ART THEORY AND CRITICISM
The Art Theory and Criticism course will consist of a weekly lecture followed by a seminar. The purpose of this course is to equip students with a greater understanding of the cultural and socio-historical context in which art is produced/practiced. This will enable them to contextualise the emergence of certain movements and trends in art, thereby providing them with a theoretical tool box with which they can engage critically with art practice.
This will include a lecture series on history so that students can ground all future discussion within a chronological historical order. The course will address the development of the philosophical, economic and political base from which art emerges with an emphasis on the last 200 years In addition, other issues such as appropriation, globalization, colonization, nationalism and other more general topics, which are central to this discourse, will be addressed.
These lectures will enable students to draw parallels and acknowledge the visual and conceptual exchanges between western and non-western cultures (with an emphasis on South Asia) and understand the nature of the hierarchies that exist in the world today.
THIRD SPACE SEMINAR
The Third Space Seminar will be conducted as a follow up to the Art Theory and Criticism course. This is essentially a link area between studio practice and the theoretical part of the course; and will be conducted in the form of weekly seminars. The seminars will enable students to understand the relationship between Art Theory and Criticism and Art Practice in order to develop the ability to relate it to the context of their own work and that of others.
The research seminar will be conducted weekly over a period of two years. It aims to develop individual critical ability and articulation skills through a study of the philosophical, structural and formalistic moorings integral to art.
A number of prevalent research methodologies will be a taught component of the seminar.These will enable students to execute the written requirements of the MA(Hons.) programme, including the mandatory extended essay.
A broader understanding of the creative arts will be achieved through Seminars on the Arts of South Asia conducted with a more holistic approach and will discuss dance, theatre, music, film and literature.
Student's ability to conduct research will be assessed by wrrtten exercises and through individual/group presentations.
The Extended Essay is a compulsory component of the Research Seminar.
This comprises a written paper of 8000-10000 words with supporting documentation (audio/visual etc) if necessary.
Optional Courses will run during the third term of the programme. Students will be required to take a minimum of one optional course over a period of two years.
i) Anthropology of Art
ii) Philosophy of Art
iii) The History and Practical Theory of Miniature Painting
iv) Issues in Contemporary Art
All optional courses are subject to change depending on availability of faculty.
B. ART PRACTICE
The programme provides a structured learning experience in which the theoretical and practical parts of the course are devised in a way that neither operate in isolation but provide a context for each other. Students will be expected to pursue a rigorous course of study during which they design and pursue an individual line of research, and will be required, through active participation, to articulate their concerns both visually and theoretically.
The emphasis of the course is to develop individual ideas and intellectual capabilities particularly with reference to critical, evaluative and conceptual concerns for the production of works of high professional quality. The Programme therefore caters to mature individuals with a high level of commitment to independent art practice.
Art does not happen in a vacuum but occurs within its own social and cultural context. A multidisciplinary approach acknowledges the interconnectedness between disciplines and thereby promotes a non-isolationist view. Part of the ethos of the programme is to breakdown hierarchies in art particularly in the context of Pakistan and the region where historically the boundaries between art and craft did not exist. This programme will encourage students to explore and question these boundaries, which will in turn provide the opportunity for them to go where their research leads them.
As we see It the role of art practice is to create a space for indMduals to realize their self-expression and to communicate their ideas with a wider audience. Multiculturalism, as opposed to singularity in approach, is an integral part of the ethos of this course. It is essential, therefore, that students have access to information and artists from all over the world and not only from Pakistan. By drawing on international resource persons, students will be able to engage with cultures both similar and dissimilar to ours; thereby equipping themselves with a varied conceptual and visual base that will enable a greater understanding of their own visual tools.
The MA (Hons.)Visual Art programme aims to pursue an approach in which students will be expected to find the best means of translating conceptual concerns into visual expression.
The art world has become increasingly aware of the fact that traditional boundaries between disciplines and mediums are being removed to the benefit of art practice. The programme aims to approach art practice through a broad base, in which various disciplines and techniques may be used. Students will be free to pursue an indepth exploration of any discipline of their choice, or to cross interdisciplinary boundaries This allows a maximum amount of flexibility within chosen areas of concern.
TECHNICAL SUPPORT FOR ART PRACTICE
Although the emphasis of the programme is not on the development of technical skills, it is felt that there are a number of technical support structures that need to be made available in order to facilitate practice. These are listed below. The list also includes a number of more specialised technical support courses that can be accessed on demand by individuals or by a group of students. These are deemed necessary because they provide the opportunity for students to broaden their technical base when the need arises.
List of Technical Support Structures
1. Grinding and making of pigments
2. Oxidation prevention
5. Clay and plaster
6. Fibre glass
8. Squirrel brush making
9. Bookbinding, embossing and stamping
10. Basic circuitry
13. Egg tempera pigments
17. Weaving and Dyeing
20. Botanical drawings into Design Motif
21. Multi-media Digital Technology
WOOD WORKSHOP/ METAL WORKSHOP
A number of prevalent research methodologies will be a taught component of the seminar. These will enable students to execute the written requirements of the MA(Hons.) programme, including the mandatory extended essay.
PLACEMENT WITH TRADITIONAL PRACTITIONERS
The aim of the course is to question existing distinctions between art and craft, and to learn the processes, techniques and methodologies of traditional practices.
All students will therefore be required to complete a 4-6 week placement with a traditional practitioner. This will enable them to extend their studio practice and engage with an alternative cultural and visual experience.
Students will be expected to submit a written paper (800-1000 words) with documentation. All students are required to make a presentation based on their placement experience in addition to the report.
Presentation stemming from this placement may take any form including the production of a piece of work done in a traditional manner to the translation of any aspect of traditional practice into other dimensions.
STATEMENT OF INTENT
A 500-1500 word statement of intent is to be submitted prior to the mid course external assessment and then for the final external assessment. The aim of the statement is to encourage students to articulate the intention behind their work thereby bringing focus and clarity to their conceptual concerns and enabling critical analysis of their own work.