FT 412, 413), once a strong direction has
been established, the student's central aim will be to develop a body of
creative work, generate ideas, and demonstrate an ability to engage
inventively in a chosen area of practice. This will be a period of
consolidation, where a student will work independently and critically,
building a contextual and critical framework. During the final stage (FT
444) the emphasis will be on the realisation of a body of resolved work,
substantiated through significant articulation and autonomy.
Learning will encompass a wide variety of methods of delivery, such
as:
Briefing: The imparting of information, when terms and parameters of
work to be carried out are laid before the students by the tutors.
Discussion: When issues for a number of topics are debated freely
between teaching staff and students.
Demonstration: The demonstration of a technique or safe use of
equipment by tutors, technicians, demonstrators, or visiting lecturer.
Lecture: The delivery of an ordered dissertation on a particular
subject. Slides or AV material may be used to illustrate points made.
A less formal Lecture is generally referred to as a Talk.
Seminar: The tutor-led exposition of specific opinion and information
to a group of students who then participate in a discussion. A studentled seminar, chaired by a tutor, is when a student presents either their
own work, or selected topic, and rationale for discussion with their peer
group. Seminar is also used as a term to describe a meeting to
exchange and discuss information.
Tutorial: The meeting between one or more tutors and one student,
who is called upon to explain and their work, and be prepared to
debate and accept critical views expressed, and to respond to advice
given in a responsible and appropriate way.
Review: The meeting between one or more tutors and one or more
students to review the work students have produced over a period of
time, to discuss and approve their plans for the immediate future.
Criticism: The act of analysing and evaluating an individual’s
completed work, with one or more tutors, either on their own or with an
interested group, it is intended to encourage each student to
understand and define the values inherent in their work and make an
evaluation of the degree of coherence and effectiveness that has been
attained.
Teaching: The day-to-day contact between tutors and students when
unprogrammed advice and information is given; providing the
opportunity for spontaneous discussion. It includes the general
supervision of a student's programme, progress, and tutorial contact.
Study Visits: Either an organised or informal visit to museums,
galleries, collections, or other appropriate venues.
Negotiated Study Agreement: Tailored to the particular needs of each
student, this is developed from the original proposal made on
application, in relation to existing resources. The content, methods and
outcomes are the responsibility of each student, in negotiation with
relevant staff.
24
Tutorials and seminars will be the primary forms of module delivery.
Students will be expected to enhance their critical, aesthetic and
creative skills. Student participation will be encouraged, and individual
presentations will be included in some modules. The emphasis will be
on enabling students to sustain, with their peers and a tutor, a
discursive level appropriate to MA level. They will be expected to utilise
electronic methods of information retrieval in preparation for seminars
and assignments. The taught elements of the course will be delivered
by tutorials, seminars and occasionally lectures. A large measure of
independent learning is usual at Masters level and the programme will
encourage a variety of modes of independent study, largely studiobased, but including Internet and other electronic resources.
Contact time for studio practice will be based on individual
supervisions. These tutorials will normally take place in each student's
studio, although part-time students may bring work to the University.
Seminar presentations will normally take place on the campus. The
Methods of Enquiry module will normally run on 12 evening sessions,
each lasting up to three hours.
The Methods of Enquiry module runs throughout the first semester of
study for both part-time and full-time students. This module establishes
the criteria used to distinguish the degree from the level of
undergraduate achievement as demarcated along lines of analytical,
conceptual and bibliographical sophistication. Students will be required
to demonstrate an ability to synthesise critical and theoretical
perspectives in their own work. They will need to show an awareness
of not only the interaction between practice and context, but an
understanding of the complex ways in which art can be positioned as a
part of wider cultural discourses. Students at this level will also be
expected to demonstrate an awareness both of the usefulness of
competing conceptual frameworks and of their limitations. They will
additionally be required to demonstrate an ability to research
knowledgeably, widely, variously, and independently, and to give
scholarly evidence, as well as bibliographical indication, of their course
of enquiry through appropriate and informed referencing, citation, and
quotation.
Learning outside contact time will centre on the University’s Information
Services provision within its Learning Centres. LIS provide library,
media, reprographic, design and information technology services
across the University. A team of around 100 people provide an
integrated, learner-oriented service through eight outlets on three major
sites. The team includes subject professionals, staff with specialist
expertise in information technology, printing, and other LIS resources,
together with assistants responsible for meeting user requirements on
a day-to-day basis. LIS support the teaching programmes, promote
student learning and facilitate research through the provision of
information, advice, staff training, materials, study space, and learning
resources. The Learning Centres in LIS hold half a million items across
25
three sites. Each site focuses on the subject areas appropriate to
courses and fields based at its campus. The Learning Centre at the
Pittville Campus, where the Course will be delivered, therefore holds
the majority of resources applicable to the MA. However, the Centres
are linked by an extensive network infrastructure, which also
encourages access to resources available elsewhere within LIS, and
via the Internet. On each of the sites, LIS manages clusters of
computers for staff and student use. Postgraduates studying on the MA
will be allowed 15 items, including a maximum of 2 reserve items, plus
they are entitled to 15 interlibrary loan requests per year up to a
maximum of 45 during the course. Learning Centres subscribes to
nearly 2000 journals.
In line with the PMS Handbook’s outline of Educational Objectives the
degree will enable students to achieve learning outcomes in the
following areas to a standard appropriate to postgraduate level:
knowledge and understanding; analysis and evaluation; synthesis and
creativity; planning and management of learning; communication and
presentation; psycho-motor skills.
These outcomes will be addressed and incorporated in the following
ways:

Knowledge and understanding: students will gain a significant depth
of knowledge of both art and its cultural and historical context. They
will widen their theoretical knowledge of aspects of art through an
understanding of critical and conceptual frameworks

Analysis and evaluation: as well as their ability to generalise,
theorise, and conceptualise productively, students will evidence
their ability to develop a level of analytical enquiry such as to allow
them to interrogate accepted methodologies and critical
perspectives. In parallel, they will demonstrate an ability to
articulate and evaluate the effectiveness and appropriateness of
selected critical and theoretical approaches

Synthesis and creativity: in achieving a practical realisation of their
ideas, students will demonstrate the ability to overcome constraints,
both technical and aesthetic, of art practice

Planning and management of learning: students should rapidly
become autonomous learners, fully apprised of learning resources
and how to deploy them; able to enlist the support of others,
including peers, tutors, practitioners and technical support staff, in
their self-directed study

Communication and presentation: students will hone their
communication skills through contribution to discussion and
seminars, formal presentations, participation in self-reflective
critiques of practical work; through the discipline of academic
26
writing, students should demonstrate a mastery of academic
conventions

Psycho-motor-skills: students should be able to demonstrate
technical mastery of a range of practical skills
The following core skills apply to the whole degree:




10
The development of advanced skills of analysis of art and its
production
The acquisition of skills of historical and contemporary
contextualization
An understanding of diverse theoretical approaches and their
implications
The ability to pursue sustained independent enquiry, with
supervisory support
COURSE COMMENTARY ON PERSONAL DEVELOPMENT
PLANNING
i) Introduction to Personal Development Planning
Opportunities related to PDP are introduced during the first two
compulsory taught modules, RM499 and FT410. The latter includes a
Negotiated Study Agreement, which builds on the outline proposal of
intentions forming part of the application to the course. The Study
Agreement provides the course team with an outline from each student
stating the main objectives of their work; their particular resource
needs; workshop needs; anticipated teaching requirements; booklist
and research sources; and an action plan. This enables the Course
Leader to assess the particular needs of each student on the course.
The resources and opportunities necessary for completion of the
course are fully explained at induction. The Agreement allows flexibility
as students progress through the course, describing an open,
discursive and exploratory path. It forms part of the delivery of
subsequent modules, FT411, FT412, FT413 and FT444, and is open to
revision in response to each student’s developing work and
requirements. Academic skills and capabilities are initially assessed
through RM499, which tests the ability to demonstrate critical
awareness of historical and contemporary debates in art and art theory,
in both written and oral form.
27
ii)
Opportunities for the development of academic skills which will
support the formal curriculum.
The identification and handling of scholarly and other sources is
explicitly embedded within the Methods of Enquiry module, RM499,
and FT413, Consolidation: Visual Enquiry/Rationale. Knowledge of
academic conventions also forms part of the requirements of these
modules, which include guidance on ethics and responsibilities.
Students have the opportunity to exhibit their work as part of the
assessment process in February and July, leading up to the final
presentation in October. Students gain insight into the processes
involved in exhibiting work, such as negotiating space and equipment
requirements and displaying work in a professional manner. Advanced
communication skills are developed through seminar presentations in
RM499, FT412 and FT413, where students have to demonstrate their
ability to present their work appropriately, whether it be by slides, OHP,
video, PowerPoint etc. The ability to evaluate both their own work and
that of their peers is an important component of the course. Students
are informed of open training opportunities for the improvement of ICT
skills, and are introduced to LIS facilities by the Senior Information
Officer at the beginning of the course. The planning and
implementation of programmes of research are embedded in both
theory and practice modules.
iii)Opportunities for the development of other skills and
capacities.
Students are encouraged to seek alternative venues outside the
University in order to enhance their professional skills, and many have
done so, from Open Studios to group and solo exhibitions either in the
immediate area or in London. This has included sponsorship
negotiations, printing invitations and flyers etc. Three students on the
course have gone on to PhD study. The development of practice in
particular focuses on the needs of each individual student, and their
ability to work independently and critically with regard to a particular
project. As research-active staff, members of the course team are able
to offer advice related to the personal ambitions of each student,
whether oriented towards theory or to practice-based developments
such as painting, print, video, or sculpture. Students are able to attend
research seminars and lectures from visiting artists, as well as
research student presentations.
28
iv)
Opportunities to reflect on learning and to evaluate
progress made towards achieving goals.
The Course utilizes both module and end-of-year student evaluations
to enable students to reflect upon their learning experience. The Study
Agreement also enables them to evaluate their progress, both on the
course and in a wider context. With relatively few students on the
course, it is possible to deliver regular personal advice on a one-to-one
basis. The assessment methods used on the programme enable
students to appreciate the variety and challenge of their own work in
terms of its content, methodology, standard and development. The
module feedback form, which includes a grid of grade descriptors,
enables students to reflect on progress in relation to each assignment.
11. SUPPORT FOR DISABLED STUDENTS
If you have a disability, medical condition or support requirement that
we may need to be aware of, you should discuss this in the first
instance with the University Disability Advisor who will advise the
Course of your needs. This will help us to protect your health and
safety, and ensure you have a full opportunity to engage in learning
and assessment. Areas of work where this could be an issue include
fieldwork, studio or lab work, and work which brings you in contact with
other institutions, as well as the usual class-based activities.
If your disability means that you are unable to be assessed through the
normal processes, assessment methods may be varied. To be
considered for alternative assessment arrangements you must give
notification of your disability (with evidence) to the Disability Advisor.
No alternative arrangements can be made unless directed by the
Disability Advisor, and no request for modification of the assessment
process can be considered unless accompanied by appropriate
certification.
12. COURSE MANAGEMENT AND EVALUATION
The Course Board of Studies is responsible for the development,
academic supervision, and efficient administration and management of
the Course. It is chaired by the Course Leader, and all module tutors
are members. The Course Board of Studies meets several times each
year.
Two student representatives sit on the Course Board of Studies. They
have an important role in feeding back opinions from their fellow
students to the teaching team. All modules are regularly and formally
evaluated by the students (usually employing a questionnaire survey or
similar method), and the student representatives will be invited to
contribute to, or comment on, the process and results of evaluation.
29
All the staff involved in assessment sit on the Course Board of
Examiners. This meets at the end of each semester to consider
modules completed that semester, and after Easter and in October to
deal with Semester Three modules and any Reassessment or Late
marks. Each Course has an External Examiner, who will be an expert
appointed from another institution. Occasionally, students might be
invited to contribute to an informal discussion with the External
Examiner who will be interested in discussing their experience of the
Course (this is not part of the assessment process).
The work of the Course Board of Examiners is confidential. It is
responsible, amongst other things, for agreeing the marks on modules.
The Course Board of Examiners reports to the Scheme Board of
Examiners, where decisions on final awards are made. The outcome
of the examination process will be reported to currently registered
students in transcripts, which are mailed out directly to students after
the Scheme Board of Examiners. Any marks on returned coursework
are provisional until approved by Boards of Examiners.
13. COMMUNICATIONS
The course team and student cohort is relatively small and that can
make communication easier but do remember that you can usually
contact any of the staff by e-mail and this is a useful way for you to
communicate with your fellow students. A notice-board for MA Fine Art
students is outside room EW006.
It is important to:
Check your University email account regularly. This will be used for
important notices from the University, Scheme and Course.

Check your data in Student Records on-line regularly.

notifying Corporate Services in writing of change of
address, withdrawal, deferral, change of name etc.
Most PMS-related documents and forms are on the internet at
http://resources.glos.ac.uk/currentstudents/postgraduate/index.cfm
and there are links to other key University documents here eg Student
Charter.
30
14 . RESOURCES
You can find advice, support and assistance with any issues you may
be facing in our Student Helpzones.
The Helpzone staff aim to answer your queries and solve your
problems no matter how large or small. For academic advice, help with
personal and welfare issues, information about any of the university's
other services or to find the answer to any other query you may have
please drop in to any Helpzone. Your can contact the Helpzones by
telephoning 01242 714444 or by emailing helpzonepittville@glos.ac.uk.
Student Helpzone Manager - Susana Franklyn
Student Helpzone Advisers - Luisa Jessup and Nicole Warfield
The shop at Pittville (next to main reception) sells a range of art and
photographic materials. The opening hours are listed on the door.
The photographic stores (in Media building atrium) take in transparency
and colour negative film for processing at reasonable costs, again
check times.
In addition to the Learning Centres, which are located on each campus,
the University has specialist help centres including the Student
Development Centre (including Disability Adviser), Careers
Management Centre, Open Study Centres and the International Office.
15. LECTURES, STUDY VISITS AND EXHIBITIONS
An advertised lecture programme of research seminars normally runs
on Thursday afternoons. It consists of lectures given by eminent
practising artists, critics and historians, as well as talks by staff about
their research. Additional events and lectures are posted on notice
boards, as well as details of exhibitions and competitions or
opportunities. Students are offered the opportunity to take part in BA
Fine Art and HTA study visits, but should also arrange their own
programme of visits as appropriate and as advised by their tutors.
Students are also expected to keep a personal record of visits made
and their responses to exhibitions etc.
Exhibitions on Site:
A programme of touring and other exhibitions in the main gallery
is organised by the Gallery Committee. The programme includes
opportunities for MA students to exhibit work including the final
exhibition. In addition, a number of other spaces are available for
exhibitions, installation, etc. (or simply for testing work), e.g. the
To-let Gallery, for which bookings can be made via Nat Goodden.
Students are encouraged to seek out other venues and
opportunities for placing their work in the public domain.
31
16. HEALTH AND SAFETY
Health and Safety laws and regulations are designed to protect
everyone and to create a safe working environment. The observation
of safe working practices is also regarded as central to your
professional development. You will be given specific information and
talks as they relate to you in your specialist area. If you are in any
doubt you should contact the relevant member of staff in the subject
area.
You should note that you are not allowed to use machinery or power
tools after the consumption of alcohol. Any breach of this rule is a
disciplinary matter.
See also the Health and Safety Guidelines in the Appendix.
First Aid
First Aid boxes are held by each member of the Fine Art technical
support staff, as well as in the painting, sculpture and printmaking
offices, Admin. Office, Campus office, and at other points around
campus. Many of the teaching and campus staff are first-aid trained —
ask if in need.
Fire Alarms
If a fire alarm rings while you are on campus, you must stop whatever it
is you are doing and gather at the nearest evacuation point. The only
exception to this is on Wednesday mornings at Pittville, when the fire
alarms are tested in short bursts ( a continuous ring means it’s for real).
Staff are responsible for ensuring these guidelines are applied, whether
for fire drill or an emergency.
Insurance and related matters
Students' Own Belongings The University accepts no liability for
students' own belongings. These should be covered by students' own
insurance where possible. (For a small additional premium, most
household insurers will include students' belongings at a temporary
address whilst away from the main home).
Loan of University equipment Any equipment (camera, computer etc.)
borrowed from the University is subject to £2,750 excess. Each person
borrowing such equipment must complete a 'loan of equipment form'
accepting full responsibility for the item. In the event of loss due to
negligence the borrower may be asked for a financial contribution
towards the cost of replacement. (Some insurers will add such items
onto students' own insurance policy where a written agreement exists
accepting responsibility for such items).
Use of own vehicle on University business When a student uses their
own vehicle for University business (either field trips, carrying passengers
to/from lectures etc between campuses, delivering equipment etc.) they
are not covered under the University insurance. Each individual must
32
ensure that they comply with the Road Traffic Act and effect the correct
insurance for their own vehicle. Where a vehicle is used on University
business each individual must declare this to their own insurers and add
'occasional business use' to their cover for their own protection in the
event of an accident to a third party.
University travel insurance All students must be covered for medical
expenses whilst travelling abroad. The University has a travel
insurance policy for anyone going on field trips, placements,
conferences; where the premiums are very reasonable. The policy is
restricted to University activities only (this would include a placement
year abroad). Please contact the Insurance Manager on 01242
714166 (internal 4166) to arrange cover. Each person using the travel
insurance must pay the appropriate premium to the University.
33
MA Fine Art Programme Specification
1. Awarding Institution/Body
2. Teaching Institution
3. Recognition by Professional
Body.
4. Final award and level of
qualification
5. Modular Scheme or other
6. Programme title (name on
certificate)
7. UCAS code
8. JACS code
9. QAA subject benchmark
statement(s) where relevant
10. Date of initial validation
11. Date of revision
University of Gloucestershire
University of Gloucestershire
MA
PMS
MA Fine Art
N.A.
N.A.
Art & Design
1996
September 2009
12. External and Internal reference points
nb: There are only eight Master’s level benchmark statements currently
available and none in Art & Design. The specifications below refer to the
FHEQ ‘level 7’ and FQ-EHEA ‘second cycle’ qualification descriptors. ‘In
areas where there is no benchmark statement, or where more than one such
statement may be relevant, the statements of generic outcomes contained in
the qualification descriptors provide a particularly important point of
reference.’ (FHEQ n53, p26). Subject-specific course descriptors have been
cross-referenced with FHEQ ‘level 6’ as a base guideline only.
The educational aims and outcomes of the programme have been written with
reference to the following reference points.
12a) EXTERNAL
the Framework for Higher Education Qualifications (FHEQ) August 2008;
the QAA Benchmark statement (Art & Design) 2008;
FQ-EHEA ‘Dublin descriptors’;
Further details for the above are available at the relevant website(s):
http://www.qaa.ac.uk/academicinfrastructure/FHEQ/EWNI/default.asp;
http://www.qaa.ac.uk/academicinfrastructure/benchmark/masters/default.asp
www.bologna- bergen2005.no/Docs/00-Main_doc/050218_QF_EHEA.pdf
12b) INTERNAL
University of Gloucestershire PMS regulations;
University of Gloucestershire TLA policy including PDP and Skills;
Further details for the above are available at the University website
13. Main educational aims of the programme
The main educational aims of MA Fine Art are to provide you, the student, with
opportunities to:
34
develop awareness of the processes involved in studio practice and to relate
this awareness to an understanding of the work’s wider context through
critical and theoretical discourse (A&D 4.2,4.3)
develop intellectual enquiry, conceptual clarity, innovation, and a high level of
practical and technical ability (A&D 4.2, 4.3)
develop and enhance understanding of various methods of research and
enquiry (A&D 4.2, 4.3)
apply and develop a challenging critical response to studio practice and its
integral theoretical discourse (A&D 4.2, 4.3)
examine in depth the context within which work is produced and to
consolidate an area of practice (A&D 4.2, 4.3)
present and realise significant competence and autonomy in the chosen field
of study (A&D 4.2, 4.3)
demonstrate and ability to work independently and critically (A&D 4.2, 4.3)
sustain an awareness of research methodologies and alternative
perspectives (A&D 4.2, 4.3)
14. Programme outcomes – the programme provides opportunities for you, the
student, to achieve and demonstrate the following learning outcomes:
14a) Knowledge and understanding of:
1. A range of approaches and methods used in analysing art and its
production (A&D 4.2, 4.3, 4.4)
2. The various historical and contemporary debates in art and art
theory (A&D 4.2, 4.3, 4.4)
3. The relationship between studio practice, research and analysis, and
content and context (A&D 4.2, 4.3, 4.4)
14b) Intellectual/ thinking skills – able to:
4. understand and be able to apply a range of approaches and methods
used in analysing art and its production (A&D 4.2, 4.3, 4.4)
5. demonstrate the ability to produce an evidenced discussion or
presentation of a critical theme (A&D 4.2, 4.3, 4.4)
6. reflect on and critically locate art practice within the world of ideas
(A&D 4.2, 4.3, 4.4)
7. show familiarity with a number of theoretical debates and be capable of
conceptualising them in relation to practice (A&D 4.2, 4.3, 4.4)
8. formulate reasoned responses to the critical judgement of others (A&D
4.2, 4.3, 4.6)
9. re-focus and evaluate an individual enquiry through reference to new
knowledge and experience gained (A&D 4.2, 4.3, 4.4)
10. relate experiences by establishing links with relevant theoretical
discourses (A&D 4.2, 4.3, 4.4)
11. demonstrate critical awareness of progress and an ability to provide a
rationale for the work (A&D 4.2, 4.3, 4.4)
12. achieve a body of resolved work in a chosen area of investigation,
which demonstrates a synthesis of knowledge, invention, skill and
experience, and shows progression and resolution (A&D 4.2, 4.3, 4.4)
35
13. demonstrate articulation of new levels of discourse and the ability to
assimilate and synthesise ideas (A&D 4.2, 4.3, 4.4)
13a. analyse information and experiences, formulate independent
judgements, and articulate reasoned arguments through reflection,
review and evaluation (A&D 4.6)
14c) Subject specific /Practical and professional skills – able to:
14. develop a critical awareness of historical and contemporary debates in
art and art theory particularly where these affect the production and
reception of art work (A&D 4.2, 4.3, 4.4)
15. demonstrate knowledge and awareness of both current and past
debates applied to the areas of theory and practice (A&D 4.2, 4.3, 4.4)
16. understand ideological frameworks and contexts affecting art and its
production (A&D 4.2, 4.3, 4.4)
17. demonstrate an ability to engage inventively in their chosen arena of
practice (A&D 4.2, 4.3, 4.4)
18. develop an awareness of the different contexts in which art is made
and the theories to which it may relate (A&D 4.2, 4.3, 4.4)
19. demonstrate a convergence of practical and theoretical concerns (A&D
4.2, 4.3, 4.4)
20. develop and sustain a high level of professional practice (A&D 4.2, 4.3)
21. thoroughly demonstrate an understanding of the relationship of theory
and practice (A&D 4.2, 4.3, 4.4, 4.6)
22. demonstrate an understanding of art practice in both intention and
resolution (A&D 4.2, 4.3, 4.4, 4.6)
22a. demonstrate awareness of the implications and potential presented
by the key developments in current and emerging media and
technologies, and in interdisciplinary approaches to contemporary practice
in art and design (4.4)
22b. develop an awareness of the artist’s relationship with audiences,
clients, markets, users, consumers, participants, co-workers ands cocreators (4.4)
14d) Transferable/key skills – able to:
23. sustain an in-depth enquiry and demonstrate critical engagement with
the subject, awareness of methodology and alternative perspectives
(A&D 4.2, 4.3, 4.4)
24. apply independent research skills to theoretical study and art practice,
including bibliographic searches and field work (A&D 4.2, 4.3, 4.4)
25. debate and defend an argument in verbal and written contexts (A&D
4.2, 4.3, 4.4, 4.6)
26. understand the importance and use of evidence (A&D 4.2, 4.3, 4.4)
27. research a given project independently, using a range of appropriate
resources (A&D 4.2, 4.3, 4.4, 4.6)
28. understand ideological frameworks and contexts affecting art and its
production (A&D 4.2, 4.3, 4.4)
29. identify technical and academic resource needs (A&D 4.2, 4.3, 4.4)
30. impart specialist information, and promote technical excellence and
dexterity, including sound and safe working practices (A&D 4.2, 4.3,
4.4)
36
31. promote personal initiatives and self-discipline in working practice
(A&D 4.2, 4.3, 4.4)
32. develop a body of creative work which demonstrates the ability to
generate and develop personal ideas (A&D 4.2, 4.3, 4.4)
33. demonstrate an ability to work independently and critically (A&D 4.2,
4.3, 4.6)
34. demonstrate an awareness and grasp of other points of view, and an
ability to debate issues, through group discussion (A&D 4.2, 4.6)
35. source, navigate, select, retrieve, evaluate, manipulate and manage
information from a variety of sources (A&D 4.6)
36. select and employ communication and information technologies (A&D
4.6)
37. anticipate and accommodate change, and work within contexts of
ambiguity, uncertainty and unfamiliarity
15. Teaching, learning and assessment – the teaching, learning and
assessment strategies and methods used in the programme to enable learning
outcomes to be achieved and demonstrated by you, the student.
15a) Teaching and learning methods
Knowledge and understanding (1-3) is acquired via lectures, seminars,
tutorials, study visits, demonstrations, study agreements and independent
study.
Intellectual skills (4-13) are promoted and delivered via lectures, seminars,
tutorials, study visits, demonstrations, study agreements and independent study.
There is peer group interaction in the form of seminars.
Subject specific skills (14-22) are acquired via lectures, seminars, tutorials,
study visits, demonstrations, study agreements and independent study.
Transferable/key skills (23-37) are provided by lectures, seminars, tutorials,
study visits, demonstrations, study agreements and independent study. Oral
and communication skills are developed in both theory and studio modules.
15b) Assessment
Work is assessed through presentation of a body of work or documented
practice, in the form of either an exhibition or appropriate alternative exposition,
including supporting material such as notebooks, plus essays and seminar
papers.
37
16. Current Programme Map
Code and Title
CAT
Points
Study Period
FT410: Visual Enquiry: Methods
20
SEM1
FT411: Studio Practice: Independent Study
20
SEM1/SEM2
FT412: Studio Practice: Development
Prerequisites: Pass FT410
20
SEM2
FT413: Consolidation: Visual Enquiry: Rationale
Prerequisites: Pass FT411, and FT412
40
SEM2
FT444: Theory And Practice: Realisation
60
YEAR
RM499(FT): Methods Of Enquiry
20
SEM1
17. Programme Overview
The programme is offered in the following modes of study: Full-time or Part-Time
Staged awards are available within this programme of study, see section 4.
Students may enter, interrupt or leave a programme at the end of each Level.
The language of study is English.
17a) Structure, key features and modules
This section of the programme specification should be read with reference to
section 16, the programme map. Modules may be compulsory, core or optional
and may have specific pre-requisites.
The programme provides a Master’s level education for graduates of
appropriate disciplines who wish to develop their education with more depth
and focus. It provides the opportunity for a more specialised study of Fine Art
than is available at undergraduate level, thereby meeting the needs of
students who wish to continue or return to higher education at the Masters
level. For those graduates who take the MA as a means of progress to a
research degree, the programme provides the skills and intellectual
challenges that are the pre-condition for an MPhil or PhD.
The essential elements of this MA are for each student to develop their studio
practice, to underpin this development with a sound theoretical framework, so
that practice and theory become interdependent, and to be able to relate this
development to the contemporary and historical context of art.
The factors which normally demonstrate the requirement from each student in
order to pass through each stage of the course are as follows:Postgraduate Certificate (awarded to a student on the successful completion
60 credits):
Acquiring through the introductory part of the course sufficient foundation in
both studio and critical studies, to demonstrate the potential for further
progression; embarking on a programme of practical work; becoming familiar
with various methods of research and enquiry; and developing and enhancing
these abilities.
Postgraduate Diploma (awarded on the successful completion of 120 credits):
38
Applying and developing a challenging response to studio practice and its
integral theoretical discourse; examining in depth the context within which
work is produced and consolidating an area of practice.
M.A. Degree (awarded on the successful completion of 180 credits):
Presenting and realising significant competence and autonomy in the chosen
field of study, substantiated through focused outcomes and demonstrated by
an articulate debate showing contextual understanding and critical
awareness.
Introduction to Personal Development Planning
Opportunities related to PDP are introduced during the first two compulsory
taught modules, RM499 and FT410. The latter includes a Negotiated Study
Agreement, which builds on the outline proposal of intentions forming part of
the application to the course. The Study Agreement provides the course team
with an outline from each student stating the main objectives of their work;
their particular resource needs; workshop needs; anticipated teaching
requirements; booklist and research sources; and an action plan. This
enables the Course Leader to assess the particular needs of each student on
the course. The resources and opportunities necessary for completion of the
course are fully explained at induction. The Agreement allows flexibility as
students progress through the course, describing an open, discursive and
exploratory path. It forms part of the delivery of subsequent modules, FT411,
FT412, FT413 and FT444, and is open to revision in response to each
student’s developing work and requirements. Academic skills and capabilities
are initially assessed through RM499, which tests the ability to demonstrate
critical awareness of historical and contemporary debates in art and art
theory, in both written and oral form.
17b) Credit and award requirements
The programme is offered in full-time and part-time mode. Students may
enter, or interrupt and leave a programme at the end of each level
Stage 1 – Postgraduate Certificate (awarded on the successful completion of
3 modules – 60 CAT points – including RM499(FT) Methods of Enquiry and
FT410 Visual Enquiry: Methods).
Stage 2 – Postgraduate Diploma (awarded on the successful completion of 6
modules – 120 CAT points – including FT412 Studio Practice Development
and FT413 Visual Enquiry: Consolidation/Rationale).
Stage 3 – MA (awarded on the successful completion of 8 modules – 180
CAT points – including FT444 Theory and Practice: Realisation).
With regard to FT411 Studio Practice: Independent Study, students are able to
take alternative modules from the postgraduate scheme following consultation
with the Course Leader.
18. Additional information
Further information on Assessment; Quality Assurance including Evaluation;
Disability and Learning support provision; Criteria for Admission/Recruitment and
Careers can be found at the University website.
The National Recognition Information Centre (NARIC) provides details of
comparative information on all Higher Education programmes.
39
School of Media, Art and Communications
Name:
Module:
Module Feedback Form
Proposed mark and grade:
(Theory)
Tutor’s name/s:
The following grade outline indicates how we arrived at your final mark. The module plan contains the assessment procedures represented in this form.
100 - 80
Outstanding
A+
Everything in the
excellent category but
with a capacity for
original thought.
Everything in the
excellent category but
with outstanding
construction.
Everything in the
excellent category but
with a capacity to
relate the topic to
other relevant
debates.
Outstanding use of
English.
79 - 70
Excellent
A
Comprehensive grasp
of the question/task,
and all the issues
involved.
Clear structure.
Convincingly
sustained argument.
69 – 60
Very Good
B
Well focused on the
question/task. Sound
grasp of all the key
issues.
Sound organisation and
well structured
argument.
59 – 50
Good
C
Demonstrates a
grasp of the
question/task.
49 – 40
Adequate
D
Superficial
understanding of the
question/task
39 – 30
Referred
R
Failure to
engage with the
question/task.
29 – 0
Fail
F
Very little relevant
information.
Material shows
shape and
coherence.
Weak organization
and structure.
Lacks any sense of
coherence.
Detailed and accurate
knowledge of the
subject. In depth
understanding of
scholarly and critical
issues.
Excellent use of
English.
Capacity to engage with
the material and the
issues underlying the
question.
Evidence of
reading and ability
to digest
recommended
texts.
Adequate content.
Material is partly
relevant.
Poor
organisation.
Unsatisfactory
structure.
Misunderstandin
g of issues
involved. Lack
of content and
structure.
Good use of English.
Acceptable use of
English.
Poor use of
English.
Inarticulate
Use of sources
presentation (Primary
and Secondary)
Footnoting and
Bibliography
Outstanding, wide
reading referencing,
bibliography and use
of sources.
Good use of primary and
secondary sources.
Substantial bibliography.
Accurate footnoting.
Total lack of relevant
material. No
footnoting.
Everything in the
excellent category but
with a conclusion that
fully engages with
wider scholarly
opinion.
Shows evidence of
reading and an
ability to digest
recommended
texts. Adequate
footnoting.
Assignment lacks
depth of analysis
and is largely
based on
secondary material.
Satisfactory
conclusion.
Inadequate and
no evidence of
reading.
Footnoting
unsatisfactory.
Evaluation/Independe
nt Judgement
Wide reading. Full
range of sources.
Wide bibliographical
material. Careful,
accurate and detailed
footnotes.
Capacity to look at
issues from several
standpoints.
Accurate, incisive
conclusion drawn
from the substance of
the essay.
Limited use of
grammar and weak
use of English.
Based on limited
range of texts. Poor
footnoting.
Weak conclusion with
insufficient analysis.
Lacks a
conclusion.
Inability to
summarise the
basic material in
the assignment.
No relevant or
appropriate
conclusions drawn.
CRITERIA
Topic/Question
addresses the
question/task set
Structure/argument
Knowledge and
understanding of the
issues
Use of English
Ability to engage with
different perspectives.
Sound and clear
conclusion based on the
text.
Comments on assessment::
40
Fails to address any
of the central issues
School of Media, Art and Communications
Name of Student:
Module:
Module Feedback Form
(Practice)
Tutor’s Name/s:
Proposed Mark and Grade:
The following grade outline indicates how we arrived at your final mark. The module plan contains the assessment procedures represented in this form.
CRITERIA
Knowledge and
understanding
Acquisition and
application of skills
appropriate to the
work
Research and enquiry
100 - 80
Outstanding
A+
Excellent, but with
innovative and
original elements
79 - 70
Excellent
A
Comprehensive
understanding of
issues with excellent
critical awareness
69 – 60
Very Good
B
Very sound
understanding of
conceptual and
contextual issues
59 – 50
Good
C
Good extension
development and
synthesis of
relevant issues
Extremely high level
of skills on all levels
Completely focused
with excellent
execution and
presentation
Shows depth of
investigation and
critical awareness
Very good discrimination
and judgement and
appropriate in its
application
Demonstrates clarity
and discrimination
Good level of
manipulative skills
Clarity of purpose with
fully-realised ideas
Ability to assimilate and
develop ideas
Shows strong
resourcefulness and
initiative
Fully engaged with the
work
Realisation of ideas
and resolution of
work
Detailed breadth and
depth of knowledge
with wide
understanding
Outstanding
articulation and
resolution of ideas
Working to agreed
professional
standards
Working to the
highest professional
standards
Comments on Assessment:
41
49 – 40
Satisfactory
D
Satisfactory
understanding of
issues raised but with
limited assimilation of
knowledge
Competent level of
skills shown
39 – 30
Referred
R
Unsatisfactory
extension
development
and synthesis of
ideas
Inadequate use
of skills
29 – 0
Fail
F
Fails to address any
of the relevant issues
Awareness of
appropriate
research but lacks
depth in analysis
Acceptable
development and
critical awareness
Satisfactory
understanding of
research necessary
Unsatisfactory
level of enquiry
Little or no evidence
of review or
development
Limited resolution of
work
Failure to
critically engage
with ideas
Unsatisfactory
articulation of ideas
Good working
routine
Satisfactory
engagement with the
subject
Poor
working routine
Unsatisfactory
commitment
Lacks evidence of
skill
C) HEALTH AND SAFETY GUIDELINES
1. Ensure appropriate FIRE EXTINGUISHERS are in place:
RED for combustible material
BLUE for burning liquids
BLACK for electrical fires
2. Ensure that exhibitors are aware of the location of electricity supply CIRCUIT
BREAKERS/FUSE BOX in case it becomes necessary to 'cut' power, i.e. in the
event of a person being electrocuted or in the event of fire.
3. Ensure all exhibitors are aware of the location of the nearest TELEPHONE
POINT should the emergency services be required.
4. Ensure all fabrics used near lighting or electrical equipment are FIREPROOFED.
5. Ensure that any ELECTRICAL CABLES are secured and if running along
the floor are covered with RUBBER WALKOVER.
6. Ensure that power extension CABLES DO NOT EXCEED 12 METRES in
length from the 'serving' socket (i.e. wall socket outlet).
7. Ensure that all users are aware of the location of the FIRST AID BOX. This
should be clearly visible and labelled. If the box is used, complete an Accident
Report form - copies in the First Aid box.
8.
Ensure that the policy of NO SMOKING, DRINKING OR CONSUMPTION
OF FOOD in the exhibition space is adhered to.
9.
Be vigilant at all times as to the conduct of the public; ensure that the
actions of any persons DO NOT ENDANGER THE SAFETY OF OTHER
PERSONS.
10. Ensure that all exhibitors know and can advise the location of the nearest
DRINKING WATER TAP and TOILET FACILITIES.
11.
Ensure that KETTLES AND HEATERS ARE PROHIBITED from use in
the exhibition spaces.
12.
Ensure that there is SAFE ACCESS to all areas for DISABLED
PERSONS.
13. Ensure that the NUMBER OF PERSONS entering the exhibition space
DOES NOT IMPEDE EVACUATION IN AN EMERGENCY.
14. Ensure (as far as is reasonably practicable) that all possibility of
tripping and possible injury from the exhibits is eliminated.
42
slipping,
EXHIBITION CHECKLIST: Rubber Walkovers
Transformer for external electrical
earth
Fire extinguishers
First Aid Box
Fire Proofing Material
Red/white barrier tape
Posts and cord/hemp for cordoning exhibits
work/110v centre pole
D) WORK REQUIRING FORMAL NEGOTIATION
• Work raising potential health and safety issues
• Work entailing physical adjustments to University buildings and sites
• Work involving individuals not accredited to University of Glos.
• Work undertaken on private or public property for which owner’s
(or that of statutory bodies) may be needed
approval
• Work that may invite legal attention
As a responsible artist you are also part of a University community that is bound
by formal regulations as well as by conventionally-accepted codes of behaviour.
All University premises are Health and Safety environments — meaning that
there are legal guidelines that need observing. Additionally, as a student of the
University, any work done off-campus as part of your course requires the same
responsibility to yourself and to others as work done on campus.
Looked at this way, the University acts as a reasonably accurate model of many
other institutions you are likely to find yourself working with as a professional
artist after graduation — studio-provision organisations, galleries and other
exhibition spaces, performance venues etc. The common-sense managementof-your-work issues that arise naturally with organisations like these will also
apply to more temporary, impromptu or unofficial situations — except that in
these cases it will be even more up to you to take responsibility for ensuring that
your work won’t damage anyone’s health (including your own), that your projects
won’t incur the costly wrath of displeased landlords and others, and that you
don’t become an artistic outcast or incur legal liability out of thoughtlessness or
naïvety in your dealings with people you’d like to keep on your side.
We aim to help you acquire a fully professional education. Professional, as in
knowing how to achieve exactly what you want to achieve, without
compromising your ideas, the normal rights of others, or your entitlement to be
treated as a reasonable human being.
43
Towards this, as a student on this course, you are expected to do the following:
• Recognise that Health and Safety issues are raised as much by human–
human interactions as by human–material interactions:
•
Raise any of the issues outlined above with your tutor if you think they
may arise through your work, and do this before proceeding with the
work:
• Agree with your tutor/course -leader exactly what needs addressing:
• Ask if you are unsure:
•
Complete the study-agreement pro-forma overleaf (with a tutor’s advice)
then get your course-leader to countersign:
• And recognise that if you go ahead without full consultation, you alone will
be held responsible for all consequences (you may also risk forfeiting your
rights as a student here).
1 NAME:
2 BRIEF DESCRIPTION OF PROPOSED WORK (attach sheet if required):
3 PLEASE TICK ISSUES YOU THINK MAY NEED NEGOTIATION:
• Health and safety issues
• Physical adjustment to college premises
• People not accredited to University of Gloucestershire
• Off-campus site needing external authorisation
• Possible legal issues
• Any other issues
4
IN RESPECT OF THE ABOVE, WHAT NEGOTIATIONS/PLANNING
HAVE YOU ALREADY UNDERTAKEN?
44
STUDY AGREEMENT (to be drawn up with tutor and/or course leader):
Agreed preparatory work:
Further meeting with tutor required before realisation of work?
YES / NO
signed (student): ..................................................... date:
signed (course-leader): .............................................
Course-Leader to confirm here when project satisfactorily completed:
signed (M.A. Course Leader)..............................................
COPY TO BE KEPT IN STUDENT’S FILE IN ARTS OFFICE
45