In Studio Foundation 1 you will experience a variety of Image, Object, and Screen processes. Through these 2, 3, and 4 Dimensional projects you will engage with content particular to each field of enquiry. This is designed to develop your creative engagement, conceptual understanding, and problem solving skills within a studio environment.

Studio Foundation 2 continues your investigation of 2, 3, and 4 Dimensional fields of enquiry and culminates in a final X Dimensional (Interdisciplinary) project. Here, you will build on the skills and thinking developed throughout the year and deepen your understanding of Contemporary Art by merging modes of studio practice.

In Studio 1 you will engage intensively with one area of emphasis by choosing assessment tasks in Ceramics, Glass, Jewellery, Painting, Photography, Printmedia, Sculpture or Screen Arts. You will develop specialist skills and deepen your critical and conceptual competencies through structured feedback and the support of Production workshops.

In Studio 2 you will continue to engage intensively with one area of emphasis with growing independence. Through self-directed projects in Ceramics, Glass, Jewellery, Painting, Photography, Printmedia, Sculpture or Screen Arts you will further develop your specialised studio skills and theoretical and conceptual competencies.

In Studio 3 you will produce a body of work that is conceptually, technically and aesthetically of exhibition quality that also demonstrates a rigorous process of research analysis and critical awareness. Outcomes produced at the 2000 level can act as a starting point for this unit's self-directed project or you may take an entirely new direction. engagement with a critical context relevant to your professional practice. Reflective of an emerging art practice you will seek to make a significant contribution to innovation regarding the production and realisation of your work.

In Studio 4 you will produce a body of work for the graduate exhibition. You are expected to refine your skills to produce final outcomes that demonstrate a rigorous process of research, analysis and critical awareness. This is designed to prepare you for professional life, independent art practice and/or postgraduate study.

Taking a diverse, global view of art making from the Ancient to the Modern world, ARHT1001 will introduce students to key philosophical and methodological approaches in the field of Art History. As our experiences are increasingly mediated through a variety of visual platforms, this course will help students develop critical perspectives on visual communication. The development of professional skill sets will be a key focus. As such, the course serves as an essential introduction to Art History for those considering a career in the arts, education, or the museum and design sectors.

Art shapes our cities, streets, galleries, phones and minds. It is now made with every conceivable material, and sometimes none at all. It shocks, challenges, soothes, entertains, engrosses and overwhelms us. This unit charts the history of Modern and Contemporary Art across the world, as it is shaped by and shapes society, politics and environment. It shows current concerns in art , with materials, landscape, self-image, politics, and the body are grounded in a century of global experiment

At the great courts of the seventeenth century, artists painted, sculpted and built vast programs of works to completely overwhelm the senses. Grand pavilions and gardens, sumptuous clothes and décor, and extravagant spectacles drew audiences into a world shaped by artifice and etiquette. This course will consider why the artist was an essential ally for those with absolutist ambitions.

This unit studies the interplay between high art and popular culture in America from the 1950s onwards. Pop Art, Minimalism and Performance formed alongside emerging youth cultures of political protest, drugs and rock music. We examine the interactions of high art, youth culture and mass media.

The Unit of Study will explore a range of alternative approaches to some of the most famous works of art in the Western tradition, including works by Leonardo, Raphael, Michelangelo and Titian. Topics to be investigated include: problems of definition in High Renaissance and Mannerist art; Rome under Julius II and the creation of an imperial capital; Venetian visual poesie; art and dynastic display in Medicean Florence; civic ritual and public space; eroticism and mythology at princely courts; portraiture and gender.

This unit treats French Art in terms of the cultural structures that allowed academic art, Realism, Impressionism and Post-Impressionism to emerge. Mainstream art is studied alongside emerging avant-gardes. Other topics include nationalism, exoticism, and peripheral versus metropolitan modernism.

What is contemporary art? Today we encounter art on our phones, in the street, at festivals, in the natural environment as well as in galleries. We explore art's expanded field from a global perspective. Themes include the art of de-colonisation, globalization, art and environment, feminism and queer art, traditional and new media, art as spectacle, art curating, aesthetic value, art and the everyday. We spend time at the Biennale of Sydney, explore university collections and city galleries, adding our voices to current art debate.

This unit examines Australian art, cinema and popular imagery from 1880-1940, situating them within the global history of modernism and modernity. Themes include the landscape tradition, national identity, war, gender, and indigenous issues, with special focus on the Australian film industry.

Aboriginal and Torres Strait art is the major Australian movement of the last 50 years. Surveying its development from Papunya Tula to the present, the unit focuses on critical issues like appropriation and copyright, art and native title, women artists, the market and curatorial practices.

This unit explores contemporary art from across Asia since World War II. The unit places artistic developments, curatorial practice, and artworks within the context of rapid geo-political and socio-cultural change, particularly exploring the effects of nationalism and globalisation.

This unit explores the art, architecture and material culture of dynastic China (ca. 3000 BCE-1900), contextualizing works within the region's diverse social, political and cultural histories. The unit foregrounds focused interpretation of individual works through visual and material analysis.

This unit examines art and the culture of travel from a post-colonial perspective. The work of European Orientalists will be analysed alongside work by North African, Persian and Ottoman artists and in conjunction with photography, international exhibitions, travel literature and film

This unit offers an introduction to the study of dress through the discussion of major theories and methodologies that inform current scholarship in the field. With a focus on designers, wearers, and cultural practices of dressing the body, the unit will question how dress communicates as a form of visual expression.

Working in partnership with leading museums, this unit introduces students to object-based learning, and the study of artworks in situ. Driven by hands-on learning experiences, students will develop a core set of analytical and professional skills through the close examination of artworks as material and physical objects.

This unit studies contemporary and historical artists in relation to today's environmental crisis. Students
engage with how art objects and artmaking relate to issues pertaining to nature, ecology, and the
environment. Through visual and textual analysis, students gain interdisciplinary perspectives on art's place within contemporary posthumanist theories, the significance of ecological thinking to contemporary aesthetics, art's historical response to the impact of science and technology, and art's recognition of the importance of Indigenous knowledges to planetary ethics.

Students study contemporary and historical art in relation to collective or public memory, as well as personal memory. Memory as a subject, and memory as a tool, are considered in relation to the making of art objects and their reading. The unit looks at art's connection with the past, with history, trauma, loss and remembrance, as well as art's connection with identity, dreams, and childhood. Students gain informed perspectives on how memory is theorised as a phenomenon both real and imaginary, and why it memory often judged as more important to art than history.

We survey the complex arts, architecture and material culture of the Islamic world and explore critical debates that help us relate different traditions that encompass this broad category of visual culture. We introduce important global, transcultural, and transregional currents in art history through an object-oriented approach to teaching that includes the on-site study of gallery and museum collections.

Examining cinema as a manifestation of modernity, this unit of study contextualizes early film as art, commodity, industry, institution and mass production of the senses. It introduces students to the study of the history and aesthetics of silent cinema, including major genres such as melodrama and slapstick, and the impacts of the transition to sound.

This unit investigates art produced in Italy during the 14th century for a range of patrons, from bankers and merchants to kings, princes, city states and new religious orders like the Franciscans. Traditional narratives are critiqued and alternative interpretations encouraged.

This unit critically analyses the role of the visual arts in mediating the experience of urbanism in 19th-century Britain and its function across a global Empire. We undertake an in-depth study of the rich holdings of this art at the Art Gallery of New South Wales.

What are the current debates and issues driving Australian art and film? We explore contemporary studio practices through screenings, on-site gallery visits and the study of works in university and other local art and film collections.

This unit explores the diversity of Indigenous art practice and its inclusion within the fields of contemporary art. Through in-death visual analysis of individual artists and art producing communities, the unit will consider distinct Indigenous art practices and relate them to issues of cultural and political sovereignty, colonisation, land rights and representation. Problematising the historical and contemporary reception of Indigenous art, we aim to understand the Indigenous systems of value that shape the creation and circulation of Indigenous art.

This unit investigates key debates about the visual culture of East Asia in the early modern and modern eras. The impact of profound political and social changes on cultural identity will be explored in depth. We also consider the role of art in addressing evolving identities and increasing globalisation in the region.

This unit will draw on a wide range of photographic material, including university and museum collections, to examine the pivotal role of photography in recording and shaping our image-culture across diverse global contexts. The unit will engage with key debates to examine the social, cultural, theoretical, historical and art practice contexts of the photograph as an image and as an object. Key theories from Walter Benjamin to Hito Steyerl will be used to interrogate themes of memory, documentary and the real, witnessing, conflict, gender and sexuality, decolonisation, and the digital.

This unit investigates issues of gender and sexuality in art, visual culture and art history in modern and contemporary Asia from the 19th century to the present. Students will explore women- and/or queer-centred histories of the production and reception of art, and the rise of feminist and queer art and art history in parts of Asia.

This Senior Fieldwork unit takes students out of the classrooms and into major world cities to explore not only the history of architecture and public space but also the galleries, collections and artworks housed in the city. It offers a vital opportunity for students to learn with and from artworks, buildings, spaces and monuments in situ.

Students study contemporary and historical art made in response to the ebb and flow of daily life and the material conditions of the street, the city, and the home. They study key texts of the art and politics of the everyday and topics related to the nineteenth, twentieth and twenty-first century theory and practice. Students will focus on artists who heighten awareness of the banal and mundane, of the detritus of life, of gendered distinctions between home and city, and the paradoxical revelation of the marvelous in the everyday.

This unit explores the art of Old Regime Europe, C. 1600-1789, through intensive study of objects from the period in local collections. Students will use their encounter with artworks in situ and up close to examine how art engages the power structures, ideologies, habits and daily lives of the courts and cities of eighteenth-century Europe.

This unit brings students into sustained contact with objects in the CCW Museum and challenges students to research and curate them. It is designed to build and test the key skills of art historians 'in the world' -from basic analysis of materials and techniques to complex questions of cultural meaning- by analyzing objects and the challenges they pose.

What is cinema in the twenty-first century? Where do we locate the essence of a medium that has undergone such a radical transformation? This course examines the intersection of film, digital cinema, and new media platforms such as YouTube, mobile cinemas, and virtual reality technologies. Where many have spoken of the death of cinema in a digital era, we will conceptualise the complexity of cinema's evolution from its earliest celluloid incarnation to the technologies of digital simulation.

This unit of study introduces you to the conceptual frameworks and technologies that shape the making of screen-based media and contemporary art practices. Through a series of lectures, seminars, tutorials and screenings you will explore the evolution of experimental film, video art and independent filmmaking from the 1960s to the present. You will engage in the production of a self-directed digital film that may be realized in any style or genre. The unit is supported by a technical program that provides you with the applied skills and competencies needed for the use of studio facilities and equipment.

This unit of study approaches sound in the broadest sense as it crosses barriers through physical and cultural space, and exists as a force in the world. In this unit, you will undertake a studio-based approach to the production of sound art works, including sound objects, instruments, sonic sculpture, sound installation, performance and new ways of working with sound. The unit begins with the physicality of sound and music physics. You will listen to sonic phenomena, materials, forms and existing sound works. This unit will be conducted in an open studio framework including a variety of workshops, sound studios and digital labs.

This unit of study introduces the principles of black and white photography via the 35mm camera and the darkroom. You explore alternative documentary photography strategies by challenging the role of the camera to simply observe and capture. You experiment with the genres of reportage, street photography and conventional documentary practices, and are encouraged to take an interventionist approach to the urban environment. You are introduced to the 35 mm manual SLR camera, black and white film processing, dark room printing, film exposure and photographic print enlargement.

From Piet Mondrian to Albert Oehlen, artists have been influenced by music. This has had both direct and sublimated effects on the development of the techniques and styles of painting. From seriality to polyrhythms, synchronicity between painting and music has been a constant for a century now. Abstraction has especially taken its cue from the autonomy of music to create a painting that is free from a direct representational quality and instead focuses on an engagement with its own reality through colour, materials and action. This unit of study investigates the dovetailing of painting and music, from modernism to contemporary art, and examines the current trends of painting, relating these processes to those of contemporary music. You will research and investigate the influences of music on painting, and create a work that has music as its core value.

This unit of study examines the glass vessel in everyday life and its application as a conceptual agent in contemporary art. By nature, the glassblowing process creates a vessel or container from a mass of molten glass. Through research projects you will investigate the psychology of the glass vessel through its function and physical properties. You will develop fundamental hand skills and glassblowing techniques through structured weekly workshops, and combine practical skills with contextual knowledge in the development of conceptually themed projects. You may work exclusively with glass or in conjunction with other media and processes.

This unit of study introduces you to screen printing and its broad application across media. The unit explores the technical basics of this process through various projects. It provides for the development and enhancement of critical skills through group and individual tutorials and critiques and the acquisition of technical knowledge required to independently access and use the Printmedia studio facilities.

From the symbolically charged through to the functionally utilized, the hammer formed metallic object builds upon the dynamic landscape of the body. In this unit of study you investigate the potential for an object to expand the metaphysical self. The malleable and ductile qualities of metal will be examined as a creative catalyst enabling material characteristics to form a transformative element of a work that is made for the body by the body. You will explore silversmithing processes, in alignment with your individual research interests, as a technical and conceptual starting point to negotiate ideas of metamorphosis and growth. The appropriate forming processes, including sinking, raising, hot forging and planishing, will be introduced alongside an examination of the historic foundations and key principles of contemporary metalsmithing, as a means to generate your own individual project.

This unit of study provides a studio-based approach to the production of creative contemporary jewellery work that engages with the space and physical dimensions of the body. Fundamental to this approach is an investigation of the role of the worn or carried object in social communication. The unit provides for the development and enhancement of critical skills through group and individual tutorials and critiques and the acquisition of technical skills appropriate to the assigned projects.

This unit of study introduces you to the art and craft of writing for the screen. Through a series of lectures, seminars, tutorials and film screenings you will explore a range of approaches to screenwriting. These include looking at the structure of dialogue and character driven scripts, then moving to an analysis of more experimental approaches to script writing that rely less on character or dialogue and more on mood, situation and atmosphere. You will write an original script for a digital film that can be realized in any style or genre.

This unit of study explores notions of the void and the aperture through the development of hollow formed objects created by hand or the potter's wheel. You will be introduced to the creation of various common forming techniques on the potter's wheel and will be encouraged to use these to create new techniques and develop modular and sculptural assemblages. This unit also examines the philosophical underpinnings associated with the traditional and contemporary practice of this genre of ceramics through group discussion and individual research.

This unit of study offers you an introduction to lighting and its effects in photography. Considering the lighting studio as a site for experimentation and critical exploration, you will learn the fundamentals of lighting while exploring both how it has been historically used and how contemporary artists use it today both in and out of the studio. Through the nexus of photographic portraiture and still life, lighting is explored as a mechanism for both documenting and transforming its subjects/objects. You are encouraged to work in groups to create original photographic work for two major photo assignments. Please note this unit of study is for students who have had little or no experience in high-end digital photography, software and lighting. The unit of study introduces you to photo editing software, file management and the fundamentals of digital printing.

This unit of study provides you with an introduction to building processes within Sculpture and Installation. You will be introduced to working in the sculpture studio, and in particular, will gain practical experience in plaster and wax and discover key contemporary artists who reinterpret the casting process in innovative ways. You will be invited to consider a range of ideas -including negative forms and anti-monuments - that challenge the preconceptions of what sculpture can be. Initially, you work through a series of material-based workshop activities to learn basic construction techniques as well as to gain confidence in the safe use of machinery and equipment within the studio and workshop. The unit introduces a broad range of traditional and contemporary sculptural practices (including the use of wood, metal, fibre, plastic) and encourages you to develop original and creative solutions. The unit combines studio work, short presentations by the lecturer, student presentations and group discussion/critiques. In consultation with the lecturer, you will develop a studio work proposal and create a finished work that responds to the notion of 'negative sculpture.'

This unit will explore installation as a spatial practice within the expanded terrain of sculpture. You will examine installation as a hybrid form that negotiates and incorporates the boundaries of traditional art practices like painting, sculpture and video. The unit of study provides an overview of contemporary installation art practice and explores methods for producing work in a variety of media to activate and utilise space. Students explore innovative applications of conventional materials, found objects and time-based media such as video, sound and custom technologies in the development of their work. This unit engages with dedicated installations spaces and the adapting of environments and locations. The unit combines studio work, short presentations by the lecturer, student presentations and group discussion/critiques. In consultation with the lecturer, you will develop a studio work proposal and create a finished work.

For Aboriginal people of Australia, the place where saltwater and freshwater meet, is a site of intermingling, mixing and sharing of knowledge. The Yolngu people of north-east Arnhem Land call this place where the river meets the sea: Ganmu and it is usually used as a metaphor for 'two way learning.' This unit of study explores how contact with other cultures through the reciprocal sharing of images, stories, histories, experiences, ideas, skills and culture can activate collaborative practices to create meaningful connections both locally and globally. The investigation of issues such as representation and presentation, protocols and practices, combined with a critical understanding of the cultural complexities of Indigenous culture, will foster greater understanding and enable students to facilitate the development of a collaborative and sustainable practice.

This unit of study approaches video art in the broadest sense as it unites a great variety of practices regarding time based manifestations of abiding artistic concerns. Video has become a pervasive medium in contemporary art and makes an appearance in many different contexts that span from the most experimental exhibition settings all the way through to the museum. In this unit, you will undertake a studio-based approach to the production of video art works, including video installation, single channel and synchronized multichannel artworks, streaming video and video as it appears in other digital forms. The aim of the unit is to produce original artworks that forge new image worlds and innovative production methodologies. This unit will be conducted in an open studio framework including a variety of workshops, studios and digital labs.

This unit of study provides you with direct experience of working closely with nationally and internationally acclaimed professional artists in the context of key art events including the Sydney Biennale and ISEA , as well as in leading museums and contemporary art spaces and significant artists' studios.
You will have access to discussions and interactions between artists and national and international curators, as well participate in the exhibition production process, including production management, technical and preparatory methodologies, publicity and promotion. In addition, you can choose to undertake an internship with the organisation itself, to develop your understanding of the expectations and responsibilities of professional practice, including insights into: the creation and presentation of contemporary art, marketing and promotion, curatorial decision making, administration, funding structures, audience development, publication, and working relationships with artist, writers and conference speakers.

This unit of study explores how photography intersects with sculpture. You research and explore the relationship between objects and photography and how sculptural ideas can stretch the function of an image. You consider what a photograph may be materially when extended to encompass sculptural, performative and interactive dimensions. Projects may utilise and combine image-based practices such as digital photography and analogue photography, projection, print, performance, objects and installation to encourage an expanded approach to photographic practice.

In this unit of study you consider the scientific, cultural and artistic impact of Venetian glassblowing from the Renaissance to present day through research projects. Structured weekly workshops traverse contemporary use of a range of Venetian glassblowing techniques and methods. You will apply learned theoretical knowledge and developed practical skills to a self-directed work that reinterprets the Venetian glassmaking tradition. You may work exclusively with glass or in conjunction with other media and processes.

This unit of study explores key processes and issues related to the production and exhibition of experimental film works. The unit includes discussions, readings and screenings of relevant historical and contemporary film works. It focuses on the creative potential of the physical properties of film. You will produce a short 16mm film project. A Bolex 16mm camera workshop and hand processing of 16mm film will also be an integral part of this unit of study.

This unit of study will focus on the development of an in-depth understanding and application of the ceramic surface. It will explore notions of trace, impression, wound, scar, identification, memory and memento through material layering and surface specificity, and the construction of meaning associated with surface qualities such as depth, absorption and incorporation. You will be introduced to a range of applied ceramic surfaces including ceramic pencil, paint and crayon, glaze, screenprint and decal production, as well as found and mixed media surfaces, and kiln firings. Initial instruction and individual experimentation will form the foundations for the completion of a student-generated studio project. This unit would be of particular interest if you want to develop your investigation into three dimensional form and/or broaden the possibilities of the two dimensional surface.

This unit of study explores the boundary between artwork, publication and portfolio. The unit acquaints you with the principal tools of InDesign, a software program that has become industry standard for designing digital and paper publications. Focusing on experimental magazines and other small scale artist's publications the unit explores the visual language of contemporary publishing from an artist's perspective. You learn about the complex interplay of text, image and sequence involved in producing multipage documents/artworks through the practical experience of creating your own InDesign publication. A series of lectures and in-class digital tutorials will equip you with the technical skills and critical framework to produce intelligent, engaging and innovative output.

This advanced darkroom unit challenges students to rediscover photography in the age of the jpeg. Through two projects, the unit introduces the wet and wonderful world of alternative analogue processes to encourage students to produce experimental images that consider the conceptual, material and alchemical possibilities of the 'outmoded'. The unit also encourages the development of hybrid practices that combine contemporary digital technology with analogue processes.

Critical Bodies explores innovative and exploratory approaches to contemporary Performance art practice, placing the body at the centre of these investigations. Using studio-based skills students will explore performativity as a broader concept through re-enactment, photo construction as tableau and video performance alongside 'live' actions.

Images made for public space have been integral to modern art. This unit looks at printmedia's role in this history, surveying agitprop graphics and subcultural poster making to examine the currency of screen-printing and digital processes in urban intervention. This will support studio research and the production of print works intended for public display.